PRONUNCIATION FOR SINGERS.
PRONUNCIATION FOR SINGERS.
WITH ESPECIAL REFERENCE TO THE
anft i0|r, fernm, Jtalxan, Jfmittr
WITH NUMEROUS EXAMPLES AND EXERCISES FOR THE USE OF TEACHERS AND ADVANCED STUDENTS.
ALEXANDER J. ELLIS, B.A., LITT.D., F.R.S., F.S.A., F.C.P.S., F.C.P.,
Late Viet- President (formerly President) of the Philological Society, Member of the Mathematical Society, Member of the Musical Association, Honorary Member of the Council of the Tonic Sol-fa College, Scholar " Formerly of Trinity College, Cambridge. " Author of Early English Pronunciation" Translator of HELMHOLTZ'S Sensations of Tone"
J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.G.
ici ls& Shillings and Sixpence. LONDON :
J. CTJRWEN & SONS, MUSIC PEINTER8, PLAISTOW, B. CONTENTS.
The letters a, 6, following the number of the page indicate first and second columns respectively.
Preface, p. x. Quality of Tone of the Singing Voice, p. 9*. Vowel Quality of Tone due to Resonance, p. 10a. on the Nature of Vowel Qualities of SECTION I. Speaking and Singing Contrasted, Experiments Tone, p. 10*. pp. 1-6.
Singers and Speakers, p. la. SECTION III. Short Key to Glossic, Diagrams. la. (1) Singing and Speaking differ in Compass, p. Systematic Arrangement of Speech -sounds, (2) Singing is at Sustained, Speaking at Gliding pp. 12-17. Pitch, p. H. Description of the following Tables, p. 120. (3) Singing requires a Clear, Speaking an Impeded English Glossic. p. 120, b. Passage for the Breath, p. 2. Foreign Glossic, p. 130, b. (4) Singing has to be Rapid or Slurred, where Diagrams of Positions for Vowels and Consonants, Speaking cannot be so, p. 2". p. 14. Vowels must be arranged in Genera or Kinds, p. 2b. Descriptions of the Diagrams, p. 15, The Relations of Vowels to Pitch, p. 36. " Systematic Arrangement of English, German, Effect of Pitch on the word Peep," p. 43. " Italian, and French Speech-sounds, p. 16. Effect of Pitch on the word Through," p. 5a. " " " " " " When Peep and Pool should be Pip and " SECTION IV. Mode of Producing Speech-sounds, Pull" prolonged, p. bb. " pp. 18-23. Effect of Pitch on the word Glass," p. 5b. Flatus or Audible Breath, p. ISa. Effect of Pitch on "Peep through glass," p. 5b. Vocal Chords, p. 180. Effect of Pitch on "All on, Those, Door, Rushed, Whisper as distinguished from Flatus, p. ISb. Panes, Fence," p. Qa. Voice and Original Quality of Tone, p. ISb. Results of the preceding Examination, p. 6b. The Resonance Cavities, p. 190. Brief Definitions of Breath, Flatus, Whisper, and SECTION II. Vowel of 7-11. Quality Tone, pp. Voice as Originators, and Throat, Nose, and Musical Qualities of Tone first explained by Prof. Mouth as Modifiers of Sound, p. 19*. Helmholtz, p. 110. How to Study the Effect of the Modifiers, p. 200; Simple Vibration, p. lla. Throat Modifications, p. 200; Nose Modifications, Compound Vibration, p. lib. p. 20*; Mouth Modifications Action of Teeth and Sa. 220 Modifications Simple Compound Sounds, p. and Lips, p. ; Mouth Action Experiments on Resonance. Resonance Chambers. of Tongue, p. 22. Vibrational Number and Pitch, p. 8a. Object of these Experiments and Observations, Nature of Musical Quality of Tone, p. 9a. p. 23*. CONTENTS.
SECTION V. Vowels, pp. 24-41. Unanalysed Glossic Diphthongs, p. 435. Definition of a 240. 1. First Class of Vowel, p. Diphthongs with weak EE final, ''Genera" and of 240. El "Species" Vowels, p. p. 440; English, spoken=m, 0't, permissibly How the Forms of the Resonance Cavities for 00t, never never 440 WM, ahi, am, oat, t aai, p. ; 250 Vowels are to be Described, p. Throat, El English, sung=a 2. Mai-front Oral 30-31 AOY 465 ; 465 Vowels, pp. AI, p. 300; French, p. OOY, German, p. ; E, p. 305; EO, OE, p. 310; I, TIE; E, OE, OOY Italian, p. 465; OOY French, p. 465; p. 315. OEY French, p. 470; UEY French, p. 470. 3. Oral 31-32 315 2. Second Class of Low-Front Vowels, pp. A, p. ; Diphthongs with weak OO A and and fheir Rounded 470 ; OU AE, p. 320, Forms, final, p. English, spoken, p. 470 ; OU 325. 475 p. English, sung, p. ; OU German, p. 475 ; 5. Mid-mixed, 6. Low-mixed, 8. Mid-back, 9. Low- OU Italian, p. 475; OU, French, p. 475. back, Oral Vowels, pp. 32-36 AA, AH, A', Abbreviated Analytic Forms of OQ Diphthongs, p. 335; U, UU, p. 310; U, U', E', p. 345; p. 475 ; OA-W English vanish," p. 475. AO, p. 350; ATI, O, p. 350; OA, AO, p. 355; 3. Third Class of Diphthongs with weak EE U UU, A' AA AH, OA AO AU 0, p. 360. initial, p. 480; EU English, p. 480; EU German 7. High-back Oral Vowels, p. 36500, p. 365; (none), p. 485; EU Italian, p. 485; EU French UE, UU', 00, O'O, p. 370; UO, U', p. 375; (none), p. 485. 380 380. Abbreviated Forms of U', p. ; UO', p. Analytic EU Diphthongs, The Musical Vowel Scale, p. 380 and p. 390. with initial Y, p. 485. French Orinasal Vowels or Nasals, p. 395 N', 4. Fourth class of diphthongs with weak OO 490 : In 490 in p. 395; AEN', p. 400; AHN', p. 400; OAN', initial, p. English, p. ; German p. 405; OEN', p. 410. (none), p. 490; in Italian, p. 490; in French, of French 410. 490 iieEE 495. Character Nasality, p. p. ; French, p. Abbreviated Glossic Forms for the 00 and UE SECTION VI. Vowel Glides, Diphthongs, Triph- weak initial Diphthongs, with W and WY', thongs, and Vocal K, pp. 42-55. p. 500. The Nature of Glides. Pitch Glides, p. 420. Triphthongs, p. 50. Vowel Glides, p. 420. 5. Fifth Class of Diphthongs ending in an obscure Temporary Symbolisation of Vowel Glides, and U, and hence called Murmur Diphthongs, p. Effects of Crescendo and 425. 500 Vanish Murmur Diminuendo, p. ; Diphthongs AAii, AUu, Nature of Diphthongs, p. 430. p. 505; True Murmur Diphthongs EER, AIR, Permanent Symbolisation of Vowel Glides, p. 435. OAR, OOR, p. 505; Inserted R', p. 515. CONTENTS. Rules for the Use and Avoidance of English Mur- Trilled Oral Consonants, or R' Class, p. 630 mur Diphthongs, p. 515. Contacts and Approximations, p. 630. Murmur 52a 52 1 and 2. Oral Consonants Triphthongs, p. ; EIR, OIR, p. ; with Lips (1) Roind, 525 and 635-665. E1RR', EIERR', EIUR', p. ; OUR, OURR', (2) Flat, pp. OUERR', OU-UR', p. 525; EUR, EURR', p. 525. P. Shut Mute, p. 63b. Vocal R or ER, equal to U', UU' long, p. 530; B. Shut Sonant, p. 635. Vocal R or ER in Weak Syllables, p. 525; B. Shut Implodent, p. 64. Distinction between Weak Final A and Weak W, V, Central Buzzes, and WH, F, Central Final 525 in dis- ER, p. ; Dissyllables ER Hisses, p. 645. tinguished from Murmur Diphthongs and Vowels, Aspirates, pp. 56-60. Tongue, p. 685. Glottids Defined, p. 560. TH Central Hiss, and DH Central Buzz, p. 685. H, Flatus, glottis open, p. 560. 5. 6, 7, and 8. Oral Consonants, with (5) Gums 565. H', Whisper, glottis contracted, p. and Point of Tongue, (6) Palate and Point H', Voice, glottis closed, the edges of the vocal of Tongue, (7) the Front of the Tongue chords being in contact, p. 565. Arched, or Convex towards the Hard Palate, or I, Gradual Glottid, p. 570. and (8) the Front of the Tongue Hollowed, ;, Clear Glottid, p. 575. Concave towards the Hard Palate, pp. 690-765. ;, Check Glottid, p. 580. T, T\ ,T Shut Mutes; D, D', ,D Shut Sonants, or Jerk, 585. Q D Shut 690. H, HH, HI, H;, Aspirate, p. D, D', ( Lnplodents, p. Croak, Bleat, Wheeze, p. 605. S, SH, S', T'H Central Hisses, and Z, ZH, Z\ Why H is the only Glottid written in ordinary D'H Central Buzzes, p. 705. 605. L Lateral and Glossic, p. L, L', 'L, 4 Murmurs, LH, L'H, LH Lateral 730. 'LH, 4 Hisses, p. SECTION VIII. Consonants, pp. 61-86. R', R", ,R Point-trilled Buzzes, ,,R Point Rise, Voiced Consonants, p. 610. and R'H, R"H Point-trilled Hisses, p. 745. Flated Consonants, p. 6 la. 5, 6, and 8. Nasal Consonants, with Oral Re- Whispered and Gradual Consonants, p. 6 la. sonance limited by (5) Gums and Point of Mute Consonants, p. 615. Tongue, (6) Palate and Point of Tongue, Systematic Arrangement of the Consonants, p. 615. (8) Palate and Reverted Tongue, pp. 770-785. Oral and Nasal 620. N Shut and N"H Shut Consonants, p. N, N", 4 Hums, NH, Oral Consonants, p. 620. Snorts, p. 11 a, Shut Oral Consonants, Mute, Imploded, Sonant, 9, 10, 11. Oral Consonants with (9) Front and p. 620. Point of Tongue and Palate, (10) Front of Central Oral Consonants, Hisses and Buzzes, p. 625. Tongue and Palate, (11) Front and Back of 820. Lateral Oral Consonants, or L Class, p. 63a. Tongue and Palate, pp. 785 CONTENTS Y Central Buzz, and YH Central Hiss, p. 784. Action of a Buzz or Sonant between two Vowels, 89a. CJT Shut Mute, and J' Shut Sonant, with the p. Consonantal Diphthongs CH Hissed and J Action of a Hiss between two Vowels, p. 890. Buzzed, and their true first elements, TY' Action of a Mute between two Vowels Recoil, Shut Mute, and DY' Shut Sonant, and second p. 894. elements, SH' Central Hiss and ZH' Central Vowels running on to Consonants, and conversely, and Closed Final Initial Buzz, p. 790. Open Vowels, and and KY' Shut Mute, and GY' Shut Sonant, with Glides, Medial, Double, Split Consonants, 904. their derivatives KY'H Central Hiss and p. . and Loose Mixed 9 la. GY'H Central Buzz, p. 804. Tight Glides, p. Initial Mixed Glides from Voiced Consonants and LY' Lateral Buzz, p. 814. Hisses, p. 914. 9. Nasal Consonant with Front and Point of Initial Mixed Glides from Mutes, p. 924. Tongue, p. 820. Final Mixed Glides on to Voiced Consonants and NY' Shut Hum, p. 820. Hisses, p. 930. 12 and 13. Oral Consonants with Back of (12) Final Mixed Glides on to Mutes, Recoil with Tongue, and (13) Back of Tongue and Lips* Flatus, Click, or , Voice, p. 940. pp. 824-840; K, KW Shut Mutes, G, GW Consonant Glide from Vocal to Vocal, p. 944. Shut Sonants, and G Shut Implodent, p. 824. Consonant Glide from Vocal to Buzz, p. 950, Central and" KH, KW'H Hisses, GH, GWH Consonant Glide from Buzz to Buzz, p. 954. Central Buzzes, p. 830. Consonant Glides from Sonants to Vocals at the 'R, 'GH Back Trilled Buzzes, "R Uvula Rise, end of words, p. 954. NG Shut Hum, and NGH Shut Snort, p. 84. words, p. 97. Musical Qualities of Consonants, p. 850. Consonant Glides between Buzzes and Sonants, and Gradual Transition from Vowels to Consonants; and between Sonants Sonants, p. 970. Vowels, Vocals, Glides, Buzzes, Sonants, Slurs, Rule for Consonant Glides when one Consonant Hisses, Implodeiits, Mutes, p. 86. is Voiced and the other Voiceless, p. 980. Initial Consonant Glides from Mute to Vocal, or to the Buzzes W, Y, p. 980. IX. Mixed and Consonant SECTION Glides, Final Consonant Glides of Vocal on to Mute and 87-102. Syllables, pp. Hiss, -Ip, -It, -Ik, -mp, -ngk, p. 980. Glides of a Hiss on to a Vowel, Mixed, and Consonant Glides defined and Initial Consonant Vocal, or the Buzzes 994. distinguished, p. 870. W, Y, p. Consonant Glides between S and 1000. Murmur Triphthongs reconsidered, p. 874. Mutes, p. Action of a Vowel between two other Vowels Treatment of Combinations of Two Mutes, and of Substitution of Silence Initial Mute before M, N, S, p. 1000. Syllables, 874 ; and Slur for Glide, p. 874. Principle of the Division of Syllables, p. 1004. Action of a Vocal between two Vowels Syllables, Special Rules for Dividing Consonants between p. 88*. two Syllables, p. 1014. CONTENTS. Til 9. SECTION X. Length (or Quantity), Pitch (or Ex. The Vowels ee, ai, an, au, oa. oo, and Mixed Musical Accent), Force (or Ordinary Accent and Glides for Sonants, p. 115*. Emphasis), Quality of Tone, Weight (or Im- Ex. 10. Mixed Glides for Mutes and Sonants com- and Silence as Elements portance) (or Pause), pared, p. 1170. of 103-108. Speech, pp. Ex. 11. On the Effect of both Pitch and Glide on Introduction, p. 103. each Long Vowel, p. 117*. Length of Spoken Sounds and its Notation, Ex. 12. On the Short Vowels, lengthened in sing- p. 1030. ing, p. 1180. Pitch of Spoken Sounds and its Notation, p. 1040. Ex. 13. Un the Hisses, p. 121*. Force of Sounds and its 104*. Spoken Notation, p. Ex. 14. On the Buzzes as contrasted with the Quality of Tone in Spoken Sounds, and why it is Hisses, Mutes, and Sonants, p. 1220. not furnished with a 1070. Notation, p. Ex. 15. ei On the Diphthongs t oi, ou, eu, p. 123. Weight of Spoken Sounds, p. 107*. Ex. 16. On the Aspirate, p. 1240. Silence as an Element of Speech, and its Notation, Ex. 17. On the Vanishes avy, oa-w, p. 1240. p. 107*. Ex. 18. On the Compound Hisses and Buzzes ch,j, p. 1250. SECTION XI. 109-150. Exercises, pp. Ex. 19. On the Vocals /, in, n. ng, p. 1250. Introductory Eemarks, p. 1090. Ex. 20. On the Trill r' and Vocal r, p. 126*. A. ENGLISH EXERCISES, pp. 110-143. Ex. 21. On Initial Combinations of Consonants, I. Artificial Strong Syllables, pp. 1 100-1286. p. 1270. General Tables of English Sounds, p. 1100. Ex. 22. On Final Combinations of Consonants, Chart of English Sounds, p. 110*. p. 127*. Initial Combinations of English Consonants, Ex. 23. On both Initial and Final Combinations p. 1100, *. of Consonants at once, p. 1 280. English Final Combinations of Consonants, II. p. 1110, b. Actual Words, pp. 128*- 138*. Mode of Time in the Exercises, 1120. Ex. 24. Contrast of ee and 128* ,0 Marking p. *, p. ; On open Ex. 1. To Discover Defects in Pronunciation ee and 128* closed ee and any i, p. ; (* On i, p. 128*; in order to' direct future 1120. On ee followed 1290 practice, p. (c] open by i, p. ; (d] On Ex. 2. The Vowel and Mixed Glides for i before vocal 1290 ee, Mutes, long r, p. ; (e) On short weak 113tf. p. i to be distinguished from u or ee, p. 129*. 3. and Mixed Glides for Ex. The Vowel ai, Mutes, Ex. 25. Contrast of ai, e, 0, p. 129*. p. 113*. Ex. 26. Contrast of au, o, p. 130*. Ex. 4. The Vowel 00, and Mixed Glides for Mutes, Ex. 27. Contrast of au, oa, o, u, p. 130*. p. 114. Ex. 28. Contrast of oa-er, oar, au, p. 1310. Ex. 5. The Vowel au, and Mixed Glides for Mutes, Ex. 29. Contrast of weak oa and er, p. 1310. p. 1140. Ex. 30. Contrast of 00 and oo, p. 131*. Ex. 6. The Vowel oa, and Mixed Glides for Mutes, Ex. 31. On oo, p. 131*. p. 114*. Ex. 32. Contrast of oo, uo, u, p. 1320. Ex-. 7. The Vowel oo, and Mixed Glides for Mutes, Ex. 33. On long u or vocal er, p. 132*. p. 1150. Ex. 34. On the Diphthong ei, p. 1330. Ex. 8. Miscellaneous Vowels, ee, ai, aa, au, oa, oo, Ex. 35. Contrast of ai and ei, p. 133*. and Mixed Glides for Mutes, at different pitches, Ex. 36. On the Diphthong oi, p. 1340. p. 1150. Ex. 37. On the Diphthong ou, p. 134*. CONTENTS. to hx. 38. Contrast of oa and ou, p. 1350. SECTION XIV. Alphabetical Keys Germau 190-211. Ex. 39. On the Diphthong eu, p. 1355. Italian, and French, pp. and Ex. 40. On the Murmur Diphthongs Triph- Introduction, p. 1900. or Vocal R and Trilled 1355. thongs, R', p. I. German, pp. 1900-1920. A. The Orthographi- Ex. 41. On Words of Two to be Syllables apt cal or Low Saxon System of Pronunciation, as Words of One Syllable, p. 1380. pronounced p. 1900. B. The Historical System of Pronun- Ex. 42 On the Mixed and Consonant Glides, ciation, p. 1910. C. The Practical System of 1385. p. Pronunciation, p. 1910. III. Weak 1385-1435. Syllables, pp. II. Italian, pp. 1920. Ex. 43. On Terminations involving R, L, M, N, III. French, pp. 1920. p. 1385. Explanations of Foreign Sounds, pp. 193-195. Ex. 44. On other Weak Endings, p. 1400. Six Vowels, heard in Provincial English, ae, ah, Ex. 45. On Weak p. 1410. Beginnings, eo oe 1930. 00, w I. GERMAN " SONGS, pp. 217-224. 8. Pur dicesti," p. 229. " " 1 9. Possenti Maiglockchen und die Bliimelein," p. 217. Numi," p. 230. See German, No. 4. " " 2 Ich wollt' meine Lieb',"p. 218. 10. Qui sdegno non s' accende," p. 230. See ' 3. Wie kann ich froh," p. 218. German, No. 5. " " 4. Isis 11. und Osiris," p. 219. Stabat Mater" ^Ecclesiastical Lalrin), p. 231. " 5. In diesen heiligen Hallen," p. 219. " III. FRENCH SONGS, pp. 234-241. 6. Der 220. Erlkonig," p. " " " 1. Ou voulez-vous aller ? p. 234. 7. Der Wanderer," p. 222. " 2. Serenade 235. 8. 223. (Berceuse), p. Adelaide," p. " " 3. "Robert! toi que 236. 9. Lebewohl," p. 224. j'aime! p. 4. La Manola, p. 237. " II. ITALIAN SONGS, pp. 225-230. 5. Partant pour la Syrie," p. 238. " 6. La 240. 1. Diserto sulla Terra," p. 225. Marseillaise, p. " 2. II balen del suo sorriso," p. 225. " SECTION XVI. Pronunciation of the Names of 3. Stride la Vampa," p. 226. " and French with a 4. Soave imagine," p. 227. German, Italian, Composers, " few 242-246. 5. Lascia ch'io pianga," p. 227. others, pp. " 6. Non piu andrai," p. 228. Introduction, p. 242. 7. 229. "None ver?" p Alphabetical List, p. 242*. PREFACE. On 27th, 28th, and 29th of December, 1871, I this suggestion was that there should be an gave three lectures on ''Pronunciation in Singing" abundance of examples Hence arose the present at the request of Mr. John Curwen, the president, work before the Tonic Sol-fa College at its Christmas For more than thirty years I have been paying gathering. Part of the matter of these lectures attention to the subject of speech-sounds, as a was subsequently worked up by Mr. Curwen, and science and as an art, for the purpose of teaching corrected by myself, for the last edition of his to read English, and for the purposes of compara- "Standard Course," and is again explained and tive philology. I have resided three years in " illustrated with diagrams in his Teacher's Germany, a year and a half in Italy, and more Manual." To this last work he asked me to con- than six months in France 1 have been quite tribute Tables of the Pronunciation of the German. recently studying provincial pronunciation through- " Italian, and French languages, to enable any out England, for the purposes of my treatise On Tonic Sol-faist on taking up a song in those Early English Pronunciation, with especial refer- languages to have some clue to the sounds he had ence to Shakspere and Chaucer," of which these to utter, even if he were ignorant of the language studies will form the fifth volume, and in pursuing After these were completed, however, Mr. Curwen them I have had to pay most particular attention felt that it would be advisable to add a few songs to the varieties of English speech, and discriminate in each language with the pronunciation fully between the comparatively modern, literary, or explained and the translation annexed. But when "received" form, which prevails among educated this was done, he found that the result would' be speakers especially in the South of England, and " too much for a mere insertion into another work, the comparatively ancient, illiterate and provin- " and ought to appear as a separate treatise I then cial forms which prevail among the uneducated suggested that such a treatise should contain a or untravelled in other parts of the country. I am very full account of English pronunciation, and not a singer, although I have had sufficient voice the mode in which both the acknowledged and to try all the necessary experiments, and in the the unacknowledged sounds of speech are pro- winter of 1856-7, I went through a course of Tonic duced, to enable the teacher not only to shew Sol-fa instruction to make myself familiar with what was right, but to correct what was wrong, this scheme of teaching vocal music. But my by instantly pointing out the vicious action of the principal assistance in understanding the relations speaker, and thus leading him to set it right. The of singing to speech, has been derived from " only condition Mr. Curwen made in agreeing to Professor Helmholtz's great work On the Sensa- PREFACE. tions of Tone," of which a translation by myself for young beginners. They are written for those was published by Messrs. Longman, in July, 1875. advanced students who have sufficient determina- I have also, of course, studied all the principal works tion to instruct themselves, and who wish to relating to speech-sounds in various languages, understand the subject in order to instruct others. have had especial instruction from natives of There is not a passage in this book which ought various countries, and have made practical obser- not to "be familiar to a teacher of singing, although vations in great detail and with great care on very little of what follows has hitherto found its English provincial speakers, and have been familiar way into manuals for the singer, and that little is for more years than I care to remember with the seldom accurate. But, of course, there is much process of representing spoken sounds by symbols concerning the voice and its management, which which should express not merely the separate ele- does not enter into the purpose of a treatise ments but the different modes in which they are strictly limited to pronunciation. Hence the put together by different speakers. These are my following pages are really supplementary to all qualifications for attempting to carry out Mr. treatises on singing, while they are introductory Curwen's wishes. to all treatises on English elocution and on the The object of this book is to shew the course of pronunciation of the foreign languages named, a training which singer should undergo in order to and also to all treatises on comparative philology. enunciate his words clearly and accurately, so as to The principal new point which is here treated at " be intelligible to an audience that had no book of length is the action of vowel on vowel, and con- " the words Throughout the work, the singer, as sonant on vowel, to which I gave the name of " " " distinct from the speaker, has been kept in view, glide in a tract on English Phonetics," and for this purpose attention has been drawn in published in 1854, long before Mr. Melville Bell the opening Section to the principal points which used the term in his "Visible Speech" (1867), distinguish singing from speaking. All the exer- with a slightly different sense. On these glides cises are supposed to be sung. At the same time, depends all intelligibility in singing, because they the work will be of great use, I hope, to all who determine the principal audible effect of consonants, have to train children to speak English correctly, more especially final consonants. Hence I have or to acquire a correct pronunciation of German, prepared an elaborate series of exercises upon them Italian, and French But as the book was not in the "Glossic Index" (pp. 151-181). written for speakers especially, much has been A systematic method of representing speech- omitted which would be more or less useful to sounds is indispensable for any work like the them, and much has been inserted, which a speaker, present. My "Glossic" effects this object by who is not a singer, may find unnecessary. Atten- means of the ordinary letters of the alphabet in tion is also paid exclusively to the received their most usual English significations, so far as pronunciation of the English, German, Italian, these would serve, eked out by German usages and French languages. Such varieties as it occasionally, and sometimes by other contrivances. would interest a singer to know are mentioned This mode of spelling is so simple for ordinary incidentally, but the whole subject of comparative English readers that I have never found one who phonology as bearing on comparative philology, experienced the least difficulty in reading off has been most carefully avoided. Students of sentences thus written, even without special in- this important linguistic inquiry will, however, struction. Glossic has also been used by Mr. necessarily find much assistance in tiie following Curwen in the "Standard Course" and "Teacher's pages. Manual," and hence will be familiar to the majority The following pages are, of course, not meant of advanced students who take up this book. As XII PREFACK* Glossic was specially invented by me for the ffei'semzj, though the latter would be separated in purpose of writing all English dialects by one a more exact classification. These lead on to the alphabet, every sound which was required for this Consonants proper, which occupy the whole of and Section VIII. 61-86 and should be studied treatise had already been properly symbolised, (pp. , hence there was no object in introducing any completely even by those who do not immediately other set of signs. desire to learn German, Italian, or French, be- The arrangement of the work is as follows : cause the introduction of the consonants peculiar After drawing attention (in Section I., pp. 1-6) to to these languages gives a far more complete A-iew the contrast between speaking and singing, and of the relations of speech-sounds than would be sketching a number of exercises to impress these possible if attention were confined to one language differences strongly in the reader's mind, provided only, and when studied thus in proper connection, he carry them out (which, once for all, I may state, the sounds, which singers are sure to require some I suppose that all readers who wish to derive profit day, are by no means so difficult as when they from the work will do with all exercises), I proceed are taken afterwards as strange and isolated (in Section II., pp. 7-11) to consider the cause of phenomena. The glides between vowels and con- those difficulties as respects the vowels, and shew sonants, which form the subject of Section IX. that this is to be sought in their peculiar nature as (pp. 87-102) are of extreme importance to singers, modifications of original qualities of tone. Then, and hence great pains have been bestowed on previous to a detailed exposition, I give (in Section furnishing examples, especially in the Glossic III., pp. 12-17) a short key to the method of Index (pp. 151-181 1 to enable the reader to become notation employed, and a systematic arrangement thoroughly familiar with the phenomena, and thus of all the Signs used, together with diagrams of learn to sing the effects of consonants which are the positions of the mouth subsequently referred themselves unsingable. In Section X. (pp. 103-108j to. The Glossic Index (in Section XII., pp. 151- for the sake of readers rather than singers, but 181) gives the exact page and column where the also especially for the use of those who set words mode of producing the sound represented by each to music (which should include all singers) a very individual sign can be found, in proper connection brief account is given, of the principal means with its related sounds. After this (in Section IV., adopted for making one syllable in a word, or one pp. 18-23) a brief account is furnished of the word in a sentence, more prominent than all the nature and action of the organs by which speech- rest. For speakers this would develop into a sounds are produced, limited to what is necessary treatise on elocution, for singers (except in recit- for properly understanding and observing the ative) the composer has practically determined the following explanations. Section V. (pp. 24-41) is length, pitch, and force, and often the quality of devoted to the Vowels, and Section VI. (pp. 42-55) tone and expression to be given to each syllable, to the mode in which vowels are combined into and what remains belongs rather to a treatise on diphthongs, by the generation of the vowel glides, voice-training than one on speech- sounds. But it which are so important to singers. Section VII. is useful even to a singer to know in what the (pp. 56-60 takes into account a series of actions actions consist, how they are performed, and how It in of the glottis in commencing or attacking and they may be written. is, fact, indispensable ending or releasing vowel sounds, which were first for anyone who wishes to sing as a human being, " " " named glottids in my Early English Pro- and not as a machine. the exercises and nunciation," (p. 1129) under which heading it is In all the preceding Sections, here convenient to include aspirates and the examples given as each matter arises, are sufficient " " bellows-actions of the lungs or physems to illustrate the subject, but not sufficient to render F REPACK. Xlll it familiar to a student who has to be trained. with lists of all the initial and final consonants This is left to Sections XI. (pp. 109-150) and XII. and combinations of consonants in our language, a sufficient series of exercises (pp. 151-181) where here given, will enable the teacher i^as explained in is suggested, or written, to enable a teacher to the 21st to the 23rd Exercise, pp. 127-8) to ex- instruct a solitary pupil or a class, without temporise an infinite variety of ways of practice, puzzling the learner by a systematic treatise. without using a book at all. It is suggested that These exercises are divided into four principal five minutes daily should be devoted in schools to parts, according to the four languages considered, these "Vocal Gymnastics" to make the delicate but for the three foreign languages they are of muscles of the organs of speech familiar with the comparatively limited extent, sufficient, however, production of the sounds, and thus enable the for anyone who had gone well through the English, pupils to pronounce with brightness, ease, and to acquire a decent command over the foreign certainty. sounds. It is strongly recommended that the Exercises 24 to 42 (pp. 128-138) are devoted to learner should, if possible, get a native with a actual words, contrasting nearly similar sounds, good pronunciation to read to him the foreign especially vowel sounds, which are apt to be con- words placed against each foreign Glossic letter fused, together with the various diphthongs and (which is for that purpose given in the ordinary the extremely complicated use of the letter R, each as well as the Glossic spelling), and to repeat each word being given in both spellings. Some of these set, illustrating a single sound, many times over Exercises having been prepared some years ago, Practically I find six times in succession advisable. were given, but with a different arrangement, by " The learner should listen without imitating till he Mr. Curwen in his Standard Course." The 42nd the Exercise of has formed a complete notion of sound, which . (p. 1384) properly consists the English he should then attempt to reproduce, and not mind part of the Glossic Index ipp. 151-181) in which failure with respect to the other sounds with which words are given fully illustrating every vowel and the one under trial is unavoidably mixed up. The diphthong as acted on by every final combination words thus serve as "Key Words," which with the of consonants known in the language, and by a Glossic spelling annexed, perfectly explain the great number of the initial combinations, while system of writing used in giving the pronunciation every consonant is illustrated by words in which of the songs in Section XV. (pp. 212-241). it occurs initially before every vowel and other it is in the The great, bulk of the exercises is devoted to consonant with which found language. learner an of English, with the intention of creating good habits These lists give the opportunity the initial and final effect of and facility, and of correcting errors of pronun- feeling and practising ciation. The use of the Glossic system of writing every possible consonantal combination upon every has enabled me to divide these exercises into two possible vowel sound, and thus learning to sing distinct parts. The first twenty Exercises initial and final consonants intelligibly. very " Exercises are " (pp. 109-127) consist of combinations of vowels All the preceding upon strong the stress. the and consonants independently of meaning, so that syllables, or those which bear But the whole attention of the singer is directed to three next Exercises (43-46, pp. 1384-1424) deal " " " the accurate production of sound. They are with weak" or unaccented syllables, whether which is arranged so as to include all the combinations in final or initial, and Exercise 47 (p 1424), our language, to be sung at definite but very intended rather for the speaker than the singer, of and various degrees of rapidity, and particular atten deals with those alternations "strong" " " in our tion is paid to bringing out the glides, ana thus weak syllables which occur longer distinguishing final consonants. A simpl.:- .vtvn't. words XIV PRBFACE. By these Exercises, which are far more extensive only, by way of an exercise, arranged in a con- and systematic than any yet attempted (although venient form for reference and practice. Those not fail I wish particulary to draw attention to those given who have an opportunity should to hear " by Mr. Melville Bell in his Principles of Speech these songs read over to them by natives, and to and Elocution," to which I am much indebted), practice reading them themselves till the natives it is to be hoped that the learner will be able to are satisfied with their pronunciation, and then to the sounds commit them to and gain a mastery over the production of memory, continually repeat of his own language, and a decent command' over them, with or without the music, to acquire and in the of those of German (p. 144). Italian (p. 147), facility and certainty utterance connected teach him All is and the French (p. 149). But they will not words. pronunciation muscular, when to use them. The spelling of a word is organs of speech require the same constant train- Italian it as the muscles of the hand for supposed to do this, and in German and ing playing on any is tolerably successful in so doing, although in musical instrument. with a list of English and French it fails wofully. Hence in The book concludes German, Section XIII. (pp. 182-189 I give an account of Italian, and French composers (pp. 242-246), Mr. with the the systems of indicating sounds in the best or selected by Curwen, native pro- most convenient English pronouncing dictionaries, nunciation added, and likewise a conventional with that writing their key words both in their own spelling pronunciation, harmonising now given to and in Glossic. This will enable all those who Handel, Haydn, Mozart, and Beethoven, which is have studied this little book to consult those thoroughly adapted to English analogies, habits, authorities in case of need. And in Section XIV. and organs. I have to In the summer of the same in which (pp. 190-211 given Alphabetical Keys year, 1875, Ecclesiastical Latin v the Tonic Sol-fa after a successful German, Italian (including , College, period and French, which will enable the reader who sees of probation, was finally incorporated, this little a written word in any of those languages, to book was put together as the author's contribution discover its sound within very small limits of towards the good cause of diffusing sound musical error. But even for these languages, reference to knowledge among the masses of the people, in- for which that a dictionary is often indispensable as no rules can cluding the youngest, College was be laid down which are sufficiently c.omprehensive, originally founded by its first president, Mr. John the exceptions are so numerous and irregular. Curwen. After this, in Section XV. (pp. 212-241) follow ALEXANDER J. ELLIS. German, Italian ^including Ecclesiastical Latin), and French songs, selected by Mr. Curwen, and 25, ARGYLL ROAD, LONDON, W. 29 November 1875 given in both the ordinary and Glossic orthography, MS finished / with a verbal English translation, spelled in Glossic Printing finished 11 August 1877. PRONUNCIATION FOR SINGERS. I. SPEAKING AND SINGING CONTRASTED. and Singers Speakers. Speaking and singing (d to s), and only occasionally extending to an are different and in some respect antagonistic Octave. This great difference of compass is very actions of the same organs. Quintilian relates important, because the singer is called upon to that Julius Caesar, when a young man, criticised a execute spoken sounds at pitches which, as a in : reader the words "If you intend to be singing, speaker, he has never been accustomed to use, and are if you singing hadly; you suppose yourself with a quality of voice which he has had carefully ' to be reading, you are really singing (Si cantds, to avoid. male cantds ; si legis, cantds. Quint. Inst 1, 8, 2). The criticism is valid to this But perfectly day. (2). Singing is at Sustained, Speaking at Glid- the uses words to which he intends his singer ing Pitch. In singing, a tone has to be sustained listeners to attach a and it is meaning, supposed for a considerable time at an invariable pitch. In that the music will enhance the mental effect of speaking, not only is the length of time for which the which, in cases at have words, many least, any sound is sustained much less, sometimes the and whole suggested melody composition. necessarily very short indeed, but the pitch at it is well that While, therefore, perfectly agreed which it is delivered is uncertain and variable, and no or reader should it becomes a speaker sing, constantly rising or falling, sometimes first rising for all if not to at least necessity singers, speak, and then falling, or first falling and then rising, to excite in their hearers the ideas attached to for the same spoken sound. This is such a remark- in addition to the emotions due to music. speaking, able difference between singing and speaking, that How is this end to be attained ? The reader must many writers consider it to be the characteristic first the of this recognise reality antagonism difference, which may be expressed thus: "Singing between and speaking singing. has sustained pitch altering by definite intervals, (1). Singing and Speaking Differ in Compass. speaking has variable pitch, altering constantly by In singing, a good and fine musical quality of insensible intervals or glides." But although an tone is sought to be attained at pitches varying by important difference, it is by no means the only at 1 least a Twelfth (d to s ), and sometimes two one to be considered. Nor is it quite decisive, for Octaves, or even more. In speaking, an audible in singing the gliding alteration of pitch is quality of tone is desired, but one which is not acknowledged under the term 'portamento' fpoar'- strictly musical, at pitches generally within a Fifth taamai'ntoa. See Sec. Ill, for notation of sound.) B 2 SPEAKING AND SINGING CONTRASTED. Sec. I. a an Im- into each other. In as the (3). Singing requires Clear, Speaking any languages, the pi led Passage for the Breath. In singing, a good English, where vowels are separated by quality of musical tone can only be attained by numerous consonants, this rapidity is impossible, the the peculiar adjustments of the cavities between and slurring becomes equally impossible from that the of the musical unmusi- larynx and the lips, which generally imply necessity separating by " they are unchoked or unimpeded, and by a peculiar cal sounds. Who could sing : The strongest arrangement of the larynx itself which implies, on priest stands still," with either great rapidity or the contrary, that it is so choked and impeded that great smoothness, except by making many of the the wind has to force its way through it from the consonants inaudible ? It is, of course, the to be writers to lungs. In speaking, the upper cavities have business of of words music to avoid choked and impeded in many ways more or less such difficulties of combination in spoken sounds, it is the business of of injurious to musical qualities of tone, and some- and composers music to times entirely destructive of any musical tone adjust their notes to the capabilities of the words. whatever, allowing mere noise to pass, or actually But neither writers nor composers observe their preventing any sound at all from passing. And duties, and when the words of a song are translated the larynx has occasionally to be so open that from one language to another, or the same melody no musical sound whatever can be produced, except is sung to different words (as in successive verses by a further adjustment of the lips and tongue to of a ballad, or hymn) this consideration is entirely produce whistling, an effect not admitted in overlooked. speech. The windrushes, hisses, buzzes, whispers, Vowels must be Arranged in Genera or Kinds. and silences thus produced (forming our con- It is necessary that the reader should render some of the most and sonants) , although important himself practically familiar with these differences. distinctive elements of speech, are entirely un- Take the two sentences : musical and cannot be sung at all. The difficulty Peep through all those glass door panes. of indicating them is one of the greatest trials to His bull rush'd on that fence. the singer, because their omission occasions total The first contains all the seven and unintelligibility, and their introduction interrupts long vowels, the flow of music. But even those spoken sounds the second all the six short vowels in our language, most musical in their character ' without Speak them with various which are vthe any repetitions. first as a conversational com- vowels ^ are not equally capable of yielding good expressions, simple mand and affirmation then in tones of stern qualities of tone on account of the necessity they ; imply of more or less choking the passage of the command, exclamation, interrogation, disgust, fear, sound through the mouth or lips, and the singer horror, indignation, expostulation, ridicule, banter, has to exercise himself in producing sounds laughter, weeping, pain, joy, satisfaction, oratory, with the utmost with the recognisable as intended for certain vowels, which solemnity ; slowness, are nevertheless modifications of them found to be greatest possible rapidity, and so on. Observe in that there is not even to a more suitable for musical utterance. All languages each case an approach musical tone or to and that present these difficulties, but perhaps none more singing, any sing-song than English. in the utterance would be provincial, such as the whines and drants and rising inflections of many has to (4). Singing be Rapid and Slurred, of our provinces. Observe, too, that the natural where Speaking cannot be so. In singing, the character of speech and the sound ot the vowels is often the notes to be with altered some of these that melody requires sung much by expressions ; great rapidity, and at other times to be slurred the oratorical and solemn tones really alter all the Sec. I. SPEAKING AND SINGING CONTRAST ED. in sounds comparison with the conversational or of his voice or of the unusual pitches at which he ridiculous and comic the vowels re- has to tone, although deliver them, without becoming unintellig- main recognisable, so that though appreciably ible, and without ceasing to utter them as an different to those who compare and examine them, Englishman. The learner of foreign languages are the they appreciably same to those who, becomes aware of the necessity of hearing the new accustomed to hear them under all these circum- sounds from numerous speakers, and not from one stances, have fused the particular perceptions into teacher only, and of hearing them un ler the most a general conception which partakes of all the varied circumstances of expression, before he can characters without confined to one. being any at all grasp the unity of genus amid variety of This that even with the means same speaker each species. Indeed, on extending his observations to a vo\vel represents only group of specifically foreign languages, the student will find that all different sounds, which are grasped by the hearer the variety of expressions alluded to vary from as a as we think of a without to that not genus; just dog, language language ; only the genera or distinguishing a French poodle from a mastiff, or kinds of vowel vary, but that the mode of forming a from a we so to pug greyhound ; are, speak the species varies, and that on these two circum- satisfied to know that a is not a cat stances in dog ; though depends great measure (by no means both dogs and cats are quadrupeds. Extend the alone, the characteristic national habits of speech. obser vation from the same speaker to different Hence the necessity of continual intercourse foi let a and thin voiced and speakers ; deep man some considerable length of time with various woman and child repeat the same sentences in speakers of a language which we wish to acquire. different manners, imitating the expression each of each, and observe the new differences which arise. The Relations of Vowels to Pitch. To return We seem to get beyond dogs and cats, into mere to the Exercise. Having first spoken the two quadrupeds. This observation on the specific sentences of English vowels, sing them to a differences, and generic or family sameness, of very easy chant, as the Tuning Exwcise 85 in vowel sounds recognised in the same language to " Standard Course," p. 27, given below. Each be identical, is of the utmost importance, both to part should be taken separately, and should be the singer and the learner of languages. The sung at various pitches of one voice only, as high singer learns from it that he may alter his vowel and as low as the singer can reach, as well as in sounds (which are those on which he sings, and the middle and easy pitches with which he should which most materially influence the quality of his begin. Divide the words thus tones) within certain limits, to suit the requisitions A SPEAKING AND SINGING CONTRASTED Sec. I. its extreme difference from the them to speak altogether at the same rate as they and constantly chanted, but these Exercises are much better done, though slightly changing pitch of ordinary speech. a at least at first, by single members of class, Effect of Pitch on the word ' Peep.' The effect while the others listen, because the combination of of on must now be different voices of different qualities confuses the singing-pitch vowel-quality studied. First sing the word peep on the scale observer, and when he is himself a performer he from the note in the voice, taken as does not hear the rest sufficiently well. The highest d', down to the lowest, whatever it be. Form a second observation (which will be dwelled on more may crescendo and diminuendo on each note, and sustain at length presently), is that the different vowel the voice on each as as can be sounds cannot be equally well produced at different long conveniently done, taking a fresh breath for each. Observe that pitches, and that the short vowels when prolonged, on the note the vowel is although in that case nearly the same as the very highest quite clear, though it improves when the corresponding long vowels (compare peep his, panes generally slightly voice is not near its tfee of all the vowels extremity. (On change fence, glass that, on, panes fence ; long register there will be a difficulty felt in those, door, and the short vowel in rush'd, have immediately in the vowel with the same distinctness no correspondence), are yet so different that (with producing as before. The vowel will assume a somewhat the exception of that) they are much more easily different character whenever this takes sung at different, especially at the extreme pitches, change and whatever the vowel be at than the naturally long vowels. This may' be place, may ; present, the observation of the effect of of verified by singing the long vowel sentence with however, change be into the effect of the short vowels lengthened, and the short vowel register may merged change of About the middle of the sentence with the long vowels substituted for the pitch.) part compass, the vowel, if quite clear and not allowed to short vowels lengthened, as indicated by writing kept degenerate into i of pip lengthened, becomes slightly but manifestly clouded, and there is a almost to a in the peep through all those glass door panes tendency beating roughness note. as the voice sinks still and even his bull rush'd on thai fence But lower, more when it reaches its lowest tones, this beating character becomes more prominent, producing some If another singer of a similar meaning, sing peep with the i in his, that is, as gruffness. and his with the quality of voice (it will not be right to contrast pip lengthened ; sing lengthened, even bass and tenor) takes the Octave above the ee in peep, that is, as hees, rhyming to fleece ; and a difference so on. note then reached, manifest between the vowel qualities will appear. When another Other observations may be readily made, especially singer cannot be had, the same singer should take as to the effect of the separation of peep and through his note an Octave higher with a sudden jump and by the complete cutting off of the note at the observe the difference. As a second trial, when c^id of peep, and at the commencement of through, the singer has reached a rough and gruff sound in first by a completely unmusical hiss, and next by a attempting to keep peep with its proper vowel beating r. By hurrying and slackening the time sound, let him change it suddenly to the i in pip these effects of interruptions can be more clearly lengthened, by imagining that he is singing pip on Brought out. Again the effect of the monotone on a very long note. He will find the whole quality the to which all the words have been the reciting tone, of tone most materially improved ; beating in purposely assigned each case, should be noted, gruffness will have been nearly removed : the Sec. I. SPEAKING AND SINGING CONTRASTED. whole musical instrument will have been changed tion which after a little while the muscles of the ' for the better. Having reached this lowest tone throat will obey (the nature of the change is on peep altered to pip prolonged, let the singer purposely left unconsidered for the present). It ascend the scale with this sound instead of peep. will be immediately found that the quality of the He will find that up to about the middle tones in upper note is materially improved, that the fluti- his compass, the effect of pip prolonged is rather ness disappears, and much more fulness results. better and rounder than that of peep, but that as Having then reached putt prolonged, descend the the voice proceeds higher it is decidedly duller, scale upon it. It will be found that all the upper and in the high tones is considerably wanting in notes are improved in quality, and that the lower brightness. This effect will be made more evident and even lowest notes are not much injured, by changing on each note and in the same breath although a slight gruffness begins towards the from, peep to pap prolonged and conversely. These end. Complete the experiment by singing pool exercises and observations should be conducted pull in one breath to every note in the voice, up with great care because they are fundamental. and down. When 'Peep' and 'Pool' should be 'Pip' and Effect of Pitch on the word Next Through.' ' ' Pull Prolonged. The experiments just made sing the word through, beginning at the lowest note lead to a very important practical result, namely, in it the voice, calling d,, and ascending the scale that peep should be taken as pip prolonged in the regularly to the highest. Observe first that lower parts of the scale, and pool as putt prolonged though the tone may not be very good on the in the upper parts of the scale. Words containing lowest tone of the voice, it is very much better these vowels are the greatest plagues to a singer, than for peep or even pip prolonged. Contrast the and he will find himself relieved of much difficulty three by singing peep through, pip through, each by this simple observation. pair in one breath, at the lowest note. After quite Effect of Pitch on the word ' Glass.' These the lowest note, the tone becomes better, but it must be continued further. rapidly thickens, so that through approaches in experiments Sing glass care to make it with with sound to throw, and much effort is required to keep (taking rhyme farce an and not with two sounds the words tolerably distinct. But when we get unpronounced r, gas, which be as and towards the top of the voice it becomes extremely may distinguished glaas glas to a middle note in the and difficult to get out any real sound of through at all. respectively) compass, run and down as before. Observe that a Also observe how much the quality of tone up good tone can be out for at deteriorates as you ascend the scale. It goes off brought glaas nearly every of the the of the into a flutiness altogether unlike the best qualities point scale, although quality vowel alters. the sound to of the human song-tones, and approaches to a slightly Change glas a in that and observe that at pandean pipe. Here again by taking peep through (having prolonged), the musical of sound is in one breath we perceive the great difference in every pitch quality deteriorated. But it is so the quality of the tone. Now take the two words decidedly disagreeably to these that the pool pull, which contain the same sounds as provincial interchange sounds, musical will cause less through bull, but are more convenient for the next faulty quality annoyance than the vowel A out of the experiment because they nave the same consonants. faulty quality. way will be afterwards indicated. First sing pool from the lowest note to at least an difficulty Octave or a Twelfth higher (from d, to d or s), and Effect of Pitch on Peep through glass.' Take having reached this higher pitch, change the word the three words peep through glass, and sing the from pool to pull prolonged, by an effort of atten- scale up and down, giving all three words in one SPEAKING Ai\D SINGING CONTRASTED. Sec. I. breath to each note and observe the great difference the best of these vowels, for those approaches, of effect, as already pointed out, and now still rather too closely to through. Rush'd prolonged, more clearly shewn by contrast. And then take though never a- bright clear ringing sound, is yet the following or any other simple air, and sing it tolerably uniform in quality at all pitches. in succession to each of the three words, at all Finally, compare -panes and fence with that, or to pitches which the voice can reach. rather, keep the same consonants, compare pane, pen, and pan at all parts of the scale in the way - , OS >> i ^ pointed out for other vowels. It will be found that pane has a harsh effect at all parts of tb compass of the voice, and that great improvement through, through, through, through, through, glass, glass, glass, glass, glass, is due to changing it into pen prolonged, but that the change to pan is rather for the worse. Tho near resemblance of the two sounds pane and pen prolonged, will therefore enable the singer to avoid peep, peep, peep, peep, peep, K**' , much harshness by using the latter for the former. through, through, through, through, through, glass, glass, glass, glass, glass, Results of the Preceding Examination. By * - m ^ \ i these Exercises the singer will have gradually learned for himself the antagonism of speech and through, through, through, through, through, even for the most of glass, glass, glass, glass, glass, song singable speech sounds, the vowels, and he will also not have failed to observe the extremely unvocal and sometimes unpleasant action of the consonants, which in such peep, peep, peep, peep, a word as glaas mars the effect considerably, as through, through, through, through, shewn off one or the other or both of glass, glass. glass, glass. by leaving the extreme consonants as glaas, laas, glaa, laa, of which the last is by far the best sound known for Observe that the effect of altering the vowel is trying the effect of music independently of words. similar to that of altering the instrument, that But it is not enough for the singer, to know these peep gives a very, sound in the lower tones reedy results as facts. He requires to know on what and a whistling sound in the that upper tones, natural relations they depend. And he also through gives a fluty sound, especially in the upper requires to know what are the precise speech tones, and that glass gives by far the best and sounds with which he has to deal, why he may fullest and pleasantest musical of tone. quality take liberties with some and not with others, and how he can render those awkward interruptions of voice, the consonants, sufficiently audible without ' Effect of Pitch on All on, Those, Door, Rush'd, being disagreeably conspicuous, and this not only Panes, Fence.' In order to complete these Exer- for his own language, but for those foreign tongues cises, begin by taking all on, or rather awn on, in which he may be called upon to sing, of which in order to preserve the same consonants, and, German, Italian, and French are the principal, treating these words in the same way as the and will therefore be carefully considered in the others, observe that they both yield a good tone at following pages. nearly all pitches, but not so fine as door, which is II. VOWEL QUALITY OF TONE. Musical Qualities of Tone first Explained by a swing lasting a second, and a swang lasting Professor Helmholtz. We are indebted to the another second. A vibration of this particular researches of Professor Helmholtz* for our whole kind, following the precise mathematical law of a knowledge of the real nature of musical qualities pendulum, is called a simple vibration. of tone. The following is a very brief statement Vibration. All of some of the principal results of his researches Compound kinds of vibration consist of backwards and forwards so far as they bear upon speaking and singing. motion taking place at regular intervals of time, called periods, so that the is at the same Simple Vibration. "Watch a pendulum, which is moving body always place at the end of a But all vibrations are not easily made by a piece of thread and a weight, as period. simple. For instance, a weaver's shuttle is thrown a key. Observe that the motion gradually dim- regularly across the loom, but its motion is inishes till the weight reaches its highest point, at suddenly arrested at the end, where it remains an which moment the upward motion ceases, and the appreciable time and then returns. In this downward motion begins, but so instantaneously case, however, the swings and swangs are of the same that no pause is perceptible, and no jerk takes kind, in different directions. But when place in the recommencement of motion. On though careful an enormous hammer is slowly raised by a machine, examination, this quiet, uniform, steady, and then the head allowed to fall its unjerked motion proceeds, till the motion ceases suddenly by own weight, the swing, or slow motion of the head altogether. It has been usual in a pendulum to of the hammer up, is very different from the swang, count the swings in each direction separately, and or rapid motion of the hammer down. Similarly they are so counted by a clock. But the swing if in driving in a pile, a weight is pulled up by and its return or swang, forming a swing-swang, several at a for men tugging rope passing over a pulley will, present purposes, be considered as a single and then let the and of the vibration. Thus a seconds pendulum makes 30 fall, swing swang vibration are vibrations in a very different. Such vibrations are minute, each vibration consisting of called compound, because although actually as * " See his work On the Sensations of Tone, as a single as simple vibrations, mathematicians have Physiological Basis for the Theory of Music." Translated discovered that the laws of vibrations by the present writer. Pp. 800, exclusive of Index, Preface. compound &c. Published by Longman & Co., in 1875. Price 36s. may be deduced from the laws of several simple VOWEL QUALITY OF TONE. Sec. II. vibrations. This is a matter which must here be sound will scarcely be heard. But hold it with the taken for granted without further explanation. flat of one prong or the edges of both prongs over the mouths of different tumblers, or wide-necked sound is a Simple and Compound Sounds. Now bottles (pickle or prune or preserve bottles or jars) sensation due to the motion of air communicated and a certain amount of reinforcement of the tone through the drum-skin of the ear, and a compli- will be heard. A wide -mouthed bottle about six cated internal apparatus, to the extremities of the inches high will reinforce the C 1 of ordinary be com- nerves of hearing, which, in part, may tuning-forks very fairly. Now try the effect of. pared to a microscopic pianoforte with about 16400 pouring a little water into the bottom of the bottle sensation strings tuned to different pitches.* The and observe if the reinforcement is greater or less. of a musical tone is experienced only when the If the reinforcement is greater, continue to pour vibrations. particles of air make very small periodic more water till the reinforcement reaches its When those vibrations are simple, the sounds heard greatest effect and then lessens, and keep in only called when are the so of the water as the are simple ; they compound, much gives greatest effect. sounds heard are also termed compound, and the If pouring water into the empty bottle makes the internal apparatus of the ear, especially its micro- reinforcement of the tone of the tuning-fork less scopic pianoforte, enables the mind to separate the than before, empty the bottle, and with a piece of compound sound into a number of simple sounds, tin, wood, glass, or pasteboard (the cover of a book exactly corresponding to the exceedingly difficult answers very well) forming a hard, flat cover, and complex mathematical separation of the com- gradually diminish the opening of the mouth of pound vibration of the air into simple vibrations. the glass. The reinforcement will certainly in- This analysis by the ear amounts to saying that crease up to a certain degree of covering, and then when any musical sound is made by an instrument again diminish. Retain the amount of covering or the human voice, the ear experiences the same giving the greatest reinforcement. At least an effect as if a certain series of simple tones having octave of difference can be produced in this way, definite musical pitches, and very different degrees so that forks of very different pitches can be of loudness were sounded together. Of course, reinforced by the same bottle differently loaded as the no such tones are really sounded, but with water at the bottom of covered at the top. mental effect is the same as if they were, it The effect of water at the bottom and an open becomes convenient to speak of the compound mouth is generally far superior to that of a covered musical tone as consisting of a series of simple mouth. After the best reinforcement is thus partial tones, and to reason upon these partial obtained, try the effect of partially obstructing the tones as if they alone existed, instead of the com- interior of the bottle by pieces of paper, wood, &c., tone itself. not alter the of the water these pound which do height ; may be suspended from a thin stick laid over the mouth of the so as not to reach as far as the Experiments on .Resonance. Resonance Cham- bottle, water. In case the effect will be found to bers. Vibrational Number and Pitch. Before every impair the beauty of the tone produced. proceeding further, try the following experiments, which are very important for singers. Strike a The reinforcement of such bottles is due to and hold it in air common tuning-fork, the ; its setting the air within them into vibration by means * According to the latest researches of Hensen. See of the tuning-fork, and is termed resonance, and Professor Preyer's pamphlet Ueber die Grenzen der the bottles are resonance chambers or cavities. The Tonwahrnehmung (On the Limits of the Perception of Musical Tone), Jena, 1876, p. 41. tone to which such a cavity resounds best is said to Sec. II. VOWEL QUALITY OF TONE. for most tones have the relative be its own tone (or one of its own tones, always pitches thus found, cavities of various shapes will resound to very and are hence called the 1st, 2nd, 3rd, &c., partials in these The 1st is also called the different tones). The tone heard experi- respectively. prime, and ments is a simple tone, due to a simple vibration of the others the upper partials. The prime is the air. The number of vibrations which such a generally (not always) much stronger than the tone performs in a second of time is called its other notes, and hence being most distinctly vibrational number, or sometimes simply its pitch, heard, determines the feeling of pitch. Hence the because the sensation of pitch depends solely on vibrational number of a compound musical tone is the vibrational number, and our perception of what taken to be that of its prime. When the prime is particular nervous fibre in the microscopic piano of not the loudest parti'al, the ear is frequently the internal ear already mentioned corresponds to deceived as to the real pitch, and, as in that case that number of vibrations. the 2nd partial or Octave ot the prime is generally the loudest, the usual error is that of an Octave. The Nature of Musical Quality of Tone. flelmholts arranged tuning-forks, kept in constant of Tone of the Voice. All to the Quality Singing motion by electricity, and corresponding musical tones and all vowels have notes sung qualities of tone the relative loudness the 2 depending upon of d s d' m 1 s 1 ta 1 d d, simple partial tones of the notes to which they are 8 123456 7 And this relative loudness is determined sung. v (where ta is a little flatter than the true musical ta) partly by the mode in which the air is excited by a before proper resonance cavities, with covers, which vibrating body directly, and partly by the reson- he could partly close by finger keys to any amount ance of the air in a cavity through which the he pleased, so as to increase or diminish the degree vibration of the air excited by the vibrating body of the opening of the mouth of any one or more. is conducted before it reaches the outer air, and The vibrational numbers of these notes are in the partly by other causes which need not be here con proportion of the figures written under them, sidered. In singing, the vibrating body consists so that if the vibrational number of d were 64, of the two elastic chords which form the of ( edges that of d would be twice 64 or 128, that of s would the glottis or breathing hole in the larynx, and the be 3 times 64 or 192, that of d" 4 times 64 or 256, mode of action is to allow puffs of air of various that of ml 5 times 64 or 320, that of si 6 times 64 descriptions to pass periodically from the lungs v or 384, that of ta l 7 times 64 or 448, and that of into the resonance cavities above. All sounds pro- 2 d 8 times 64 or 512, the vibrational number of the duced by emitting a series of successive puffs have simple tone obtained from a common C 1 tuning- a very great number of partial tones. Good bass fork. Helmholtz then found that by making all voices have at least 20. The deep tones of the the forks sound at once, but by varying their degrees harmonium have at least 16 very sensible partials. of loudness, he was able to reproduce a satisfactory The resonance chambers in speech are very imitation of the qualities of tone of most musical numerous and very variable in form, and there are instruments and of several German vowel sounds. various constrictions and valves on the way. The And (by conducting similar experiments with consequence is that there are numerous resonances great care) he established that the quality of a com- which reinforce very different partials, producing pound tone consists solely in the various degrees of most of the qualities of the human voice, includ- strength of the system of simple partial tones into ing the various vowel qualities and their varieties which it is resolved by the ear. The various partial due to pitch and expression. 10 VOWEL QUALITY OF TONE Sec. II. Vowel Quality of Tone due to Kesonanee. The a bad quality of tone, and why by a slight altera- action of the resonance chambers in producing tion of the resonance cavities of the mouth, &c., vowel qualities is rather complicated, but we may we can improve the quality of tone without state generally that every specific vowel quality rendering it so different as to be no longer recog- has its own special resonance cavity adapted to nisable. We can also understand why it is that reinforce to the greatest extent various simple by other changes in the position of the mouth, &c., tones of exactly defined pitch. Now the pitch of we can entirely change the quality, and make it the note sung by the voice at any time, (that is, of unfitted for any musical purposes. Sing on any the to in its prime partial,) is seldom or never same as pitch the vowel glaas, and while keeping the any one of the pitches which could be reinforced voice steadily at that pitch, and purposing con- by the resonance cavities. Some of the higher stantly to pronounce the same vowel, more or less partial tones will, however, be tolerably near to close the teeth, raise or twist the tongue, close or that pitch. In making the experiments with a twist the mouth, making the aperture of very tuning-fork and a resonance jar the reader will various shapes and dimensions, or open the entrance have felt the difference of effect as the resonance to the nose, leaving the mouth either shut or open. of the jars approached to or receded from the pitch Observe the great variety of qualities of tone, some of the fork, and have found that in some cases the good, others bad, and all more or less strange, tone of the fork was almost quenched by the which will thus result. This exercise is very inability of the air in the jar to resound to it. important for making the singer feel the meaning The same thing happens when the mouth is put of quality of tone, and the extent to which it is into the position corresponding to any vowel. All under his command. He will thus gradually learn the partial tones of which the pitch is tolerably to understand that for every musical note which near to those which the resonance cavity is adapted can be produced in the larynx, there is an original to reinforce best, will be more or less reinforced, quality of tone, which, however, it is impossible and the others will be either left untouched or for us ever to hear, because we cannot remove all more or less damped. Hence every tone sung will that portion of the head which lies above the have its quality of tone altered by the nature of larynx, without destroying the power of the larynx the vowel position of the mouth, and this altera- to produce any tone at all. We are, therefore, tion of the original quality of tone is that which constrained to hear only its modification by the we recognise as a vowel. The different vowels in resonance chambers through which the vibrating for well speech differ, as if, for example, we played peep, air must inevitably pass. But we can perfectly a flute for a flue ; that these act as picolo ; through, deep organ pipe understand just variously shaped so on. unlike for glass, any conical organ reed pipe, and organ pipes fitted to the same reed (which, Or as if for the vowels we substituted entirely the larynx, can be made to sound independently of as know a able to define that a vowel different instruments. Just we the pipes) . We are thus violin A from a flute A, or from a pianoforte A, is a modification (due to resonance in the cavities or from an oboe A, and so on (all of which above the larynx), of an original quality of tone are compound musical tones having the same (produced by the vibrations of the vocal cords in the their different of tone pitch), by qualities only } larynx.} so we know the vowels of speech when sung on the Nature of Vowel Qualities to the same pitch, solely by their difference of Experiments of Tone. It be observed in that all quality which we have been taught to recognise may passing, the notes are in intona- from childhood. We thus, too, are able to under- concords, when sung just of and that the stand why some vowels alvays and necessarily give tion, are really qualities tone, Sec. II. VOWEL QUALITY OF TONE. 11 roughness arising from discords and from tempered music is due to the introduction of sounds not belonging to the series of partials 1, 2, 3, &c., or else to the beats of the partials of the tones which are sounded together. Procure seven voices which s d' s' d^ in tune at the can sing d, d m' perfect same time, and then let them vary the strength greatly, singing, for example, in succession as for marked by the letters pp, p, mf, f, ff, and silence, in the following scheme. d2 12 SHOET KEY TO GLOSSIC. III. SHOET KEY TO GLOSSIC, DIAGRAMS, SYSTEMATIC ARRANGEMENT OF THE SPEECH-SOUNDS. Description of the following Tables. In the tinguished by being in Italics or else between preceding Sections it was sufficient to indicate our square brackets []. 13 strong or accented vowels by 13 words contain- The diagrams are sufficiently described on the ing them. But before proceeding to explain the page which faces them, and will be frequently nature of particular speech sounds here considered, referred to hereafter. They may be disregarded it is necessary to give some notion of the system- at first. atic method of writing them here adopted, and The "Systematic Arrangement" includes all " " called Glossic." In the Tables of English and the sounds treated in this book For an explana- Foreign Glossic" there is given a column of words tion of such symbols as are not found in the in small and large capitals, each followed by a following short key, see the passages referred to in word in small letters. The large or small capitals the Glossic Index. They are collected together in indicate Glossic, the small letters customary or this place for future reference, and may be entirely Nomic spelling, and each word is written in both passed over at first, as they will be unintelligible spellings. The Glossic large capitals shew the without the following explanation. combinations of letters which represent the sounds Note, that th, dh, kh, gh, sh, zh, ng must be expressed by the Nomic Italic letters. The turned separated ,by a hyphen when they have not the period () or accent mark shews that the preceding following meanings, as pot-hous,mad-hous,bai'k-hous, vowel is strong, and, when the accent mark follows bag-hoal, mis-hap-, in--goa~ing, as poth-ous, madh- the vowel immediately, the vowel is long, but when ous, baikh-ous, bagh-oal, mish-ap, ing-oa'ing would a consonant intervenes, the vowel is short. By represent quite different sounds. this means a general idea of the sounds will be Note also that the accent mark () is generally obtained, sufficient for understanding the pro- sufficient for this purpose,, as pot'hous. The accent nunciations occasionally inserted. For numerous mark is placed immediately after a long vowel or " examples and exact descriptions see the Glossic diphthong, and immediately after the consonants Index" (Section XII) and the pages there referred following a short vowel in the same syllable, as shewn to. Words in Glossic Spelling are usually dis- in the examples. It is not used in French words. ENGLISH GLOSSIC. Strong Long Vowels. Weak, Short, and Open Vowels. BEE-T loeet xAU'L caul TROA'KEE troche AUeus'T ^gust DAI-T bait KOA-L coal WiT'I witty wiN'DOA window BAA- loaa icOO'L cool RAi-LwAI railway IN-FLOOENS inflwence Strong, Short, and Stopped Vowels. Diphthongs. FOIL foil N!T ING knitting NOTING knotting AAY aye height FOUL fowl FEUD &wd MAT- ING matting rUOx-iNG footing Glottid. (Note. AE, UU are used by some speakers only.) HAI* Aay Sec. III. SHORT KEY TO OLOSSIC. 13 SHORT KKI TO GLOSS1C. Sec. III. DIAGEAMS OF' POSITIONS FOB VOWELS AND CONSONANTS. 22 ..-*-.. 2 3 24 ae TJ ft'] * 5 00 12 tX -V\ Cue "W* 28 Vowel. Wide Bound Vowel. Urns.* Voiced Consonants. ( Rounded Vowel. ] Wide ( ] GLOSSIC. 15 Sec. HI. SHORT KEY TO DESCRIPTIONS OF THE DIAGRAMS. are the These are merely diagrams, not complete draw- The letters to the left of each diagram, of the vocal are intended to Glossic characters used for the corresponding ings organs. They " in the Short Sometimes shew roughly the positions of the tongue with sounds preceding Key." three are to shew the regard to the palate, teeth, and uvula, and the two or diagrams required with to each and for one vowel or consonant. position of the lips respect other, position the utterance of the vowels and to the teeth) during The CAPITAL LETTERS indicate the vowels consonants described in the following Sections. heard in received English pronunciation. The the whole Diagrams 1, 2, 3, 4, 5, 6, 7 (occupying small letters shew the vowel sounds heard in the first column) are longitudinal sections of German, Italian, and French. mouth, supposed to be cut from top to bottom, AVhen is after a as for the from the back the to the teeth in the ] placed letter, AA], (on left), must be and the i depressed, pharynx front on the right). The shaded parts are the larynx is before a as for line widened. When ( placed letter, Uvula [eu-veula] and the Tongue. The top the lips must be rounded, as marked in dia- denotes the Palate [pal'et] or roof of the mouth, (OAj 13, 14, in the second column, according and the sharp angles on the right are the upper grams 12, as the is or low for and lower Teeth. The wavy line at the root of tongue high, mid, producing lid the the vowel, thus (00, (TJO], (ue, have the high- tongue is the Epiglottis [ep-igloHs] or of round in 12, (eo, have the mid- larynx. The line against which the uvula rests to lips (OA, UO], (oe] round in and the low-round the air escaping through the nose is the lips 13, (ATT, (0,have prevent is are in 14. When no ( prefixed, the lips as back of the Pharynx [far'-ingks] or fleshy bag lips in 11. When is before and after a behind the mouth. ( placed ] letter, as for (0], the lips must be rounded and the larynx 21 Diagrams 15, 16, 17, 18, 19, 20, (occupying depressed and the pharynx widened at the same in the whole of the third column, and also 25, 26, time. are similar the fourth column) sections, extending * 15 and 18 omit When is placed after a consonant the voice has as far as the lips (also shaded \, but to be set on. the tongue as its position for P, B*, F, V* is determined by that due to the following sound. YH, Y* differ too slightly in position from EE, and \VH, W* from (00, to be distinguished from Diagrams 22, 23, 24, in the fourth column, are them in these diagrams. similar sections, including the lips and one Nostril, rough and also the Upper Bag of the Pharynx, through H, accompanied, or not by unvoiced breath, being which the air escapes into the nose (in the direction produced by a jerk of the diaphragm (derufram), line and arrow because the the shewn by the' dotted heads) , or muscular layer separating lungs from the uvula is not pressed against the back of the bowels, has no diagram. pharynx, as in 1, 2, 3, &c. In S, Z* the tip of the tongue is tense or stiff. in Diagrams 8, 9, 10, in the second, and 27, 28, In R'* it is soft or loose, and vibrates as the breath are cross sections of the or beats. the fourth column, mouth, passes over it, producing interruptions in front of a line joining the ears. The upper Observe that for L*, diagram 27, the centre of the is the Palate or roof of the mouth the side the sides of the curve ; tongue, and for R'*, diagram 28, pendants are the Side Teeth, and the shaded part is tongue touch the palate. For T, D*, diagram 16, the upper portion of the tongue. both the centre and the sides touch the palate, a complete stop. Diagram 11, in the second column, shews the forming or and also in open non-rounded lips, 12, 13, 14, B* is treated as a vowel, diagram 4, being the shew the rounded in dif- the second column, lips sound of U, always followed by R'* before a vowel, ferent the teeth behind them degrees, being always and permissively, not obligatorily, followed by a wide Observe the difference of the corners apart. very gentle R'* in other cases. of the mouth in 11 and 14. In 12, the lips are and could not be high-round; in 13, mid-round; and in 14, low- Diphthongs changing positions round. noted, but are analysed in the following Sections. 16 SHORT KET TO GLOSSIC. Sec. III. SYSTEMATIC ARRANGEMENT OF ENGLISH, GERMAN, ITALIAN AND FRENCH SPEECH-SOUNDS. Capitals, English. Roman small, additional German, Italian, and French. Italic small, Incidental. t, not treated in these pages. Call the letters by their usual names, except r, which call air to prevent confusion with aa, and m, which is called as em and en are difficult to Call before " best am, distinguish. (') and (') after a letter hook," a letter before a letter n before "curve," () "circle," (?) "gradual," (?) "clear," "glide," " " " Q " " (-J-) " slur." Thus : uu eu eu" w double eu" h' circle aich aieh r curve (--) hook," hj. clear," t air" V "hook air," r" "air double-hook." A. VOWELS. SECTION V. I. n. in. IV. v. Height Sec. Ill SHOUT KEY TO GLOSSIC. C. CONSONANTS. SECTION VIII. Straits by or ed form mtacts 18 MODE OF PRODUCING SPEECH-SOUNDS. IV. MODE OF PRODUCING SPEECH-SOUNDS. Flatus, or Audible Breath. Breath driven from Whisper as Distinguished from Flatus.. -When " the lungs passes, through the "larynx (lar''ingks) the chords and cartilages are both open, there is a and throat, into the mouth or nose, or both, and so perfect passage for the breath, and only inaudible reaches the air. When the larynx is unobstructed, breath or audible flatus is possible. When the and the force with which breath is ejected is edges of the chords are brought near, but not in " moderate, no sound is noticed. When the breath contact, there is a fluttering" of the edges of the is driven more sharply through the unobstructed chords, which, though insufficient to produce voice " larynx, and the other passages are more or less proper, causes whisper," which is felt as a " " compressed or obstructed, it is called flatus mixture of voice and flatus. This is also quite (flai-tus), and produces various kinds of "hiss." unsuited for singing. Both breath and flatus are unsuitable for singing, although flatus is very important in speech, and, Voice and of Tone. when the cavity of the mouth is properly adapted, Original Quality When " the can become musical in whistling*" edges of the chords absolutely touch, forming a complete barrier to the breath, but are not held Vocal Chords. The opening of the larynx is tight and rigid, so that the breath is able to open traversed by two highly elastic bands, called the them slightly, after which they close again by " vocal chords." A good notion of their shape and their own elasticity, the air passes out in regularly " action is obtained by extending the fore and recurrent puffs." The rapidity of these puffs de- middle fingers of the left hand (the other fingers pends on the "tightness" with which the chords are " and thumb being doubled in), and resting their stretched; and the cleanness" of the puffs (that tips on the lowest joint (that nearest the palm of is, their sharp separationJrom each other) depends hand) of the fore and middle fingers of the right upon the exactness and duration of the closure of hand, the rest of these fingers and all the other the chords, the length of time during which they fingers being bent down, and the palms of both remain closed, and many other circumstances. " " hands facing the ground. The figure thus formed The rapidity of the puffs (that is, the number is lozenge-shaped, with two long sides (the left of them which occur in a second) determines the fingers representing the vocal chords) and two pitch of the compound musical tone, as defined in " " short sides representing the arytenoid cartilages" Sec. II., p. 8. The cleanness" of the puffs de- or termines the initial of that the (ar''itee'noid kaa'rtilejezj , ladle-shaped pieces quality tone, is, of gristle, by which the chords can be opened or number of partial tones in any musical tone of the brought together (imitated by the motion of the voice (always very large) and their relative right fingers). The point or vertex of the angle degrees of loudness. The natural formation of formed by the chords, which are horizontal, lies in the chords and the perfect exactness and nature of the front of the larynx, just where "Adam's their elasticity are the main ingredients in a good " apple can be felt in the throat. The variable voice. This quality is, however, greatly influenced tongue-shaped opening between the vocal chords is by a little, but extremely variable, cavity, just " " -Ailed the glottis (glot'is). above the chords (" the ventricle of Morgagni," Sec. IV. MODE OF PRODUCING SPEECH-SOUNDS. ven'trikl ov Maor'gaa-ny'ee) by the box of the larynx the dotted line cuts the front wall of the uppei " " itself, and especially by its lid, the epiglottis pharynx), into the complicated "nasal cavities" " " (ep'iglot-isj. But though all this apparatus greatly above the hard palate, and finally escapes by " " changes the quality of tone, by which we express the front nostrils. the various kinds of emotion mentioned in Sec. I., p. 2, and hence becomes of the greatest importance both to the singer and the orator, they do not Brief Definitions of Breath, Flatus, Whisper, make the modifications recognised in speech proper, and Voice as Originators, and Throat, Nose, and and they cannot be described with sufficient brevity Mouth as Modifiers of Sound. The points to be or clearness for practical purposes. All these borne in mind by the singer or speaker who wishes modifications of quality have, therefore, to be to understand the nature of pronunciation are learned by special training exercises, patterned by these : a skilful teacher, which it is not our business at Breath. noiseless emission of air from the present to consider. It is, however, important to Quiet, know, that the singing and speaking voice issues lungs through the open glottis, and unobstructed " from the larynx and enters the throat or pharynx" mouth or nose, or both, unvocal, unmusical. (far" -ingles; with a determinate quality of tone and Flatus. Audible emission of the a determinate pitch, and that the quality, but not air, through open and more or less constricted or obstructed the pitch, has to be subsequently modified by the glottis, resonant cavities through which it passes, and throat, mouth, or nose, unvocal, unmusical, that this modification transforms the merely vocal more or less hissing. sound into intelligible speech. Whisper. Audible emission of air, through a glottis The Kesonance Cavities The reader should nearly but not quite closed, thrown into imper- now refer to the rough diagrams on p. 14, with the fect puffs by the fluttering of the edges of the explanations there given, which will be rendered vocal chords, but allowing much flatus to pass more intelligible by what follows. The wavy line without sensible alteration by the puifs, un- at the bottom of diagrams 1 to 7 indicates rudely the musical, but occasionally used in speaking, more " " top of the epiglottis. The voice (or recurrent or less vocal. puffs forming the air within the cavities into waves) passes between it and the line to its left, Voice. Audible emission of air through a com- the wall the which forms back of pharynx. These pletely closed glottis, forcing the chords asunder, " diagrams shew a little shaded tongue, the uvula" and wholly reduced to regular puffs, that is, this so that the sensible flatus to with (eicveula) , lying against wall, puffs without allowing any pass, of air have to pass into the mouth, through a a variable, but in each case definite, original narrowing passage (not shewn in the diagrams) quality of tone and pitch, producing sonorous " called the arches of the palate." These and the undulations (soanoa'rr'us undeulai'shenz) in the uvula are easily seen in a small looking-glass when resonance cavities, which modify the quality of the is lie the relative mouth opened. If, however, the uvula tone (but not the pitch") by altering free the in and from back wall of the pharynx, as degree of loudness of the upper partials (p. 8), diagrams 22, 23, 24, the voice or puffs of air can send out the undulations to the atmosphere, also behind as the line and or less musical pass it, shewn by dotted producing the sensation of a more arrow heads, through the pear-shaped "upper" sound with a definite quality of tone, vocal, " " pharynx and the back nostrils (which lie where musical. 20 MODE OF PKODT7CING SPEECH-SOUNDS. Sec. IV. Resonance Cavities. Besides the small cavities of Next place the thumb and two fingers lightly on the throat above the close under the the larynx which determine the original quality larynx, jaw, swallow as before. It will be found that the of tone, there are three principal cavities, under and which was before soft and becomes the voluntary control of the speaker or singer, throat, loose, hard and and which modify it. These may be called, suddenly tight, projects considerably. Hence when the larynx is raised there is a great Throat. The lower pharynx from the epiglottis to contraction of the muscles in this region, which to the part where the uvula cuts off the entrance makes them swell externally, and also internally, the nose, and the arches of the palate form the constricting the pharynx as well as shortening it. entrance to the mouth all breath, flatus, or Sing to the vowel aa, a middle note in youi com- voice must enter this cavity. it then pass and call d, and take s above and s, Nose. The upper pharynx and the cavities above below, both as nearly as possible to the same vowel- all or sound aa while the throat in the two the hard palate, from which breath, flatus, , holding and that voice can be cut off at pleasure. ways just mentioned, observe generally the higher note raises and constricts the pharynx, Mouth. The cavity between the arches of the and the lower note lowers and relaxes the pharynx. and the lips, the most modifiable of all palate In actual singing and speech very great varieties the resonance cavities. in the length and degree of constriction of the pharynx take place, but it is found sufficient for How to Study the Effect of the Modifiers. The the classification of speech-sounds to distinguish first business of the pupil in learning to pronounce two classes of modification: Throat primary, that accurately, whether in speaking or in singing, is to is, with the larynx and pharynx in about the ordinary the method of the form or action of study altering of Throat that position quiet respiration ; wide, is, these three modifying cavities, throat, nose and with the larynx lower and the pharynx opener than mouth, and the effect of their various changes in before. This refers evidently to the ordinary modifying the quality of tone. Numerous exer- range of pitch in speech. In singing, as has just cises will be suggested for bringing these actions been seen, these distinctions cannot be satisfactorily home to the consciousness of the learner, as carried out, as the pitcH naturally alters the posi- cases occur, but it is first advisible to particular tion of the larynx. But distinctions more or less obtain a general notion of the action. As this equivalent to these can be made, as was intimated book is intended especially for singers, the singing in Section I., and will be more particularly alluded voice will be alone considered, and it is fortunately to afterwards, and hence we may retain the rough altogether simpler than the speaking voice. distinction of the terms primary and wide, which Throat Modifications. During quiet respiration were introduced by Mr. Melville Bell in his " place a finger gently on the hard lump of the Visible Speech," when he for the first time drew Adam's apple, or gristly box forming the larynx. attention to the effect of pharyngal action on Close the mouth tightly and swallow. The larynx speech-sounds. will be felt to jump upwards, quite above the point Nose Modifications. Open the mouth as widely of the finger. After practising this once or twice, as possible, facing the full light of a window, with till the action of the muscles becomes understood, the head well thrown back to admit the light, and raise the larynx without swallowing. It is evident with a very small piece of looking-glass, which will that when the larynx is raised the whole of the not cast asha.dowin thethroat, observe the interior of pharynx is shortened, and hence its shape is the mouth. Note especially the arch of the palate, materially altered. and the uvula hanging from the middle of it like a Sec IV. MODE OF PRODUCING SPEECH-SOUNDS 21 little the real be tongue tongue may kept down to keep the tongue quite steady, which will be of the vowel without by thinking ait, making any found difficult), endeavour to give aa a "nasal to utter it. Now breathe which 1 will write as attempt quietly through twang," t aa, and observe that the nose only. It will be seen that the tongue immediately the quality of tone changes, the uvula immediately rises, and clings close to the top of again descends freely, as in the quiet respiration the arch of the palate, completely concealing the through mouth and nose. The eifect is not so uvula. This action closes the mouth against the strong or striking as before, because the voice does passage of the air from the throat, and forces it not admit of being emitted with so much force as through the nose. Then draw breath through the the unobstructed breath, but if carefully observed and the and for several successive alterations of aa aa aa aa mouth, tongue immediately sinks, ( t aa, observe its alternate rise and fall for a few respira- it will be quite unmistakable. The greatest diffi- tions. Change the mode of respiration, inspiring culty will be felt in keeping the tongue down to and expiring by the nose only. The tongue will its proper position for aa, as it involuntarily rises be seen to remain fixed above. Again change the to check the air from entering the mouth, and, if mode of respiration, and expire by both the nose the tongue is not kept down, the uvula cannot be and the mouth. When the motion is gentle, you properly seen This exercise will also shew that will see the uvula gently advance every time you nasality cannot be prevented by throwing the head expire, and if you breathe with a jerk, the uvula well back, but that a muscular action is still will be absolutely jerked forward, together with necessary to press the uvula against the back wall " " all the loose folds of the soft palate forming of the pharynx and keep it there. the top of the arch of the palate, and the point of After this has been practised before the glass till the uvula will be thrown upwards. This is pro- you are familiar with the action, practise it without duced by the rapid passage of the air both behind the glass, and get to feel the action of the muscles the uvula and below it. required to draw the uvula away from the wall of Practice also to feel Stand as before, with open mouth and glass, and the pharynx. the difference small and a breathing quietly for one or two respirations, between a great degree of nasal twang. suddenly say or sing the vowel aa to a short Practice also the effect of closing the front nostrils while aa and staccato note at an easy pitch, and then proceed with the fingers, singing while sing- with the and observe that this closure leaves aa easy respiration. Do this several times ing t aa, in succession.' but not into aa Observe (and don't cease experi- absolutely unaltered, changes t aa, but into a different menting till you have clearly observed) that every or any untwanged vowel, nasal time aa is sung there is formed a sudden dimple or twang, arising from the circumstance that the in the nasal which still takes saucer-shaped depression in the uvula just below resonance cavities, not communicate with the outer the arch of the palate and some little way from its place, does freely we have of the of tip, evidently arising from bringing the back of air. The power altering degree at least on the the uvula against the back wall of the pharynx, as nasality depends, partially, degree between the back of the uvula and the shewn in the diagrams 1 to 7, having the effect of of opening of the and the of stopping off the passage of air into the nose, just wall pharynx, slightest degree the sound of a vowel is unen- as the tongue in a former experiment stopped off such opening during or the passage of air into the mouth. durable in English, German, Italian singing, in French. As Next, standing as before, sing aa steadily at an though occasionally necessary and even easy pitch, and observe that the uvula is drawn many English, and especially Americans, their back as already mentioned. Then in the same Germans are apt to nasalise vowels, and most vowel the most careful breath and with the same degree of force (trying especially this aa, practice 22 MODE OF PRODUCING SPEECH-SOUNDS. Sec. IV. the the valvular action of fixed, and the mind intends to utter is required to avoid it, and absolutely the uvula should be thoroughly understood by vowel aa all the time. here The as in 11, are considered much repetition of the experiments suggested, open lips, diagram Mr. Melville Bell as and not to which may be easily considerably varied. by ordinary, require noting. Closure of the lips in any way is of Mouth Modifications Action of Teeth and Lips. termed rounding, and three degrees rounding The size of the mouth may be greatly changed, are recognised, as in diagrams 12, 13, and 14, as without much alteration of its form, by the open- usually accompanying various heights of the are in still be retained as ing and closing of the jaw. Many speakers tongue. This may convenient, the habit of keeping their teeth closo. In the though the experiments just made will shew the experiments of Section II, we saw how much the learner that it is only a rough classification. closing of the opening of a resonance cavity alters Mouth Modifications Action of Tongue. The resonance its pitch, and hence its modifying power. No good chief source of change in the shape and clear tone can be produced when the teeth are power of the large cavity of the mouth arises from closed. Sing aa with lips and teeth wide open; that extremly movable, flexible, extensible, con- endeavour to retain the tone, pitch, and force abso- tractible plug, the tongue. Throughout all the lutely unchanged, while the jaw is suddenly closed explanations of the next Section it will be advis- and the teeth locked, the lips remaining as far open able to watch it with two small pieces of looking- as possible, and observe the difference of effect. gkss, one held in front of the mouth, and reflecting As a general rule the singer should always keep his the opening and tongue directly to the eye, and the teeth far enough apart for him to insert the first other held at the side, and so turned as to reflect joint of his thumb between them. For high notes the tongue to the first glass, which reflects it to a wider opening is required. But the opening the eye. There will be found some difficulty at should never be less while a vowel is sung. All first in managing these glasses, and in keeping the closure should be made by the soft lips only. Sing lips and teeth sufficiently open to see the action, the vowel aa with wide teeth and lips, and then, but it is a difficulty worth overcoming to those while endeavouring to keep the tone, pitch, and who wish to understand the unruly instrument force constant, alter the shape of the lips as sug- with which they will have so much to do in speak- gested by the diagrams 11 to 14, passing slowly ing and singing. and gradually from 11 to 14, 13, and 12 in this The upper surface of tongue is roughly divided order. Also try the effect of protruding the lips by Mr. Melville Bell into three parts, back, front, in a funnel shape, and of bringing the inner parts and tip ; the back being that part which is nearest close and projecting the outer margins. Also try to the throat, the tip that which is nearest to the the effect of large and small side openings, so that teeth, and the front the intermediate portion. Mr. there is leffc only a small opening at one corner, Bell also recognises three degrees of height of the and make this opening at one time as round, and tongue, low, mid, and high, and this height may at another as flat as possible. Also try the effect affect either the back only or front only, or both of drawing the lips tightly in, while closing them, together, producing a mixed position. All these bringing the outer margin as near the inside of the distinctions are very rough, of course, but also mouth as possible. Try also to pass by insensible very convenient, and sufficient for most purposes. degrees from one position to the other. Observe But it must be borne in mind that they do not pre- very carefully the great modifications produced in tend to be accurate or exhaustive, and a few simple this one clear vowel aa by this alteration of the experiments will shew that numerous additions lips only, while the teeth and tongue are kept would be required to make them at all complete. Sec. IV. MODE OF PRODUCING SPEECH-SOUNDS. Sing the vowel aa, with open teeth and lips, and fantastically, observing the changes, till occasion- easiest with the tongue in the freest and position ally either with the back or broad front and tip of capable of producing a good tone, and keep up the the tongue the whole passage of air is stopped, and intention of pronouncing this same vowel while the observe the sudden cessation of sound. teeth and lips are kept fixed, and only the tongue is moved, the nose being constantly shut off by the uvula. First gradually protrude the tongue out Object of these Experiments and Observations. between the teeth as far as possible, keeping it Some of the above sounds are more or less used clear of the teeth the of tone will in some but the upper ; quality languages, experiments suggested be found to alter sensibly for the worse. Next, have been purposely selected so as to avoid known bringing the tongue back to its usual position, sounds, in order that the learner may feel for sound aa clearly, and make the tongue as small and himself the meaning of sudden and gradual as low as observe the new alteration of alteration of the resonance of the possible ; cavity mouth by in tone, which decidedly thickens quality. Pass the action of the tongue and lips. Absurd as rapidly from this to the former position with many of the results may appear, they will all prove extended tongue, and the aa sound will seem to useful in familiarising the mind with the notion of become entirely obliterated. Re-assuming the aa the modifications produced in one original quality position, bring the tip of the tongue well up, so of tone by voluntary modifications of the forms of that the under surface of the tongue is easily seen, the cavities through which voice or flatus has to but the tip does not touch the palate. Observe pass, and will render the following explanations that this again roughens and thickens the sound, perfectly easy and simple to comprehend. The but in a different way from that resulting from actions of the tongue, lips, and throat become lowering the tongue, and that the vowel would be almost involuntary, and certainly unconscioiis, clearly recognised. Now carry this further, bend through habit, and are performed with so much the tcngue so round that the under surface of the rapidity, that they are extremely difficult to tip rests firmly on the hard palate, and observe analyse. But such an analysis must be attempted that the last change of quality is also carried when any new sounds have to be produced, or further, and the musical character of the tone greatly familiar sounds corrected. Hence the necessity of altered for the worse. This difference of quality first performing such extreme experiments as are is best appreciated always by rapid changes to the here suggested, which, lying altogether out of extreme positions. Re-assume the aa position, usual habits, require a conscious action to repro- press the tip of the tongue firmly against the duce. The examination of the throat by touch, lower gums, and endeavour to pronounce aa while and of the uvula, lips and tongue by sight, will you raise the back of the tongue only. Observe aid materially to a right conception of what is will that the intention to pronounce aa in such a posi- required. The desired result, however, not be tion results in complete failure, a mere abortive gained unless the learner finally attains the same noise resulting and dying rapidly off. Re-assume unconscious power of producing the desired results the aa position, and move the tongue about as he already does for ordinary speech. 24 V. VOWELS. Definition of a Vowel. The experiments in Each such is really a separate vowel. But when Sections II. and IV. lead to the following primary the difference is small, the ear fails to appreciate principles : An original quality of tone is pro- it, even when the sounds are uttered very closely duced by the vocal chords and the cavities of the after one another, without severe training and larynx. This quality of tone is modified by the practice, such as is never undertaken except passage of the undulating air from the larynx by investigators. The listener merely wants to through the throat, nose, and mouth, jointly or know those broad distinctions which indicate severally. This modification varies with the differences of thought. National habits, accur- shapes given to the cavities of the throat, nose, ately cultivated, and local habits of small com- and mouth, and is, in general, different for every munities, where the speakers cannot even read and difference of shape, although, exceptionally, differ- write, lead to very fine distinctions, which serve to ent shapes may produce the same, or at least, separate the native from the stranger, who seldom indistinguishable modifications. The modification or never attains the precise native sound. It is may leave the original quality of tone more or sufficient for the stranger to be readily understood less musical, or render it more or less unmusical. by the native, and for the native to apprehend A Vowel is a fully musical modification of an without difficulty, what is the vowel modification original quality of tone, produced by a definite shape intended by the stranger; because in that case of the cavities of the throat, nose and mouth. thought is reciprocally communicated. This is a That this modification should be appreciable it most important consideration in the pronunciation must last for a sensible time, which may be very of foreign languages. variable. Hence we have short, medial (that is, Each vowel, as usually understood, is therefore middle length), and long vowels. But if con- not one single definite modification of the original " " tinued for a very long time the modification ceases quality of tone, that is, one single species " to impress the ear, which perceives only the (spee-shieezj, but a whole set or kind or genus" persistent quality of ton?. It is by a tolerably (jee-nusj of modifications strictly separated by the rapid change of quality unly that the difference of consciousness of the speaker and the listener from " " modification is felt, and the separation of the other kinds or genera (jen'er'a). The speaker symbols as. telegraphic marks of thought, is and singer has therefore to study the "generic" thoroughly appreciated. fjener'-ikj character, and learn the permissible " " amount of specific (spisif-ikj variation from " " Genera" and "Species" of Vowels. Slight the type." This is especially important to the variations of the definite shapes of the throat, singer, as appears by Section I., because he has nose, and mouth, produce slight changes in the to produce recognisable vowel modifications under modifications of quality which produce vowel effects. circumstances for which the original type wis not Sec. V. VOWELS. framed, and for which, it is sometimes not well also generally resounds in part at least of the adapted, as when singing ee at a very low pitch closed mouth), or through nose and mouth at the or oo at a same time these cases will be very high pitch. ; distinguished as It becomes " " " " necessary, therefore, to give the nasal (nai-sel, nai'zelj, and orinasal forms of "typical" (tip'ikel) the cavities of the (oa-rr'mavsel, ocrrr'ina'izelj . throat, nose, and mouth, for producing a vowel Mouth. When the cavity of the nose is entirely genus, and to learn, so far as is for necessary cut oif the are , sounds "oral" (oa'rr'elj. But as practical purposes, its admissible and inadmissible this is the usual case, and the cases where the variations, of which the first form the vowel species cavity of the nose is not entirely cut off have been of that vowel genus, and the second form vowel " " already distinguished, the term oral will not be species of some other, often unknown, vowel employed except on special occasions, and all genus. And these typical forms must be such as " " sounds must be considered to be oral unless will produce the typical vowels recognised in the they are specially termed "nasal," or "orinasal." "received," "refined," "literary," "educated," The cavity of the mouth is bounded by the arches "cultivated," or rather "central" pronunciation of the the " palate, cheeks, the teeth, and the lips, of any language, as distinct from the vulgar," " " " " and is more or less obstructed by the tongue. rude," illiterate," uneducated," unculti- vated,", or rather "local" pronunciations still Arches. These may be in the usual or "lax" heard in different parts of different countries, condition for the sound, which it is therefore not " formerly much more prevalent than at present, and necessary to mention, or may be constricted," apparently destined to expire. In the present so that the passage from the throat to the mouth work the "central" pronunciations of English, is narrowed. Mr. Bell does not find it necessary German, Italian, and French, alone, will bo to mention this at all as a specific variety, but we considered. Other languages, and local varieties shall find it convenient. will be noticed in for illustration or only passing, Cheeks. These are assumed to be in their usual warning. condition, neither "hollowed" by being drawn in " " between the nor puffed as in How the Forms of the Resonance Cavities for separated jaws, blowing the trumpet. In general the state of the Vowels are to be Described. In describing the cheek need not be noticed. But it produces forms of the cavities I shall adopt almost exactly specific varieties, and in singing the cheeks require the terms used by Mr. Melville Bell, who has to be "tense" or hardened muscularly, to produce pointed them out more accurately and definitely good resonance, by sufficiently resisting the vibra- than preceding writers. See his "Visible Speech." tions of the air within the mouth. The singer Throat. As we have seen in Section IV., all must never forget that he is for the time a musical sounds are "guttural" (gut'ur'el) or employ the instrument (and, of course, a good deal more), and throat, hence the throat need not be expressly is subject, therefore, to all the acoustic (akou stik, named, but its states, as merely distinguished laws which musical instruments. 1 ukoo'stik] regulate primary fprevmur i) or usual for any particular " " sound, and wide or enlarged somewhere. These Teeth. As already stated, the upper and lower distinctions are sufficient for our present purposes. teeth have to be held well apart. These hard Nese. When the nasal cavity is not cut off by boundaries of the mouth at its sides and front are the method shewn in Section IV., the mouth either very important to the singer. Any gaps are apt of and un- may or may not be shut off, that is, the voice may to impair the quality tone, produce pass out through the nose only (in which case it pleasant hisses and lisps, and should, therefore, be 26 VOWELS. Sec. V filled up immediately. It will not be necessary to and in this case, as well as for teaching purposes, mention the teeth in describing the cavity of the it is necessary to distinguish these three principal mouth. degrees. It should also be borne in mind by the teacher, in order to enable him to recognise and Lips, Open, Mid-round, Low-round. High-round, correct errors of pronunciation, that the typical The closure of the mouth more or less the by lips forms of arranging the lips, as shewn in diagrams has a most effect on the resonance of the important 11 to 14 are constantly departed from. As the and must be described. In the mouth, accurately lips can be always readily seen, the teacher should usual case the are as in lips "open," diagram 11, watch them closely. The "pouting" of either where it will be observed that the corners of the or of both the lip separately lips together ; mouth do not form a but are " " sharp angle, pursing in of the lips, giving them the effect' terminated with a kind of Observe this string. of being gathered in by an inner purse string, in form the glass. For very high notes the singer a round and much orifice the forming crumpled ; will often find it to his mouth so necessary open "flattening" of the opening by bringing the lips wide that the vertical exceeds the horizontal closer together in the middle, although no contact opening. Various other forms of the open lips or no contact is the greater made towards corners ; " also occur and small specific varieties, " produce and above all, closing of the aperture during which need not be noticed 11 shews Diagram the time of utterance, so as to begin with com- the form. Three of closed or typical degrees only paratively open and end with comparatively closed " round" need be of a lips noticed, though, course, lips, either for vowels which should have through- vast exists. variety really out their utterance, open, or else rounded " " definitely Low- round shews that the corners are all these are varieties lips ; actually observed in the slightly brought together, opening remaining different speakers, and all tend to alter and obscure considerable, as in saying au. See diagram 14. the sound to be are also all of " produced. They " Mid-round shews that the of the edges lips them habits very difficult to correct, as the speaker- touch for a considerable distance from the corners, is usually quite unconscious of them, and has been and the opening is much contracted, as in saying accustomed to them all his life. oa. See diagram 13. " High-round" shews that the lips are still more Tongue, Back, Front, Point, or Tijj. The upper in contact than in the last case, and that the surface of the tongue is divided into three parts, " " " " is small as in oo the or and or opening very indeed, saying ; back," front," middle, point tip, contraction is often much greater than in diagram and when the under surface is exposed, by turning " 12, and the lips are often protruded slightly, while the point upwards, it is said to be reverted." the whole width of the mouth between the corners Other forms of the tongue must be specially of the lips is much diminished. described in particular cases. The tongue may be " It is not usual, nor generally necessary, to raised at three principal altitudes low," as in " " mention these the additions 3 and 7 as in 2 and 6 degrees by high," diagrams ; mid," diagrams ; " " " mid," and low," when these are used with the and high," as in diagrams 1 and 5. And in each corresponding heights of the tongue, as is usually of these cases, either the ''back" alone may be the case, and Mr. Melville Bell, considering no particularly affected, in which case we have not these ' 5 6; other case, does employ qualifications. high-back," diagram ; "mid-back," diagram ' " " varieties in 7 or else the But occur some parts of England even, low-back," diagram ; front il in the different of are not 1 which degrees rounding alone, producing high-front," diagram ; "mid- " of the 2 ; or 3 used with the corresnopding height tongue, front," diagram low-front," diagram ; Sec. V. VOWELS. 27 so the of the lines and columns are the or finally, both front and back may be raised crossing that the tongue is tolerably flat with a little Glossic symbols of the corresponding oral vowels, the those which will not be considered depression in the middle, and in this case Mr. Bell f marking in treatise. The name of calls the position "mixed," as the "mid-mixed," this systematic any diagram 4. vowel is the name to the left of the line containing its Glossic symbol, and at the top of the column in The positions of the tongue having the principal which it lies. Thus A is low-front-wide, OA is effect on the resonance of the oral cavity, and mid-back-round is low-back-wide-round. The hence in producing vowel modifications of quality, ; column V. four orinasal vowels to be subse- the vowels are naturally arranged by Mr. Bell gives considered In this table the nature of according to the positions of the tongue, which quently the as Capital, Small Roman, Small Italic, produce 9 different forms. Each of the resonances type, " " out certain classes of vowels which will thus produced may be modified by the primary points " " different of attention. or wide condition of the throat, giving, there- require degrees twice nine, or 18 resonances. But each of fore, Capital Letters denote the 13 accented English these resonances again, may be modified by the " vowels EE, AI, AA, AU, AO, OA, 00 ; I, E, A, " or " round condition of the so that open" lips, 0, U, UO. These must be well studied in the if we suppose the three degrees of rounding to method to be presently pointed out. correspond to the three degrees of height of the or 36 tongue, we shall get twice eighteen, Small Roman Letters denote, first, the two vowels " " resonances. These give the 36 vowels of Visible ae, uu," which are often heard in received are in forms in of in accented the Speech." They reality only typical } English place E, U, syllables, which are each capable of numerous modifications, first "ae" being also common in Italian and but these need not be here considered. And as all French, and also four vowels, "ah, eo, oe, ue," the 36 forms do not occur in the 4 languages here which are common in German and French, and are treated, they need not be all studied. In order not more or less closely imitated in local English, but to confuse the learner, 12 of them will be entirely are unknown in received English and Italian. omitted. These must be also well studied. Small Italic Letters denote four vowels, i\ a\ ?', ', Description of the Systematic Arrangement of which are at least supposed to be heard in un- the Vowels on p. 16. The 36 forms of the accented English syllables, and which it will be resonance cavities thus indicated, for oral vowels necessary to consider, but they will not require are in the columns only, systematically arranged in case of a' and one much study, except ; uu\ I. to IV. of division A of the Table on p. 16. The which occurs provincially in glides, p. 37a. 9 heights of the tongue, numbered from the highest to the lowest, each with its systematic Mode of Observing, Mirror and Probe. To " " " name, occupy the two columns headed Height examine these positions use a mirror," or small " and Tongue." Then columns I. and II. shew looking-glass not exceeding 2 or 3 inches square, " modifications of the throat only, the lips being and a probe," for which a small bone paper knife " " open ;" column I. gives the primary," and (generally sold for a penny at stationers), or a column II. the "wide" forms. The next two large bone knitting needle with a nob at one end, columns contain the modifications produced by or a long tapering wooden penholder, even a 'high, mid, or low rounding' according to the tightly rolled piece of paper, may be conveniently position ot the tongue. The symbols contained at used. VOWELS. Sec. V. 1. Front Oral Vowels. High- sing the vowel to a note of a tolerably high pitch, I. II. III. IV. till it comes out clearly and ringingly. Descend in but endeavour to Primary. Wide. Round. Wide-round. gradually pitch, keep the tightening of the throat the same. This will be Symbol EE I f ue found almost impossible, and any attempt to do so Diagram 1,8&11. 1,8&11. 1,8&12. 1,8&12. will soon render the quality of tone unmusical and and at the same time alter it 4. High-Mixed Oral Vowel. unpleasant, materially from the original vowel quality. Then allow the Symbol f *' f f larynx to sink, and the tightness to disappear Diagram gradually, as the voice descends in pitch. The quality of tone alters decidedly, but not disagree- EE. The front of the tongue is high, diagram 1, ably, and, although the vowel sound is not EE, it p. 14, very near to the hard palate. The point of can still be recognised as intended for EE. In the tongue is low, just behind the lower gums, but performing this experiment, which is very im- not touching. A little way from the point on each portant for singers, the throat should still be side, the tongue touches the lower teeth, and pro- grasped, and the probe inserted to feel that the ceeding towards the back, it will be found to press tongue retains its position. It will be found that firmly against both upper and lower teeth, and there is a tendency to depress the tongue very each side of the hard palate, leaving a narrow slightly as the pitch descends, and although this channel in the middle, diagram 8. These partic- does not materially alter the effect, it is necessary ulars should be determined by sight in the to endeavour to keep the tongue in its high looking-glass, and by feel with the probe. The position. The altered vowel sound is no longer probe being placed below the front teeth and EE but I, the "high-front-wide" vowel, the pressed tightly against them, should be pushed tongue remaining fixed and the throat enlarging. gently above the tongue as far as it will go, and Observe that in speaking, EE is generally long, and then pressing the thumb nail against the probe and I short, but that in singing no regard is paid to the upper teeth to mark the place where they the length of vowels usually observed in speaking, touch it, withdraw the probe and measure how far because the duration of the note, which is fixed by it had entered the mouth. In my own case the the composer, determines it, and hence EE, I, are distance is an inch and three quarters. The for singers precisely the same sound, that is, they insertion of the probe will not injure the vowel may be confused, according to the pitch. This is sound of EE, which will have to be continued in a not the case for speakers. See Ex. 12 A, Section XI., singing voice throughout the operation to preserve to which all references to exercises relate. the position. The lips are wide open. The throat EE and I. Now take I at a middle pitch, and is compressed and shortened, the larynx being ascend, keeping the larynx down as much as raised. There is, therefore, an extremely small possible. It will be found that as the pitch rises resonance cavity in the throat and then a very the larynx also rises, and the quality of tone narrow passage over the back of the tongue, ending passes naturally into EE, unless certain other in a wedge-shaped cavity towards the teeth and changes are made, as by slightly lowering the lips. The result is EE. See Section XI., Ex. 2, tongue (so that the probe can enter about one- and also the in Glossic Section examples Index, and of an inch further) , endeavouring XII. under EE. eighth by to make the lower part of the shortened pharynx I. Grasp the throat gently above the larynx, less constricted. Try by this means to sing to a and feel that it is fully hard and swollen. Then high pitch EE, I, EE, I, keeping the pitch steady Sec. V. VOWELS. 29 which it will be found best to check form observe the of (for purpose ; corresponding change sound, sound an instrument with sustained which will somewhat resemble an eu the by tones) , diphthongal and making the vowels long, but the change from sound, as it begins with i and goes off into a sound one to another rapid, without any silence. Feel not far off oo, but quite distinct from oo if the by grasping the throat that the chief change takes I-position of the tongue is well maintained. Then place there. It is worth while practising this make the change rapidly, keeping the tongue and exercise frequently, and learning to sing I up to throat fixed, and maintaining pitch by an effort, any pitch, so that in singing an ascending passage while rapidly changing from perfectly open mouth written for EE, but taken as I, the quality of tone to the high-round form. The new vowel sound the same. The thus is or the is may remain recognisably quality produced UE, French ti, which of tone for I is almost always better than for EE, often considered a great difficulty to Englishmen, and even Italians and Frenchmen, who do not but thus produced it is very easy. The speaker know I in speaking, will be found to fall naturally and singer should practice this exercise till he can into I in singing. Although in singing it becomes reach the UE-position without the slightest diffi- necessary to confuse EE, I, in order to obtain good culty. For singing French songs intelligibly, this qualities of tone, this must never be done in vowel is of great importance, but so large a number speaking, Exs. 24 and b, must be practised with of Germans have the bad habit of not distinguish- care for correct speaking. The important modifi- ing UE from either EE or I, that the singer cations by consonants are exemplified under EE. I, would be intelligible, although he might appear in the Glossic Index. vulgar to an educated German, if he used I for UE on all occasions in German songs only. There is a slight difference in the best central German I'. In unaccented the I is sometimes syllables and French pronunciations of this vowel, which still more obscured, by altering the position of the may be disregarded, as unimportant. See Exs. part of the tongue between the high back and the 48 and 50. Practise first, however, singing the low so as to make it more This is point, straight. scale upon I-UE. Observe that UE is not quite effected bringing the point of the tongue up by so easy to sing on a high pitch as I, and that when into the of 2, with the nearly position diagram I falls naturally into EE, UE falls into a related back as as in 1. This the high diagram produces sound, the high-front-round vowel, which there is vowel an vowel in high-mixed-wide I', important no occasion to notice further. At a low pitch UE where it occurs in accented syllables, and Welsh, is softer and easier to sing than I, and has a better is written u or y, but for the languages here con- quality of tone sidered no pains need be taken to separate I' from I. See Ex. 44 under -y, -ly, -ty, and Ex. 45 under e-, bi-, di-, and also Glossic Index under I and I'. the EE, I, UE. Having clearly ascertained air exact positions for EE, I, UE, take any simple are familiar and first with HE. Having learned to sing EE, I, or rather I, with which you sing it, as as then with well at all pitches, then attempt to sing them with every note to EE, nearly possible, note to and with note to the lips brought into the high-round position, every I, lastly every UE, in the of tone diagram 12. Observe that it becomes quite im- and note the difference quality sole means of the possible to maintain the same quality of tone, and produced, the distinguishing the measures that an exertion is required in the larynx to vowels. To make this clearer, sing I and observe the instant maintain the same pitch. Take I at any pitch alternately to and UE, and bring the lips gradually into the high-round change of quality. 30 VOWELS. Sec. V. 2. Mid-Front Oral Vowels should practise this vowel before his mirror, till he I. II. III. IV. can maintain the single vowel quality AI for a full second of time, or more. Some Englishmen, Primary. Wide. Round. Wide-round. especially Londoners, and inhabitants of the East Symbols AI E eo oe Coast, have such an inveterate habit of passing Diagrams 2, 9 & 11. 2, 9 & 11. 2, 9 & 13. 2, 9 & 13. from the Al-position to, or at least towards the that will dwell an The front of the tongue is "mid," diagram 2, I-position, they hardly of time the first and not nearly so much raised as for the high-front appreciable length on element, thus to other ears the effect of a vowels, diagram 1. The point of the tongue is produce diphthong, so that the Eastern sounds to more raised, so as to be seen over the top of the "they, bait, pain" " other like do not lower teeth, and hence there is by no means such a persons thy, bite, pine." They so sound to the Eastern because he sudden fall from the front to point. Past the speaker, pro- nounces the three latter words with a different point, on each side, the lower surface of the tongue and never confounds them. This will rests on the lower teeth, and proceeding backwards, diphthong, be considered hereafter. At it is presses again the side teeth, but the pressure does present, perfectly in word to avoid not extend higher than the upper gums. See unobjectionable any English this to end AI with and diagram 9, and compare with diagram 8. The tendency I, utterly objection- able in word to in such a consequence is that the probe can be made to enter any foreign indulge See Ex. 3. much further than for high-front vowels, in my tendency. own case about two inches, or two inches and a E. Now the scale on AI. Observe that sixteenth. The passage leading from the pharynx sing AI cannot be so on a is not so narrowed, and it becomes much broader sung quite easily high pitch as EE or and that when the middle of the in passing over the front of the tongue, and does I, pitch voice is passed, the quality of the tone becomes not widen vertically although it widens horizon- more and more and harsh. To own ears, tally as it approaches the mouth. reedy my although AI can be sung to a lower pitch than I, AI. The throat being somewhat constrained, its quality of tone is much more disagreeable. Its the lips open, diagram 11, and the pitch a little recurrence is always unpleasantly felt in all above the middle of the voice, the vowel AI singing. It is, however, greatly improved by results. In producing this vowel Englishmen lowering the larynx and widening the pharynx, have to fight against the tendency to raise the precisely as in passing from EE to I. As the position of the tongue mechanically, not by its larynx naturally falls with the pitch, there is also own muscles, but rather by raising the lower jaw, a tendency to improve the AI quality in the low which carries the tongue with it more or less notes by this means. On indulging this tendency towards the Ai^A-front position almost uncon- we change AI into E. Practise singing AI, E, sciously. This must not be allowed. The singer AI, E, grasping the throat lightly, and observe must practise maintaining the position of the jaw the tightening for AI and the relaxation for E and tongue steadily during the whole continuance evident, though not so strongly marked as for of the sound, otherwise he will alter the quality of EE, I and the improvement in the quality of his tone, while maintaining his pitch, and produce tone when you pass from AI to E. Then sing the a diphthongal effect, which, however much it may scale down on AI till it insensibly changes into E, be tolerated in English speaking, is simply and having reached E sing up on E, taking care to execrable in German, Italian, and French, whether resist the tendency of falling into AI. Observe for singing or speaking. The singer, therefore, that E can be sung to a high tone more easily tha' Sec. V BOWELS. AI to a low tone. In English speaking AI is to U or UU is quite inadmissible. But in nearly generally long, and E is short, but length of two-thirds of Germany the middle and lower vowel depends on length of note only in singing, classes have the habit of using ai, ae for eo, oe hence both must be sung long and both short, and so that Englishmen can treat them so, or as ai, e in singing English it is quite intelligible if E is without danger of being misunderstood in always used for AI. This use of E has also the Germany. In France such a pronunciation would advantage of preventing the bad tendency to end in lead to interminable mistakes. I, except among inhabitants of the North East Coast. it OE. For English singers is, therefore, permissible. I, UE ; E, Now having got I, UE ; E, OE, Long E does occur in English in there, dare, fair, sing a simple air, or even a bar, or merely a chord never before vocal R. In German the d 1 taken at different first to I and but except d, m, s, , pitches, is of no nor even in Italian then to to I and to E and OE to E ; UE ; UE change consequence, ; and French, provided the open e of these languages and OE, and observe the changes of quality of be taken as the low-front vowel ae, to be presently tone. Sing on a single note the whole four vowels considered. See Ex. I2b and 25, and Glossic Index I, E, UE, OE, in various orders, as i ue e oe ; i oe i oe under AI, E. i ue oe e, i e ue oe, i e oe ue, ue e, e ue, ue i e ue i oe ue e i ue e oe and so on oe, e, oe, i, ; the EO, OE. Having secured AI, E, endeavour to object being to hit the great differences of quality sing them, kept strictly separate as primary and with ease and certainty, at different pitches. wide, with the lips in the mid-round position, Singing thus without consonants will lead to diagram 13. Observe that the quality of tone taking the vowels more clearly and accurately. immediately changes, and approaches the sound See Ex. 48 and 50 for ue, eo, oe. of TIE on the one hand and of U on the other. It should, however, be carefully distinguished from 3. Low-Front Oral Vowels. both. When AI is thus rounded it becomes EO, II. III. IV. the fine French eu in feu, the German long o in I. schon. When E is thus rounded it becomes OE, Primary. Wide. Round. Wide-round. the broad French eu in and German short o veuf, Symbols ae. A. f f in bocke, konnte. Here again the distinction Diags. 3,10&11. 3,10&11. 3,10&H. 3,10&14. between EO and OE is constantly ignored. Some the vowel A is better known in than French and German writers do not remark it, and As English those who use there is certainly no very strong distinction in the vowel AE, except by speakers ae for it is better to this series with the ordinary speech. Singers seem to take whichever e, begin A. is most easy at the pitch at which they are singing. wide vowel Hence although the speaker should endeavour to is low, but its preserve the distinction which is observed by all A. The tongue altogether very than its which careful speakers of German and French (the front is perceptibly higher point, above the lower teeth. The sounds are both unknown in Italian), yet the still remains just of the is removing singer is at liberty to sing EO at the higher and depression tongue produced by from the teeth, as shewn in OE at the middle and lower pitches, in singing the it altogether upper where the surface of the tongue same word He will remain perfectly intelligible. diagram 10, upper with the or teeth, compare Practically then the mid-front position yields only has no connection palate 8 and 9. The is that there two genera of vowels E, OE each with two diagrams consequence is a low flat above the tongue, with two species carefully observed in speech. Any change passage 32 VOWELS. Sec. V wide the side passages around it, and a comparatively by frequent substitution of A for AE (which passage from the pharynx. The probe in my own is just the reverse) in Scotch. Many English case will enter nearly two inches and a half into speakers, almost all those from the provinces use the mouth. The round or knoh end of the knitting AE for E in short syllables, and this pronunciation needle used as a probe should now be employed, is recommended by so high an authority as Mr. as there is so little obstruction, that the soft palate Melville Bell, so that in the Short Key in Section will be reached and irritated by the point. Keep III., p. 12, I have given it as an alternative in " the pharynx low and unconstricted, and sing. The net ing, naet'ing for netting." Hence in AE, A result is the received English A, or a in bat we have a primary and wide vowel with the same lengthened. In the town of Bath, this long sound position which must not be interchanged in sing- occurs in speech, for they call it there Ba-th and ing. The use of a for E is Scotch, and quite not Baa-th, as in received speech. In the whole of inadmissible. The most that can be done to the South of England, and even as high as improve quality of tone in singing, is to avoid AE Shropshire, and probably right through to Norfolk, altogether, replacing it uniformly by E, and the short form of this vowel is heard, varying, then to employ A' for A. But for foreign however, with a. In Caithness, Northumberland, languages this is not sufficient. AI and AE are Cumberland, and Westmorland cC verging towards sharply distinguished both when long and short in aa, is more common, in Yorkshire, and Lancashire French and Italian, and even ambiguities of mean- the older vowel aa is retained, and in South ing arise from confusing them. Hence all singers Scotland even ah is used. Tt is, however, not should carefully learn to distinguish them. But permissible for a singer to substitute aa for a even in German, Italian, and French, the use of E of notwithstanding the extreme pleasantness aa, for AE in short syllables would be intelligible, of because the '* and the extreme unpleasantness , though E would sound thin," and the use of A as will effect is purely provincial. But be seen for AE in long syllables would be intelligible, use which is much hereafter (p. 34), he may #', though it would sound broad and coarse. See a. See Exs. I2e and 25. more agreeable than Ex. 25, where ae may be used for e, and should be so used as an exercise. For AE see Exs. 48, 49, 50. A, AE. The quality of A when lengthened has The rounded form of these vowels can be easily a very strong resemblance to the bleat of an old produced, by using the low -round form, diagram 14, ewe, and when the throat is constricted to produce with slightly protruded lips, but they need not be AE, as may be felt on grasping it lightly, studied, as they do not occur in the languages here the of tone as nearly resembles the quality considered. answering bleat of the lamb. It is true that the bleat involves another element (namely, a in the which peculiar periodic interruption glottis, 5. Mid-Mixed. 6. Low-Mixea. 8. Mid-Back. occurs in Arabic and need not be further speech, 9. Low-Back Oral Vowels. considered), but the vowels heard resemble A, AE I. II. III. IV. nearer than any other that I know, and I have listened to sheep and lambs most attentively with Primary. Wide. Round. Wide-round. a view to testing this resemblance. The similarity of to is shewn the AE A by frequent pronunciation 5. Mid-Mixed Oral Vowels. " of thank, bank, cab" as thaengk, baengk, kaeb,a,n(i U. a'. f f then as thengk, bengk, keb ; by the usual confusion Symbols that foreigners make of our A with their AE, and Diagrams 4 & 11. 4 & 11 Sec. V. VOWELS. 33 6. Low-Mixed Oral Vowel. the pharynx can be easily seen.* In all three cases the is so low that the can Symbols f e' f f tongue probe reach the uvula, and even be inserted under the arch, but Diagrams as the probe then tends to produce nausea, and the distance of the from the is 9. Mid-Sack Oral Vowels. tongue palate perfectly visible, this experiment need not be tried. Symbols uu AA OA AO Diagrams 6 & 11. 6 & 11. 6 & 13. 6 & 13. AA, AH, A'. Begin experiments with the mid- back wide which 9. Low-Back Oral Vowels. gives the extremely pleasant and musical quality of AA. The of the ah AU O widening Symbols f throat is not felt as anything but an easy position. 7 & 11. 7 & 11. 14. 14. Diagrams 7 & 7 & The vowel can be sung and should be sung at all pitches, and the learner should watch his tongue The mixed vowel are so positions inadequately and jaw in the mirror, and take care that they do represented in the languages here considered, that not move as the pitch alters. He will observe that it seems best to take the mid-mixed form in con- for deep tones the tongue at least has a tendency with the mid-back which is fall junction series, very to and become completely hidden, assuming and also with the low-back the fully developed, series, low-back position (diagram 7) and giving the into which the latter is apt to fall. broad vowel AH, frequently used in South Scotch and French, and often replacing AA with For the back vowels the tongue never rises so altogether some German speakers. In high tones, on the high as for the front vowels. Even the highest contrary, the tongue has a tendency to rise to tho back position (diagram 5) is scarcely higher than mid-mixed the for the lowest front position (diagram 4), giving fine position (diagram 3), and thin vowel sound of A', much used delicate hence the slope of the tongue for the mid and low by English speakers, especially ladies, in such words back positions (diagrams 6 and 7) is scarcely more as " than for the ass, pass, staff, laugh, path, bath, plant, com- mid-mixed positions (diagram 4). mand," in place of AA, and common now in Paris, The mid-mixed position (diagram 4) is, however, where the sounds which writers on pronunciation higher than the mid-back position (diagram 6), generally assume to be AA, are divided A' and hence the quality of tone is much finer. The among and AH. Even in Italian there is rather a great change of position of the tongue in passing tendency to use A' in place of AA, but all approach from the A position (diagram 3) to the AA position to AH is held to be odious, as it is in refined (diagram 6) is well seen in the mirror, on singing English speaking. Singing is, however, another I, E, A, AA. The tongue seems entirely to dis- * appear for AA, and the arches of the palate and This circumstance has often been of use to me when I wished to examine either own throat or another uvula, which were previously quite invisible, come my person's throat to see if it were inflamed or relaxed. It is well into the 1 sight, though tongue is still too high well known that there is a great difficulty in inducing patients, especially children, to keep the tongue down, and for me to see the tip end of my own uvula, which that they involuntarily resist the action of the spoon used to .is naturally rather long. If on the other hand the depress it. Merely ask them to open their mouths and say AU, and the as the tongue is raised to the mid-mixed tongue disappears by magic, revealing (diagram 4) whole inside of the mouth. But as the patient will then be position, only a small portion of the arch on each breathing strongly into the observer's face, and his breath may be infectious (as in scarlet fever, diphtheria, putrid sore side of the uvula becomes visible, whereas if it throat, &c. ) the observer should carefully screen his own face falls to and nose with his hand while the is under the low-back (diagram 7) position tho patient examin- ation. Safety from infection is not secured by simply whole uvula is and the quite exposed, back wall of holding the breath. VOWELS. Sec. V. affair. It will be fcmnd that the attempt to sing narrow the throat as usual, and thus modify its pure AA at all pitches results in much worse resonance. The effect is quite extraordinary. The musical effects than are produced by the use of A' beautiful quality of AA disappears as if by magic, in the higher, AA in the middle, and AH in the and a dull obscure sound results, which is not bad lower notes of the voice, and as these sounds may to sing upon, but is nothing like so musical as be all employed in any word without danger of AA. This is UU, a sound much used in the xnintelligibility in any of the four languages here provinces and in Scotland, and even recommended considered, the singer is at perfect liberty to adapt for general use by Mr. Melville Bell, for u in cut. his pronunciation to his musical wants. But he But the finer sound which I prefer, and which I should do it consciously, and know why and how hear from most educated Southerners is U, which is A' he does it, and be scrupulous to avoid it in speech, obtained from in the same way as UU from where the same causes (great diversities of pitch) AA (by narrowing the pharynx), and bears to UU do not exist, and where the requirements of pro- the same relation as A' to AA, so far as the nunciation are more severe. position is concerned, but to my own feeling the On singing in succession and to the same middle difference between U and UU is almost that a a and a it will be felt between A' and AH. There a sound pitch ah, act, , a, #', aa, h, is, however, that they form a progressive series, so closely of this character formed by narrowing the pharynx related one to the other, that it is sometimes while saying AH. This (written ua in Glossic) difficult to say where one begins and the other occurs at most as a rare provincial sound, and ends But if we skip over any one and sing a, aa, hence need not be further considered. J a ah, and still more a ah, the change is felt to be E'. who use in accented very great indeed. No singer should be guilty of U, U', Speaker* UU fine off the sound to in the fault of using the bad vowel quality a for the syllables, generally U unaccented as maen shuun good vowel quantity a', or aa, saying glas ask staf syllables, huuzbund, for " men shun mention." la/path ior ala's a'sk sta'f laf bath or glaas aask maenshun, husband, And those who use U also fine it off the staaf laaf baath (the vowel being long or short by raising back of the to the according to the length of the note), but no singer tongue high-back position, pro which will be described would offend who said ha'nd pa't ba'd for hand pat ducing U', presently. Thus it seems to Mr. Melville that I dad, although the sounds haand paat baad would be Bell, myself the words last written as quite intolerable. This allows a way for the singer pronounce huz'bu'nd, men shun which is finer than out of a great difficulty. The vowel a, as already men~shu'n, altogether remarked 32 is for the the other, because the tongue is one stage higher (p. , disagreeable singer, for each vowel. This a but a' is very agreeable. Hence he should practise is, however, entirely matter of taste. For the I every word given with A in the Grlossic Index, singer, however, am first with A and then with A' and then with AA, inclined to think that the second set of sounds is watch for the difference of effect, watch the preferable. In every case the vowels UU, U, U' position of his tongue by his mirror, and try to are very important to the singer, and require care- hit upon A' without falling into AA. See also ful study. As a general rule U, U' need not be Exs. 12c and 25, which contain words that may be distinguished, and the danger of using UU is its pronounced with either A' or AA, contrasted with confusion with OA when short and stopped bv a words containing AI and E. consonant. Sing all the words in Ex. lie, and under U in the Glossic Index, both with U and with UU, UTJ. Now to a middle TT, sing AA pitch, and but at the same pitch, throughout the scale, till the the throat grasping lightly, tighten it so as to ear becomes familiar with the difference of quality Sec. V. VOWELS. 35 In doing this it will be, of course, necessary to find much difficulty in lengthening it. Grasp the lengthen the vowels, which are supposed to he throat lightly, and sing on the words "on, cot, always short in speech, although in received pod, stock," to long notes of middle pitch, and English U or UU are always lengthened when take care that no tightening is felt by the hand, before vocal R, which usually totally disappears. that is, that there is no constriction of the The mid-mixed vowel also often falls into a low- pharynx. Then sing the same vowels with a con- mixed vowel E' before this vocal R' by dropping striction of the pharynx, which is easily felt, and " " the tongue very nearly to the low-back position, the result will be awn, caught, pawed, stalk but keeping it rather more forward in the mouth. aun, kaut, paud, stauk, that is, the vowel AU is See the account of vocal R below. generated. The singer must practice singing these words in succession to the same note, with his AO. Now sing AA to a middle pitch, and hand on his throat, as on aun, kot kaut, pod paud, suddenly bring the lips into the mid-round posi- stok and feel the difference in the action of tion, diagram 13. The result is the round vowel stauk, the throat as well as the difference of the sound, if AO, which has a very splendid quality, and is he wishes to make the distinction clear. In quite as musical as AA, and has in some respects endeavouring to avoid aun kaut, &c., he must be even a better quality of tone for singers. Practice careful to avoid falling into either AA, AO, AA, AO, on the same breath till the aon, kaot, &c., or oan, koat, &c. There is one word in which the effect comes clearly. This sound is the common " " distinction is of great importance. No singer of short o in cot, knot kaot, naot, in many of our hymns should allow God to sound as either gaud provinces, the regular short o in Germany, as or goad, which have such different meanings. It in "holtz" Juiolts, the open o both long and " " is much better to use gaod for God than either of short in Italian, as poco, sciocco pao'koa the two other sounds, because gaod has no other shyaok-koa, the common short o in French, as in " possible meaning in English. The great real homme, corps" aom, kaor'. See Exs. 48, 49, 50, difference between AU, 0, which are both and also Ex. 9e should now be sung with ao for ca, utterly strange to German, Italian, and French, is shewn In received English it occurs only as long before u by the attempts of foreigners to pronounce them. vocal R, as in more, sore, oar," which in English make the into f They generally AU AA, or at best Glossicare written moa'r, soa-r, oa r, with the vocal and the almost into AH ; always AO. See them r, which effects the change. See Exs. 20 and 28. contrasted in Ex. 27. The true sound of these syllables is rather com- plicated, arid will be explained in Section VI. OA, AO. Sing UU to a long note of middle 0. related to is our ATI, Very closely AO own pitch, and bring the lips into the mid- round posi- peculiar English vowel 0, which is not found in tion (diagram 14), the result is the common OA in the received of continental road. pronunciation any Now many English speakers, especially language, although it may be heard in North most of those in the South, educated or un- Germany. This is formed from AH by bringing educated, have such a tendency to raise the back the into the low-round form 14 of the or else to contract the lips (diagram , tongue, lips to the careful to the inner of being bring parts the high round position (diagram 12) during the time corners of the a little more lips closely together that they fancy they are saying OA, that they than could be shewn in the and diagram, to practically begin with OA and insensibly end in advance the whole This vowel is so OO. This is similar lips slightly. to the tendency already common in that have no to English English people mentioned end AI in I. Some speakers, in it often difficulty speaking short, although they especially the less educated, fly off at once from 36 VOWELS. Sec. V. the OA into 00, and say almost ou for oa. This ease and good effect at any pitch. Generally, will be again referred to in Section VI. Singers however, U will suit high, and UU middle or low careful to both A' suits and low should be extremely guard against pitches ; high, AA middle, AH of from to are both better at practices. The change quality OA OO pitches ; OA, AO high and is generally for the worse, especially at high middle pitches, and AU, at low pitches. But effect is care must be taken never to pitches, so that the merely musical injured. use AU for OA even Practise singing OA up and down the scale, at low pitches, where at most OA may fall into AO watching carefully in the mirror to see that the jaw does not ascend or the lips close as the sound 7. High-back Oral Vowels. continues. This is an important exercise. Such I. II. III. IV. words as roam, room, are useful to sing. Observe Wide. Round. whether when you finish the word roam, you utter Primary. High-round. the same sound as when you finish the word room. Symbols uu' u' 00 UO. A list of such words is given in Ex. 30. It is Diagrams 5 & 11. 5 & 11. 5 & 12. 5 & 12. much better to use AO for OA throughout 00. The rounded forms being familiar (although this is not permissible in speech) than to very and the un-rounded forms little known in sing OA with a rapid falling off into 00 In low English, it is best to with the rounded forms. The pitches AO will always be found preferable to the begin are into the singer. In some words there is a tendency to con- lips put high-round position, diag. 12, which be much closer than in the fuse OA with UU, and people often say haul for may diagram. " this means the whole interior of the mouth is hoal, whole." In singing there is not so much By so that the of tendency to do so, but Ex. 27, where words like concealed, proper high-back position " the can be felt the sawed, sowed, sod, sud," satrd, soa'd, sod, sud or tongue (diagram 5) only by There is as wide a between the suud are compared, will be found useful in this probe. passage back of the and the as in respect. tongue uvula, diag. 2, but the is lower for and its The distinction between OA, AO is as important tongue diag. 5, upper reaches as as the of the in Italian and French, as our distinction between part just high top arches of the and OA, AU. As an Englishman would never con- the palate. On inserting probe passing it over the surface of the should fuse "coat" koa't with "caught" kau't, so an upper tongue, you " " Italian would never confuse koa'ltoa cultivated feel that the tongue is quite below the upper teeth, " even at the in contact with the lower with kao-ltoa gathered," though both are spelled side, though " teeth. The can be inserted two inches colto." See Ex. 49, and Section XIV., No. II., probe fully and a half in own but there is a Alphabetical Key to Italian. The Italian OA is my case, generally little from the resistance of the somewhat nearer 00 than the English sound, but difficulty tongue, not allow the to be this is a distinction which need not be attended to. which does probe properly directed. In feeling the distance it is better to U UU. A' AA AH. OA AO AU 0. The series insert the knob end of the knitting-needle so as of vowels not to irritate the soft palate too much. But in Primary. Wide. Eound. Round-wide. some respects the position of the tongue is not of Mid-mixed U A' much consequence provided it be not higher than Mid-back UU AA OA AO the high-back position. Even a mid-back, or Low-back AH AU low-back tongue with the proper high round form are extremely important and should be well dis- of the lips, will produce a vowel- quality which all tinguished. They can all be sung with tolerable hearers will at first take for 00. But the high- Sec. V. VOWELS. back 00 is the genuine fine sound of English and UO. Sing 00 up and down the scale. 00 will Italian speakers, and should be always used. Some be found very difficult indeed to take in the upper Germans use a thicker, deeper, hollower, low-back notes of the voice. Leaving this difficulty for the and in Sweden have a mid back the throat as 00 ; they 00, moment, grasp lightly usual, and, which bears a considerable resemblance to OA, and singing 00 at an easy pitch, widen the pharynx, is not unlike the Italian form of the which will be felt a or in of the OA ; lips by relaxing falling remain in the high-round position for all of these muscles The result is the vowel UO as heard in " " " " forms, which, however, need not be further studied pull puol~, distinct from pool poo- 1. Sing in here. On the contrary, the high-back 00 must be succession 00, UO, 00, UO, and feel the musclei carefully studied, and its effect must be dis- of the throat tighten as you pass from UO to 00. tinguished from OA on the one hand, and UE on This contrast of OO, UO should be well felt, and the other. easily made, for it is especially useful to the singer (see Ex. 32). And it is also very necessary to dis- UE, UU', 00. The vowel UE differs from the tinguish UO from UU. There does not seem " " vowel OO merely by having the high-front instead much resemblance to a Southener between dull " of high-back position of the tongue, and there and pull," dul or duul and puol, but many pro- is much in to duo provincial tendency England vincials reverse the sounds, and say I, puul, and substitute UE, or some very similar vowels (which others are so accustomed to UO that they cannot in will not be here particularised) place of 00. learn UU. Yet for UO the lips are closely This arises from a bad habit of raising the tongue rounded, diag. 12, and for UU they ought to be to the I position before closing the lips for 00, quite open, diag. 11. The transitional form, which which is not at all uncommon, even when the may be written u, occurs in Lancashire, Derby- tongue is subsequently dropped to its proper place. shire, and probably Cheshire and Northumberland. This error must be carefully avoided by singers, as It consists in giving the tongue a mid-back position, it probably generates the provincial peculiarities and rounding the lips as for oo. It is very difficult of Norfolk, Suffolk, and Devonshire. The import- for a Southern ear at times to say whether u is uu ant direction to those who have a tendency to say or uo, for it sounds like both, and is neither. But " UE is, Keep the tongue down," and they should as it is really a bad sound of uo, and much less be made to feel with the probe that their tongue musical, the singer should always endeavour to has come up to the high-front or I position. It is obtain a pure uo. There is also a possibility of very much better for such singers at first to sink imitating the sound of UO with open lips, which the tongue into the mid-back or OA position, or may sometimes prove of use to the singer, even the low-back or AU position, than to raise it especially when he wishes to sing 00 or UO on a to the UE position. In many parts of South high note, and will therefore be explained Lancashire, of Derbyshire, and of Cumberland, presently. But first observe, by singing up the speakers have a habit of beginning their 00 with scale, that UO will give a much better quality of the mouth wide open (producing the very peculiar tone in the high notes than 00, just as the vowel vowel MW'), but they rapidly close the mouth as I gave better low notes than EE, and that hence as they go on. The result (which may be written 60} UO would not be distinguished in a singing voice is here merely mentioned by way of caution, and from 00 indeed it is often confounded with it in the bad habit which generates it must be most the speaking voice the singer will find it as great sedulously avoided. Singers who are in the habit an advantage to use UO generally (that is, for both of using 60 must be made to bring their lips into oo and uo} as he found it to use the sound of I the for oo for ee . See 28. position before uttering the vowel. generally (that is, both and i) p. 38 VOWELS. Sec. V U'. Next, while singing the wide UO at an easy the mouth, seems in some respect to serve the former pitch, suddenly opon the mouth quite wide, as in purpose of partly closing the mouth by the diag. 11. The whole character of the tone is lips only. The pharynx is narrowed for high changed, and it seems to lose all its previous notes, and widened for low notes. The vowel is neither roundness and "become ohscure, not unlike U, but precisely 00 nor UO, but is sufficiently something finer. This is U', a very useful vowel like both to pass in singing, and may be written " to the English singer, and which he should there- UO' or MO, and called acute UO," for con- fore cultivate. Where the speaker, for accented venience. The advantage of this sound to the syllables, would use U or even UU, this vowel U' singer, indicated by the acute accent, is that he in those can on it at the may be sung, especially before /, m, n, sing highest pitches of his voice, in indistinctly spoken unaccented syllables, to which and even falsetto, with a much better quality of singers have to give a clear full note. More tone than he could produce with either the proper or This is of this when treating of I, m, n. But at present 00 UO positions. imitation therefore the exercise of singing UO, U', UO, U' must be recommended to the attention of the singer, as a of taken carefully, and the difficulty of bringing out means overcoming a very serious difficulty. It a good ringing tone on U', when the conditions of was suggested to me by observing parrots, who can resonance are so suddenly altered, must be got over say "Poll," although they have no lips at all. seem to by patient trial and practice. By this sudden They produce the labial effect by means of revelation of the inside of the mouth the true a back membrane, which answers the purpose of position of the tongue can be made visible, and, if our soft palate. the tongue were too low, we should get out more of The Musical Vowel Scale. In the Systematic an UU sound, while, if it were too high, we should Arrangement, p. 16, A, the vowels just considered approach an I' sound. When the sound of U' has were arranged in a systematic table according to of once been safely hit, the singer should diligently the positions the tongue by which the resonance that practise it on all parts of the scale, with sustained, produced them was generated. In conclusion forte, crescendo, and diminuendo notes, remember- it seems best to arrange them in a kind of musical ing that he has to make use of it in overcoming scale, descending from EE to UO and then gradu- future difficulties. ally rising again through the indistinct forms. The meaning of this is that the first vowels on the list are UO'. While singing U' with the mouth open, most easily produced at a high pitch, and that this endeavour to change to UO without closing the lips. pitch gradually lowers from EE to UO, and then An imitation of UO can be effected thus. The again gradually rises to UE, which approaches central parts of each lip are kept wide apart, but nearly to the pitch of EE, and thus completes the the corners are brought much nearer, and the circle, EE, AA, UO, UE, EE. If only the posi- insides of the lips are made visible, till the tions be assumed, and flatus be driven through the opening of the mouth assumes an oblong shape, mouth instead of voice, the scalar nature of the longest from top to bottom, so that the front teeth arrangement will be still better felt. Each form are well seen. At the same time there is a is here provided with a key word to its left, and on muscular contraction of the arch of the palate, the right is placed the singing substitute, which which is felt but cannot be seen, as it is so much may be used for those on to which it is bracketed, concealed by the tongue. This double rounding, according to the intimations given in the above external of a peculiar kind (not shewn in any of discussion, with a reference to the page and column the above diagrams, because irregular), and (a left hand, b right hand) in which the explanations internal of the passage leading from the throat to will be found. See also the G-lossic Index. Sec. V VOWELS. MUSICAL VOWEL SCALE. V. French Orinasal Vowels or Nasals. 1. 2. 3. 4. 2&Spoken Vowels. 10 Sung Substitutes. Symbols AEN' AHN' OAN' OEN' Page 280. beet. EE \ Diagrams 3, 11, 22. 7, 11, 22. 6, 13, 22. 2,13,22. 280. bit. I I. Page 280. N'. In the series of vowels just described the 290. witty. i' nasal passage was supposed to be entirely cut off by the pressure of the uvula against the back wall of the Section 205 to 220. In Page 300. b0it. AI pharynx. IV, pp. 305. bet. E E. 305. the present series the voice has to pass through [ Page 320. bete. F. ae both the nose and the mouth, p. 210. This opening , of the nasal passage necessarily modifies the posi- tion of the tongue, so that it becomes impossible Page 315. b0t. A 0' Page 335. to refer the orinasal precisely to corresponding oral vowels. But this can be done with sufficient accuracy for the purposes of notation and instruc- 335. ask a' Page (thin E.F.I.) tion. The difficulty consists in obtaining the right 335. lah ! AA AA. 335. [ Page amount of nasalisation. For French the nasality 335. Idche. F. ah , greatly exceeds that used for English by some Americans, or that given to German by Bavarian peasants. Probably one cause is that the passage 350. behind the uvula is for Page gnawed. AU v diag. 22) very much larger 350. nod. 350. in the nasal [ AU. Page French nasality. The resonance 355. no. I. AO cavities, however, varies much, and cannot be denned, so that the following directions require to be supplemented by hearing many examples of the Page 355. known. OA OA. Page 355. sounds (see Glossic Index) pronounced by different natives, male and female, young and old, as well as men in their prime. The letter N' after the Glossic vowel mark that the nose is r SS - ** signifies passage fully open, as in diagrams 22, 23, 24, but that the passage through the mouth is not obstructed, as it is in those diagrams. Observe the apostrophe. N and Page 340. cwt (broad E) uu \ N' differ in this respect among others, that for N 345. herd(occ-E) ,' the voice the nose and for N' U> ^a&e346 - passes through only, 340. wit (thin U B) j through both nose and mouth. The oral passage is 380. ide0 to be made as nearly as possible in the same way as for the vowel preceding N" . Hence N' does not indicate any sound, but a mode of modifying 310. Page veui. F. oe another and the whole of each such oe. Page 310. sound, symbol, 310. feu. F. eo as AEN', must be considered to represent a single orinasal vowel. What the English speaker haa especially to guard against is any confusion of the " " Page 290. \m. F. ue ue. Page 370. direction N' with the consonant NG. The 40 VOWELS. 5. V. simple sound AEN' and the combination of sounds alternately the French vowels in lache, an, lahsh, AENG, which Germans are apt to use, are, as will ahn'. Practise AH, AHN', AH, AHN' till the be seen, totally different in construction. The sound is reached with certainty. Looking in the oral vowels ae, ah, oa, oe to which the four nasals mirror, observe the motion of the uvula in passing aeri oen' are here referred are those to from the oral to the orinasal , ahn', oan', vowel, which can be which French writers refer them. To Englishmen well seen in this case. Then sing AEN', AHN' they seem to be rather nasalisations of a, o, oa, u, alternately, and observe in the mirror that the be more written on' in it so that they might simply an', , tongue changes position precisely as does oan un'. But as three of these oral when AH are the little , vowels, a, o, u, AE, sung alternately, pro- do not exist in French, it is better to follow the jection of the uvula not being noticeable. Try feeling of French phonetists. the experiment of closing the nostrils for AHN', and observe again that it produces but a slight AEN'. Sing AE and, while singing, open and effect. This vowel bears a resemblance to the several in close the nasal passage times succession, syllable ong, which is an intelligible but hideous " producing alternately the French vowels in bete, substitute much used by Englishmen. vin," baet, vaehri . The whole quality of the voice OAN'. is changed, and an Englishman will find it difficult Sing OA, and, while singing, open and close the nasal without much practice to produce anything like a passage alternately, producing the French vowels in good musical quality of tone out of it, especially alternately OA, OAN' " to give it a soft effect without a disagreeable beau, bon" boa, boan' . Practise alternately OA, twang, and to hit it with ease and certainty when OAN', OA, OAN', tiU the sound is hit with singing. The practice AE, AEN', AE, AEN', &c., certainty. Englishmen generally find a difficulty 1 will for this vowel in the two vowels be very good purpose. The distinguishing AHN', OAN , bears a certain resemblance to the syllable any, confusing them both in the deformity ong. At which would be understood, but would be quietly least they might become more intelligible by thought hideous. That the sound really passes calling the present sound oang. But it should be the and and that the observed that in there is no nasal vowel at all through both mouth nose, oang ; opening through the mouth is even more important there is simply an oral vowel followed by an than the passage through the nose, is well shewn orinasal resonance, the -mouth being entirely by closing the mouth with one hand, and pinching obstructed, so that if we prolong oa we have no the front nostrils with the fingers of the other approach to oan' at all, and if we prolong ng we hand. When this is done simultaneously the have much the same effect as would be produced by ceases not for the mouth the hand when oan'. whole sound rapidly ; immediately, closing by saying the air in the mouth and nose will resound till the observe that though closing the nostrils while air becomes too condensed. When the mouth only saying aen', ahn' did not very materially affect the is covered, there is only a dull nasal hum. When sound, closing the nostrils while saying oan' almost the nostrils only are pinched, there still remains a totally destroys it. In fact, there is great difficulty distinct though slightly altered sound of AEN', in bringing out any nasal sound at all. This very shewing that resonance in the nose can nearly singular effect seems to depend on the insufficient quite as well effect the result as resonance through outlet through the rounded mouth for both the the nose. oral and nasal resonances. It is useful as a characteristic distinction between //' and oan'. AHN'. Sing AH, and, while singing, open and Practise ahn', oan', ahn', oan', &c., where the the nasal close passage alternately, producing principal action consists in rounding the lips for Sec. V. VOWELS. 41 aen' oan' and aen' a oan' ahn' due as to the oan\ Then , , , Aft', ; , prominence, already directed, oral, oan' ahri aen' &c. Also introduce the and of the and avoid aen', ; ', o VI, VOWEL GLIDES DIPHTHONGS, TRIPHTHONGS, AND VOCAL B, The Nature of Glides. Pitch Glides. Place one the lower at the same with a | jaw time, though finger on a violin string, bow it for an instant, and little practice this can be avoided. Then between then, without ceasing to bow, slide the finger the AA and the EE, and throughout the change oi along the string for some little distance and stop position, a series of changing vowel qualities are " again, still bowing. Then a determinate note will heard, which constitute a glide," distinguished in be heard first and last, and between them a series this case as a "vowel glide" because both the of notes, following one another so rapidly, and extreme sounds are vowels.* differing from each other so that it is slightly Temporary Symbolisation of Vowel Glides, and impossible to distinguish them, although the effect Effects of Crescendo and Diminuendo. Represent- of a continually altering pitch, and, necessarily, of ing a glide for the moment by placing -|- between a of will be continually altering quality tone, the of the first and last we " symbols 'sound, may heard. This intermediate effect is called a glide." write the effect of the above glide, thus It is totally different from proceeding from the first I AA + EE,~or AA -j- determinate tone to the last by a jump of the Now perform the same operation with a crescendo finger without sliding. The same effect can be in force, and also with a diminuendo produced in singing, where a voice can "glide" (kraishai-ndoa) (deemeenooai-ndoa) in force from AA to EE, preserv- from d to s, for example, producing an intermediate ing the pitch. We for the moment write series of notes varying in pitch and quality of may " " these operations thus tone, and the effect is called portamento Crescendo <; diminuendo :> paor'taamai'ntoa. AA -f- EE, AA -f- EE. Increase the rapidity of the change in two ways, first Vowel Glides. But in the voice it is to possible making the AA very long, and EE very short, and make a of the glide quality only, retaining pitch, lastly making the AA very short and the EE very because a in the of the change form resonance long. Indicating the long and short vowels for chamber a of necessarily produces change quality. the moment by adding the words long and short Sing AA, and continuing to at the same sing * So far as I know, attention was first called to the moderate pitch, raise the tongue quite gradually to nature and existence of these glides, and the name for them the for EE or I. It will be found that the position proposed, in my little tract called "English Phonetics," raising of the tongue is mostly effected by raising W 6185, published in 1854. VOCAL R. Sec. VI. VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND The "clearness" and "smartness" of after the letters representing the vowels, supposing different. as is that in the first case they had equal length, both the glide are important, otherwise tho union not There must be a crescendo long or both short. We have the four additional perceived. always cases or diminuendo in a diphthong, so that one of the two extremes has more force than the other. The short. <: AA long -\- EE short, :> AA long -f- EE stress is generally on the vowel nearest to AA or short <: AA short -f- EE long, > AA -f- EE long. to UU in the Vowel Scale on p. 39. The glide is- the vowel I be used for EE. in all of which may longest and most intelligible, and hence generally that the On singing these it will be found the union is closest and best, when there is a con- crescendo < has a bad effect, because the force is siderable difference between the heights of the and that the thrown on the least agreeable vowel, tongue at the commencement and close of the with a short vowel at the end is worst of crescendo glide. Different speakers, provinces, and countries there is no time for the ear to rest all, because have, however, very different habits in these the and this causes a continual strain after glide, respects, and we must not be guided by our own attention. For the same reason a short is of glide feelings alone. All, however, regard diphthongs to a one. The diminuendo or ;> preferable long as single syllables. first vowel is glides, in which the or opening long, pro- duce the best effect in singing, because they are more Permanent Symbolisation of Vowel Glides. musical, and, though the voice glides off to a short Although the full way of writing the glide is that vowel, the result is not felt to be disagreeable, as it already indicated, a briefer but equally systematic was before, because the diminishing force renders method is to write the two extreme vowels together, it unattractive, and even difficult to apprehend. and place the short sign over the first letter or both But for the glide to be properly heard, it must be letters of the element which is weak or has least other in the smart." On the hand, speaking force, when it follows, or over its last letter or both diminuendo or > glide with a short first and long letters when it proceeds, quite independently of the second element is best for the force on element. aaoo, and ; being put length of that Thus aaee, to first is held a strongly the element, which very eeaa, ooaa (or aaee, aaoo ; eeaa, ooaa} are diphthongs- short time, the glide comes in for a large share of having the stress on aa, which is the first element second it, and is made conspicuous, while the in the first two, and the last element in the last element, continued quietly for any length of time, two. It is not necessary to mark the length of any gives repose and yet sustains the action. Some- but the element which has force, and then we the what of the same effect is also produced when write aa'ee, aa'oo, eeaa', ooaa', for a long element first element is the second element a consonant for long, provided under force ; and, using illustration, is also long. aaee't, aaoo't, eeaat', ooaat' for a short element under force. In speaking, the element without Nature of Diphthongs. Two terminal vowels force is generally short when it comes first, and with a in this form a connected glide way long when it comes last. diphthong (dif- thong ; this is the recent pronuncia- tion, though formerly dip- thong was used, and the Unanalysed Glossic Diphthongs. In ordinary pronunciation of the word is so given by Walker, Glossic the diphthongs are not completely analysed, in together with trip-thong, nap'tha, opthal'mik, all of because of the great variety of sounds common, without intentional which have now / and not p). The essential use assigned to each class any " in the character of a diphthong is the glide," the variation and without any change meaning classes length and qualities of the two vowels arc in- attributed to the diphthongs. But the 44 VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R. Sec. VI. " themselves are all especially distinguished by un- fault, which English singers must sedulously as or unalysed" forms, El, 01, OU, EU, by affixing avoid. Even a trace of nasality greatly injures the Y, W, or R to certain vowel signs. The difficulty fine quality of tone in the vowel AA. See Ex. 34. felt by those who have not been accustomed to El. observe spoken sounds, or to analyse diphthongs, English, Sung. The best form for singers is AA-T or A' 'I with a first renders this symbolisation of classes very useful long element, and a short to the I at and important. But as it is important for the singer sharp glide leading up the end to make the to understand how all these effects are produced, union evident. The sound AA is rather broad, and hence it is and to know how to avoid the numerous unpleasant advisable for the singer to get away from it into A' as soon as varieties in common use, the precise meaning of possible, and dwell the these forms must now be considered, in all the four greater part of the time on A', till he closes up ' with the and thus : aa short languages here treated. suddenly glide I, -j- long -j- short glide on to i short. He thus gets the best tone to sing on, and the glide from aa td 1. FIRST CLASS or WITH WEAK EE ' DIPHTHONGS, indicates the coming final glide sufficiently to FINAL. prevent confusion with simple AA or A', and produces the mental effect of prolonging the whole This class embraces all the forms in which the diphthong (which is, of course, impossible) instead last of the is that for or position tongue EE, I, of one of its elements. The sung diphthong is, UE, diagram 1. The real final is EE in Italian however, very different from the spoken one, and French, generally I in English and perhaps except for the word aye, which is usually aa-\ in German, and in some cases UE in German. sounds : u uu speech. The long -\- i, long -|- i, would be very disagreeable in singing. El. English, Spoken. The best forms for speakers are Ui or A'l, the first element loud and El. German. The German spoken diphthong " short, the glide conspicuous and diminishing in written ei, ey, ai, ay," is AAee or AAi. or AHee, force to the second element, which may be long or AHi. The first element is decidedly longer and short at pleasure, and is as often one as the other. more prominent than in English, and never rises The whole diphthong is often pronounced very to A' or obscures to H, UU. But as already short indeed, as in first personal pronoun, singular mentioned, in Germany, as in America, the first " number, when in connection with verbs, as I saw element is apt to be nasalised, and this defect must " be avoided. can the it a'i sau it, or m sau it, but may be very much The singer, therefore, take " " as in fie! or German EI as the but an lengthened, fa'r fu1\ The sounds precisely English ; AAi, UUi are just admissible, but not pleasant to English speaker who uses a German AAi for an my ears, although Mr. Melville Bell gives the English Ui or Ai is apt to become ludicrous. The preference to AAi. But AHi, AUT, OAi, must be peculiar German diphthong AAue is theoretically carefully avoided. Many Americans and Germans admitted by all German writers on pronunciation, for written forms " (p. 39), and even Englishmen, have a bad habit of the eu, au," but I do not not sufficiently closing the nasal passage by the remember ever to have heard it in actual use, uvula for AA, and hence will give a nasal twang to from ordinary speakers, or even in the pulpit, or AA, written ,AA, which is carried over to the on the stage. In middle Germany I generally following I, especially when an N follows, thus heard ahee, from ordinary speakers of the middle English "mine" and German "mein" will be class, with a very long ah and a conspicuous glide, " called mpain. This is a specially disagreeable thus distinguishing the sound of "eu, au from Sec. VI. VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R. 45 " '' that of ei which had a shorter But laa-ee'doa. aaee, glide. fully represented by v l) aa-airai, is in North Germany attee, used, like English OI, (2) aa-ee-faa, (3) bao-rai-aa, (4) peeaan-taa. In and this had "better be used by all English singers. singing, lay the stress as here marked (in the second and fourth cases on the second element), EI. Italian. Vowel Slurs. The elements in and take the whole to one or two syllables, Italian are diphthongs nearly equally conspicuous, according as the composer has assigned one or two and the is so that the connecting glide very short, unslurred notes to them, but always make both union and the effect is more appears extremely lax, vowels quite distinct. like two separate syllables than a single syllable, whereas the monosyllabic character is always well EI. French. The French have no original " " marked in and German. The Italians of this class their a'i more English diphthongs ; being " " " distinguish four kinds of diphthongs (1) sdruc- like an Italian ai aa-ee. But have several " they cioli zdroot-choalee or gliding, having the force on recent diphthongs of this class. Thus "ai'eul" is " " the first of which laido vowel, aere, aaai'rai, aaee-yoel (ancestor), as well as aa-yoel. And from l,nee-doa come near to (air, ugly) very being EI those final "il, ille," which used to be called ty', " " diphthongs; (2) piani pyaa'nee, or "even," and have now become ee or y or yh, several EI the force the " " having on second element, and being diphthongs have been formed, as goavernail really two syllables, because there is no at all naaee " aimaaee glide goovaer' (rudder), email" (enamel , between the as "aita" aa-ee'taa vowels, (help^ ; "Versailles" Vaer'saaee; and with other first " " ai-kweeleebraa-tee " " " " (3) equilibrati (equally vowels, accueil aakoeee (reception), oeil oeee which are two unaccented balanced), merely (eye), ''vieille" vyaeee (old\ All these are true vowels in succession without a spoken rapid glide, EI diphthongs in the sense just explained. as "Borea" bao-rai-aa (Boreas); (4) "raecolti" raakkaol-tee (close), in which the first vowel is a 01. English. In speaking, this diphthong, short but there is a real as when and in some other cases before very ee, 00, glide, final, (as z) , "pianta" peeaan-taa or pyaan'taa (plant). Of becomes aw\ with long first element, as in boy these the second and third are not properly bau'i, boys bau'iz, noise nau'tz. This is well the first to this and the for has diphthongs ; belongs series, adapted singing, and Handel sometimes third to the EE initial unaccented or third series many bars on the au. The singer must mind to " below. The Italian " ai gliding may be sung as close with a smart glide on to the i, or the effect of but it is safer all English aat, with the Italian the diphthong will be lost. Before s, however, the combinations of vowels to pronounce both vowels first vowel becomes short, and although it may clearly with scarcely any glide, or rather with such remain au, a more refined effect is produced by a diminution of force during the glide as would changing it to 0, as oyster aurster or orster, make it almost inaudible, but would not occasion rejoice rijauvs or rijors. The singer must, how- any real silence or total separation. This may be ever, use au'l as before. Speakers and singers " called a slur," and written at full by an inter- must alike guard against the vicious pronunciation ei posed -J- (which represents an imperfect -}-) thus, as an diphthong, thus rijaars ; and foreigners '/-f- 01, Italian, occurs only in the modified form AIY, German, occurs only provincially in the ao-ee, which presents no difficulty. form aii or aei for the usual aai in some particular words, and should be generally ignored. 01, French, does not occur, being altered to AIY, AEY, Italian, occur in the forms ai-ee, ae-le, ooee, see OOY, below. which present no difficulty. Forms of El Abbreviated Analytic Diphthongs. AEY, French, occurs in the form ae-eS, as it is usual In less systematic writing of Glossic, conseil koan'sae-ee or koan'sacy, the first element with final as to write the EE-final diphthongs a Y, somewhat long, the second short, and the glide aa'y any, ahy ay uy uuy, au~y auy oy for either almost reduced to a slur, for which reason the alii a'l ui au'i aui aa-ee aa-t, aai, uut, 01, or aaee, Italian form is here used, but koansaly would be ahee dee me uuee, au'ee auee dee ; and the Italian quite sufficient to indicate the sound. are not distinguished from the other diphthongs. OAY, occurs in the word This very convenient symbolisation will be German, perhaps only and its related but these generally employed in the examples of songs boje boayyu (buoy) words, are Dutch, and the form is given below, and in especial cases the form aay will properly buje booyyu " also used. be used for aye," which should not be otherwise as in the Short 12. The pronounced, Key, p. OAY, AOY, French, occurs (more usually as form for full systematic is, however, necessary aoy) in the pronunciation only of some speakers, This will in the intelligence. appear discussing where "oy" precedes a vowel, as royaume forms. following raoyyoam for r'waayyaum (kingdom), but as the latter pronunciation is always admissible, singers AI-Y. When AI has to be English. lengthened and speakers need not trouble themselves about there is a tendency in Southern English to say H, the former. see p. 30#, although the I is seldom quite reached, OOY, German, occurs in the exclamation and the glide is not smart. This is usually called only " or more the vanish," and some writers reckon it as a pfui pfooy. properly pfooi (fie !) defect, but others as the only correct pronunciation OOY, Italian, occurs as a very distinct oo--ee, in in all cases, while others allow it at some times and lui looy, that is, loo'-ee (him). not at others. It is no doubt very common, and occurs most frequently at the end of a word, or OOY, French, occurs in the form ooee. with a before t. " Some speakers even shorten the first very short first element in the word oui" (yes), element and say ait, which then rapidly degenerates which must not be confounded with the English 1 into aei" " ei, ai, a'i, and even aai. I have not heard wee, we," and, although in singing it is generally #'?, aai for ai, but am familiar with aei, ai, and taken ooee with the second element lengthened, the possibly within a hundred years hence an El sound first element never degrades into the consonant w. will be usually substituted for long AI in Southern In conversation and declamation the feeling of the English. The El sound, where now used, will moment much alters the sound of this very common then probably be altered, and be always aai, as it word, which is almost an interjection. Sometimes is in Essex, where the act sound is most frequently the second element, and sometimes both elements, used for ai, but all these matters, though very and hence the glide between them, are spoken to the important speaker, are indifferent to the without any voice at all, merely by driving flatus must singer, who say AI, and never use AI-Y at through the required positions. See H in Section if he wishes to " " ill, sing agreeably. See Ex. 35. VII. Distinguish ooy oui (yes) from tho Sec. VI. VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AA'D VOCAL R. dissyllable oo-ee ou'i (heard), and the Italian lui revulsion against it, the first element is often taken looy, from the French Louis Loo-ee (Lewis). This too thin, rising from a' to a and even ae, e, ai, diphthong also occurs in such words as depouiller giving the perfectly hideous forms aiio, aeuo dai'pooyyai or daipooee-eeai, &c. (common in Norfolk, Lancashire, and elsewhere), with euo or aiuo (some of the commonest London OEY, French, occurs in such words as ceil oey, and North Kent forms). These should be most that is, oeee (eye) which Englishmen have a carefully avoided by all speakers and singers. To tendency to confuse with their m or uui or aai, and hear, "round about the house" called raiuond call eil, that is, uil, uuil, or add, a pronunciation ubaiuot- dhu haiuos (even an unaspirated aiuos to Frenchmen. Such occurs is to the absolutely unintelligible !) most distressing ear, yet nothing is from born in words as accueil, cueillir, aakoey, koeyyeer' , properly more common speakers London, 1 akoe-ee, koeee-eeeer (reception, gather) must be even when well educated. well studied, and must be carefully distinguished OU, The form aauo is now from a/ceil, akeilyeer on the one hand and akerl, English, Sung. and the first element should be akerlyeer on the other. preferable, pro- longed. Also we may employ the device already recommended for ei when and TJEY, French, occurs mostly as a variety of sung, p. 44, quit aa for a 1 on which we dwell for the chief ueee (p 493) in lui luey, that is, lue-ee (him), which rapidly sound of the and then over to uo with a is more properly lueee, but I have mentioned it here note, pass short thus aa short a' short to draw attention to the great difference between quick glide, -f- long -j- to uo short. French lui luey and Italian lui looy, which English glide people constantly confound. The form ueee OU, German, is now always aauo or ahuo, with belongs to the fourth class of diphthongs, see the first element more conspicuous and more p. 49. There are a few words in which gueee lengthened than in English, and no other form is occurs. See under gui, in Sec. XIV., French. admissible, but it may be sung (never spoken) as the English sound. See German EI, p. 44. OU, Italian, has a loose slurring glide, like the 2. SECOND CLASS OF DIPHTHONGS, WITH WEAK EI, see p. 45#, in fraude//-aoo' transferred which is After the i is into oauo, ution, auoo, so that oa becomes provincial. I, however, to ou. When the transformation is completed, the generally lightly heard, as lute Iwot, but may be effect is extremely disagreeable in speech. I have omitted, as loo-t. Be particular not to confuse heard children in Hyde Park talk of lei'diz in u news moo'z with noose noo'z. Be particular also in bout for lai-diz in u boa-t, or at most lai'ydiz u not to change wo into eeoo, especially in cases Those where the I is as tr'eeooth for . boa-wt, and the effect was almost ludicrous. properly lost, truth oa or rule r'eeool English speakers who use ei ou for ai ai-y tr'oo-th, for r'ool, Susan Seeoo-zun for all of oa'w, generally use aay or ahy and aew or aiw for Soo-zun, which are very disagreeable. Also be not to too into the ei ou, and thus avoid the ambiguity. As was particular change French ue at time or some sound like as in Norfolk and observed on p. 46a, it is possible that some it, Devon- these changes may be sanctioned. At present, shire, and occasionally in Lancashire. And finally be oo although writers are still divided in opinion as to particular not to change a pure sound into too, whether oa- or oa-w is more correct, there is no as too two for too, afternoon aaf-termoo-n for doubt that ou is shocking to educated ears in aaf-ternoo-n, a habit unfortunately gaining ground even otherwise speech, and that no singer should allow himself among good speakers. Yery few " " to use this vanish at all. speakers distinguish yew yioo from you yoo, or hew yhoo or yhwo from hwo or yoo. The word human is usually hwo-mun or yhoo'mun, but humour often retains the older sound of yoo-mer. The 3. THIRD CLASS DIPHTHONGS WITH WEAK EE action of the \ in wo has been so little studied that INITIAL. neither educated speakers nor orthoepists have come to an agreement on the subject. This diph- EU, when not another con- English, following eu is often short in as in unite ' ' thong very English, in or sonant, either stands for simple yoo, as you monument ' eunei't, meaning yioonuit', mo>reument, else for yeu, as in yew,' and is employed merely meaning mon'^ioo-^-ment, that is, with a medial n, as for convenience. After a consonant, the actual explained in Section IX, not mon~^-yoo-^-ment. sound preferred is wo, with often a very short i as in tune dew dwo. Care has to be indeed, two'n, EU, German, does not occur in any form, but taken not to omit i and both of " the, say too-n, doo, for foreign words the Germans write ju," mean- which are common ; or to very vulgarisms pass ing yoo. through tyoo-n, dyoo into choon,joo, or even chwo-n, jwo, all of which forms may (unfortunately) be EU, Italian, as in piu peeoo (more), is very com- heard. When a consonant has been altered by the mon. In these cases the ee, though very short, is insertion of t before any vowel, the tendency of distinctly different from i, giving a peculiar is is of the English speakers to omit the i, which appears to brightness to the combination, which one be sufficiently indicated by the change in the con- Italian close diphthongs. See p. 45. All the sonant i is call other Italian with this short ee initial ; but sometimes retained. We diphthongs motion moa'shun, and ocean oa-shun, but fuchsia is are treated in the same way. fwo'sKiu, noifwo-s/iu; again, we call Asia Ai-shu, but Asian Ai'thiun, not Ai'shun, and with the EU, French, does not occur. unaltered s the * becomes a distinct syllable i in Asiatic A i'si-at'ik, though some prefer Ai'shi-at'ik. Abbreviated Analytic Forms for EU Diphthongs After a trilled r' the i is lost, thus true truth tr'oo Generally in less systematic Glossic we write a troo'thy not tr'wo tr'wo-th, and rule r'oo'l, not r'wo^l, simple Y for this initial I or ee, thus pyoo for both Sec. VI VOWEL GLIDES, DIPHTHONGS, TBIPHTKONGS, AND VOCAL E. 49 English pew pioo, and Italian piu peeoo, tune was given as ooee on p. 46, and this is perhaps the tyoo-n, dew dyoo\ dyoo, piano pyaa'noa, Italian commonest sound, but it is also often ooee with the miei myaey, meaning meeaeee. This is a very con- ee lengthened, and then it sounds to an Englishman " venient notation, and will "be used in the following like his we." Other common French forms are : songs, but it is not strictly accurate. odae, as poele (stove pooael, often called pooaal, and thus confused with fouet poil (hair) ; (whip) fooaet, often called fooaat, and ooaen', as point pooaen', coin (corner) kooaen', soin (care) sooaen'. 4. FOURTH CLASS OF DIPHTHONGS WITH WEAK 00 INITIAL. iieEE, French, is the common pronunciation of In English this weak oo initial is usually con- "ui," as lui lueee nuit nueee sidered to be w, and when not following a (him), (night). English- men have to guard against saying ooy on the one consonant it really becomes w, but only in English. hand, and wee on the other. Such When these diphthongs follow a consonant, as in pronunciations as looy, nooy, or Iwee, nwee are simply unintelligible. twin, dwell, quell, written, twin, dwel, kwel, the It will be found easier to practise ue-^-ee at first, effect is at times tooin, dooel, kooel, but perhaps and then w-ee, in order to hit the ue firmly, and, this is not such genuine English as tw'in, dw'el, after these are secure, to fall gradually into ueee. kiv'el, where the w' indicates that an attempt is The final form requires much practice to hit well. made to pronounce the w at the same time as the It will help the student to remember that the consonant, by bringing the lips into the w position tongue remains fixed for both elements ue and ee before the consonant position is changed. For and that the glide, or connection of the elements, singers, however, the forms tooin, dooel, kooel are is made with the lips only. Hence in saying neee, important, because they greatly facilitate singing, begin by putting the tongue in the position for ee and do not render the sounds unintelligible. (diagram 1) and lips in the position for oo (diagram and on the resultant ue In German no such diphthongs occur; the 12), then, dwelling (p. 290), " to make it the German quelle" being distinctly kv'ael'u. just long enough sensible, open lips suddenly to the position for ee (diagram 11), In Italian these are very common close diph- leaving the tongue steady, so that a smart glide is thongs, p. 450, and they even occur initially without heard in passing from ue to ee, and the full ee any prefixed iv, as in uomo ooao'moa (man), uova sound results. There is of course also a change of After k are as doao-voa (egg). they frequent, throat, which is wide for ue and primary for ee^ but quanto kooaan-toa (how much), questo kooais'toa this will occasion no difficulty when the student (this) where the vowel effect is clearly heard. But can once move his lips without any motion of the in the following songs I have followed the custom tongue. The following words should be practised of writing w, as wao-moa, wao'voa, kwaan'toa, both in speech and singing, till this diphthong kwais-toa, which would be more generally in- (easy enough in itself, but generally taken very telligible to English readers. Singers, however, badly because its mechanism has not been under- must remember that oo is both easier for the voice stood), becomes perfectly easy : puis (then), puits to and nearer the correct sound. (a well) pueee, puine (born-after) puiteenai, puisei (to draw, as water) pueeezai, puisque (since) In French these diphthongs are very frequent, pueeeskeo, puissant (powerful) pueeesahn', buis (box- " " since oi is almost always called doaa, as oie wood) bueee, buisson bush) biieeesoan', bruit (noise) " " 0000, doit dooaa, croix krooaa. The word oui br'ueee (the r occasions great difficulty), bruine- r>o VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R. Sec. VI. (dri/zle) br'ueeen, tuile (tile) tueeel, tuilerie (tile English, both received and provincial, though they manufactory) tueeelree, truite (trout) tr'ueeet, are unknown in received German, Italian, arid induire aen' dueeer' cailler French. In received occur in (to induce) , (spoon) English they two kueeeyder\ cuirasse kueeer'aas, cuisinier cook) forms. kueeezeenyai, cuisse (thigh) kueees, cuivre (copper) cuir kueeer' not Vanish Murmur Diphthongs, AAii, AUu. First tcueeevreo, (leather) (observe, kw'eer, " as a " vanish of thus which as Hood makes his Englishman say of the French : aa, au, aa'u, au-u, " arises from the and They call thin leather queer, And half their shoes carelessly raising tongue greatly are wooden" fuite fruit diminishing force while finishing off aa, au, and as ; ( fueeet, fr'ueee, flight) " " such are to the other vanishes ai'i suite sueeet, suivant (following) sueeeevahri juif comparable or oa-uo or oa'w (jew) zhueeef, juillet July) zhueeeyaet, ruisseau ai-y 'pp. 300, 460), (pp. 36a, 47#), and should be as avoided the (stream, gutter) rueeeson, luir (to shine) lueeer, muid carefully by singer. (hogshead) mueee, nuisant (hurtful) nueeezahri . True Murmur Diphthongs, EER, AIR, OAR, Abbreviated Glossic Forms for the 00, TIE OOR. Secondly they occur after these and other Initial Weak Diphthongs The oo is usually vowels as a substitute for R', which may be always written w, thus the French ooaa, ooaen' become added on after them, and must be so added on waa, waen' in oie doit croix soin waa dwaa kr'waa when a vowel follows. In ordinary Glossic we sivaen'. And on the same principle the ue should write EER, AIR, OAR, OOR, in order to convey become which bears the same relation to w as to have never studied wy\ English readers, who speech^ ue to oo, thus lui cuit Iwy'ee kwy'ee, but to prevent the nature of the sounds heard. But these symbols any confusion with wee, wyee, this notation will would entirely mislead a foreigner. "When no not be used hereafter. vowel follows, no R' is heard in Southern pronun- ciation, but in place of it simply u, to which the Triphthongs arise by the union of an EE or 00 voice glides in the true diphthongal fashion. It is initial with an EE or 00 final diphthong. In also the regular habit of educated English speakers English and German they do not occur. In Italian to change the quality of the vowel in each case from are as miei meeaiee vuoi they frequent, (my), primary to round, and in place of ee'ii, ai'u, oa'u, vooaoee thou suoi sooaoee for which we (wilt , (his), on-u, which have become "old-fashioned, or vulgar, as write, an abbreviation, myaiy, vwaoy, swaoy, but or provincial, to say i'u, e-u, ao-u, uo-u, and it is the other symbols indicate exactly what must be thus only that ao occurs in received English. Thus said. In French occur ouaille ooaaee " written in sheep , peer, pair, pour, poor," English Glossic 1 written as are to doyen dooaaeeyaeri', &c., waay, dwaayaeri , peer, pair, poar, poor, really be pronounced &c. The singer will always use the vowel form. as pru, pe~u, paou, puo-u. And when a vowel follows, as when the syllable "ing" is added, the trilled r must be annexed, so that we say pvur'ing, pe-ur'ing, pao'ur'ing, puo'ur'ing. There is indeed f>. FIFTH CLASS OF DIPHTHONGS ENDING IN AN 1 no objection to saying pi-ur^pe-u'r ,pao-ur\puo-ur\ OBSCURE AND HENCE CALLED MURMUR DIPH- U, even when no vowel follows. But the u with the THONGS glide leading to it must be inserted in each case, as These consist in gliding from an original it is this vowel and glide which indicates the accented vowel to a short obscure u, or an presence of r to an English ear. To say pee-r ing, j indefinite obscure murmur written h as the mere pai r'ing, poa r'ing, poo'rwg, as may be heard from symbol of voice. They are very frequent in foreigners, and even occasionally from Scotchmen Sec. VI. VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL R. 51 and Americans, has an extremely strange and even as in trilling an r' which does not precede a vowel. uneducated effect to Southern English ears. The " words "glory, glorious," which often occur in Inserted R'. In case of such words as par, " north it is " sacred music, must never be sung gloa -r'i, gloa'rius, of course allowable to use the vanish" but always glao'ur'i, glao'ur'ius. With this par- and say paa-u, nau'uth, but in the South of England ticular diphthong, containing the beautiful vowel it is usual to say simply paa, nau th. The aa-u, ao, another error is also committed, as ao is not au'u may, however, be heard at the end of phrases, familiar to us in other combinations. The whole as : below par, in war, oiloa- paa-u, in wawu. combination ao~u is changed into au, and thus you This leads to a curious misapprehension. The may hear glau-r'i, glau'rius shouted out, and speaker, proceeding by natural analogies, entirely " " "oars," properly ao-uz, spoken of as awz ; and loses sighft of spelling. To him papa, law have reduced to tau\ All this as much to this " vanish" u as "tore," properly tao-u, just right par, war ; should be corrected. The English singer should hence he says pupaa'u, lau'u. Immediately some- not only be able to sing i'u, e'u, ao~u, uo'u, but be one learned in spelling laughs at him for adding aware that these sounds are more adapted for on an r' or aa-u, as the objector calls it. But the " " singing than the inadmissible sounds eer', air', oar't speaker has merely made a natural vanish and oor', from which they were derived, and even than has never thought of an r . But worse remains the admissible i'ur', e-ur', ao-ur' uo-ur. They form behind The speaker has always been accustomed difficulties for to r' foreigners, but the Englishman finds add an after the murmur diphthongs i-u, e'u, even greater difficulty with the foreign sounds, ao'u, uo'u, when a vowel follows, and says chi u where no change of the vowel is allowed, and the (cheer) but chiu r'up-, (cheer up), tvu tear; but r is trilled. To a German, dir (to thee\ mehr te-u r'up- (tear up), bao-u (bore) but bao'u r'in (bore uhr are in muo-u but muo-u (more),rohr (tube), , clock), pure deer', mair', , (moor) r'up (moor up,. Why oor1 and would be then should not avoid a roar', , di'u', me-u', rao'u, uo'u, we disagreeable gap almost unintelligible, and would be startlingly between two vowels, and say: pupaa-u r'iz dhe-u strange to his ears, unless indeed he accepts them (papa is there), dhu' lau'u ru'v dhu' land (the law, as of the forms common, but faulty, German or lore, of the land, the true cockney would make l l l l uvular as roa oo r. In no difference a' room r, dee'r, mai'r, r, Italian, , drawu'r'ing (a drawing where a true trilled r' is only used, they would be room) . Or rather, as we English generally have still worse, although the vowels ai, oa sometimes a dislike to aa'u and au~u before r', he leaves out become ao' before r' dire dir ae, ; compare (to say), the u as soon as he puts in r', and says pupaa- r'iz, volere voler (to wish\ amore amor (love), pure pur lau- r'u'v, drau'r'iiiff. It is usual to say that this is mestiere mestier oro or has (however , (business), very horrid, and the singer who any desire to which are dee'r' ai voalai-rai must not for one instant fall (gold , dee'r', voalarr', be thought educated aatnoa'r'ai aamoa'r' maisteeae'r'ai it it is in strict accordance poo'r'ai poo'r' , into ; but very natural, maisteeae'r' ao'r'oa ao'r . In French habits of and , also, though with our present speech, can only be the uvular '? is common, no u must be inserted, corrected by an entirely extraneous and very but we must call dire to say), faire (to do), ignore difficult study of orthography. When spelling four sure rules. (is ignorant of), corps (body , (oven), is known we have the following leur 1 (sure), (their , simply deer', faer', eeny'aor , Avoidance of suer loer' . learner will Rules for the Use and English kcor', four , , The English Never make a murmur find much difficulty in keeping these vowels pure Murmur Diphthongs and not widened and at the in when E, does not in (that is, primary , diphthong speech appear same time riot introducing his favourite u, as well the spelling. Never make a murmur diphthong 52 VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, AND VOCAL K. Sec VI. by putting a vanish to aa, au, or even by adding u called mwauu. Similarly, memoir mem'wau, devoirs ' to aa, au, when a following R is not written. devwau-z, reservoir rezuvivau-u. ' Choir is now " Never fail to make a murmur diphthong when R is always kwuiu, and is even spelled quire" in the written after ee, ai, oa, oo. Never fail in such a Book of Common Prayer. case to make a trilled R' the vowel follow- precede EIRE', EIEER', EIUR'. When a vowel follows ing the murmur diphthong. Never introduce a this combination different usages prevail. In trilled R' when R is written and no vowel "fiery" the custom of inserting the "e" shews follows. These rules are difficult, and the that three syllables were meant to be taken, as system of English Glossic avoids them with great fm-u-ri, but in singing only two are usually ease and without notable alteration of the spelling. " taken, as/ww-r'i. In tiring, inspiring, desirous," But the rules must be well mastered by all singers. and such-like common words, the glide must be To prevent any misapprehension, the apostrophised used, as tmu-r'ing,inspiiiu-r'ing,dizmu-rus; indeed, r' has been used whenever the r is trilled, through- to split the mu into two syllables, ui-u, has a very out this treatise. slovenly effect. To distinguish these cases easily in Glossic Murmur Triphthongs are frequent in English. common English we write feir, leir, dizei'rrus for the true They are formed by gliding from an ordinary ei, fei'rr'i, inspei'rr'ing, triph- and or oi, ou, eu diphthong, in whatever form, it occurs, thong, fei'err'i, inspei'err'ing, fei'ur'i, 1 on to a short u. inspei-ur ing for its division into two syllables. OTMIR'. The case of EIR, OIR. In the case then of the two first OTJB, OTJRR', OUERR', " " ou is nearly the same. "We hour uuou in one there is a waving glide, as it may be called, for say with two from u to uo and then the tongue first rises to the high-front or ^-posi- syllable glides, back to u again, the first and tion, and then sinks to the raid-mixed or w-position, making sharp clear, and the second relaxed and faint. But here on or at least as far as the high-back or u -position. account of the of the Thus ftrefuiu orfa'tu, lyre luiu. This produces a rounding lips interposing between two unrounded there is still more check or constriction in the flow of sound, and vowels, difficulty in the effect readily gives rise to two syllables, as fui-^-u, keeping monosyllabic pure, and persons hesitate much between uuou and lui-^-u. Hence great confusion prevails. But in wwo-f-w, running off into tshe second on the slightest singing, such words form strictly one syllable, and inducement. In this case, as in the the hence the singer should practise the glide care- former, older English writers of verse make two fully. The first glide to the must be taken generally syllables. When a vowel follows, this effect is sharply and strongly, to bring it well out, the to I more ready appear. Using the common English second form to u should be weak and just Glossic method of our for uuou, and ouer indicated, in fact, as our writing shews, it is not writing for uuo-^-u, as more easily understood the more than a slur (p. 45a) and above all the final u by eye than the true we hear flower should not be dwelt on, as otherwise the effect of systematic writing, flower, flowery err' i or two syllables will be produced. If the sense seems flour, flow flou'ur'i, power pour, pou-er, overpowered oa-verpowerd or pou-rd, to require a strong ending, add a slightly trilled r\ shower shour, shouer, sliou'err'i or as fuiur', hiiur . The oi-diphthong seldom runs showery " " shou'ur'i. But in singing as a general rule the on to a glide. The word moire is occasionally true has to be and hence it called moiu, but it is not an English word, and if triphthong taken, should be much it should occur in English singing the word had practised. better be treated as a French word, and called EUR, ETJRR'. The case of eur offers no more or as an French and than the it is mooaar, anglicised word, difficulty ordinary triphthong ; Sec. VI. VOWKL GLIDES, DIPHTHONGS. TRIPHTHONGS, AND VOCAL R. 53 iuo-u the first dimply with two glides, quite unpleasant. To call the first set of words suu-f, distinct, the second more lax. Thus cure ktuo-u, stuu-, muu- would be unpleasant, because it is an pure jnuo'u, or in ordinary Glossic keur, peur. unusual broadening of the vowel. But to refine to be no also in the the in There ought difficulty keeping vowel the second case, and say su-f, ku-, " " triphthong pure when a vowel follows, as curing atu-ni, ju-ni, although it may sound thin to is written kiuo-u-r'ing (which kewrring], never those accustomed to uu-, has not at all an ill effect, is written Kioo-r'iitff (which keu'r'ing). Observe and, so far as my observations extend, it has then the necessity of writing rr' to indicate this. become the general custom of educated speakers to renounce a difference of usage, which was very Vocal E or to TJ-, TJU' In all EE, Equal Long. difficult to carry out strictly, and to employ the these cases of murmur diphthongs and triphthongs finer sound w in all cases. As this finer sound is we have had the of an R,' " " degeneration original represented by er in most cases in older into a vowel on to which a vowel pure u, preceding spelling, the symbol er has been used for it in How this could arise will be seen here- glides. ordinary English Glossic. This er, however, does after. Glossic Index, under It is now (See tl r.) not simply mean u~, but it implies the liberty of the received and must be only pronunciation, lightly trilling an r' after it, when no vowel observed. . Short vowels do not occur strictly follows, and the necessity of trilling an r' after it before this but as this sound is a sound, really vowel, if a vowel follows, thus 1 write serf for both " it and often The " " may be, is, lengthened. singer serf and surf," and also ster, mer, ker, aterni, has learned to it like other already lengthen any jer-ni, implying w in each case certainly, and wr" vowel. It is for him to ku- quite easy sing pw fw in each case permissively, but not ur', which would or kuu- and he should even know to puu- fuu-, how have a thoroughly strange effect. say ke'- pe'- fe'-, ku'- pu'-, fu'-. These four vowels Vocal E or EE in Weak Syllables. This covers w,u'', uu-, e'- are different from each other, and all difficulties in accented syllables. In unaccented yet very closely related in sound, the two first, syllables the range of vowel writing is much u-, u"- are barely distinguishable, but the two last greater. According to Mr. Melville Bell the uu-, e'', although also barely distinguishable from sound is generally u\ which need not be anxiously each other, form a contrast with the other, being distinguished from u, as the difference is more felt deeper and thicker and broader. Now in many " " by the speaker than heard by the listener. Hence accented syllables er, ir, yr are written, as in " " I shall hereafter use u only in such cases. Thus, serf, stir, 'myrrh," and in others ur, or, our" " doller dol u, observer obzu-vu elixir eelik-su, captor are employed, as in surf, cur, attorney, jowrney." kap-tu, murmur mu-mu, honour on-u. "When the Scotch speakers, who do not use the vocal R at all, trilled r' is which is allowable where here make a and in the added, always great distinction, say aer', " " there was an original r in the writing, it is first and uur' in the second set, although not and the glide on to it is so weak, that uniformly. In many provinces, where the "r" very light, the effect is not at all like an accented ur'-. Hence is differently pronounced, speakers make a similar here in Glossic we write distinction. Hence, apparently, writers on English again ordinary dol-er, the mere pronunciation have sometimes insisted on the obzer-ver, eelik-ser, kap-ter, mer-mer, on-er, *' " of er in an unaccented the correctness of a similar distinction in ordinary position syllable telling whole speech, and would pronounce the first set of words, history.. as say, su-f, stu-, mtr, and the second as suu~f, Distinction of Weak Final A and Weak Final kuu- atuu-ni, j'uu'ni. It is certain that when such EE. But now a difficulty arises, which is felt as a a distinction is made, it does not strike the ear as great difficulty by persons of imperfect education. VOWEL GLIDES, DIPHTHONGS, TRIPHTHONGS, A.ND VOCAL R. Sec. VI distil- ur uv The final unaccented a in a large number of words but must do so if a vowel follows, as ' But to add on a trilled r' to is pronounced precisely as or u, that is, precisely spir'-its, $c. "villa, dhis vil'ur' iz this as the vocal r in the words just cited. Thus pica drama, Flora," as prif.-i, dram'ur', pm-ku, sciatica sm-at-iku, idea uidee-u, sofa soafa, iz hevi, dhis Flao-urur' iz broa-kn, is looked upon as m - acacia ukai-shiu, umbrella umbr'el-u (not um extremely vulgar. Hence, although in ordinary before consonants there is no difference far'el'u), villa vil-u, drama dr'am-u or dr'aa'mu, easy speech asthma as-mu, China Ohurnu, era i-ur'u, hegira between the unaccented or weak terminations in both A f drama, Flora," may be pronounced vil'a', dram-a", of drau u, drau-uz, the murmur diphthong awu are indeed not so but this "drawers" not Flao-ura. They unfrequently being unpleasant ; ought " pronounced, and the pronunciation is esteemed as to rhyme with claws, paws." because in these the " " eminently elegant and refined. The singer, too, vanish au'u (which has the same sound) would " is counselled to sing them always in this way, be out of place, and draw, draws" should never 1 because the a is a much more pleasant quality of be called drau-u, drau'iiz for the same reason. But tone than u to sing upon To write Glossic a in an drawer (one who draws) is always drau-u' . Hence unaccented or weak final or initial syllable points we write in common Glossic draw drau, drawer draur, this out perfectly, because a itself would never be draw-er drawer, draws drau'z, drawers draurz, not ' sung upon if it could be avoided, and has been only to shew the distinction, but to point out where already mentioned as an allowable substitute for a an added trilled r is or is not permissible. Of " " even in closed accented syllables (p. 34 a) But to course, all these "permissions and "prohibitions " sing a' in such words as distiller, hammer, to add an r depend upon an older state of the restorer," thus distil'a', ham'ct restau-ra', is con- language, and at a future period customs may sidered very bad indeed, and to show either great entirely change. But the singer has to learn the ignorance or great affectation. Again, these three educated literary received pronunciation of 1870-80 words not only may end in a trilled r' at all times, and no other. Sec . VI. VOWEL GLIDES, DIPHTHONGS, TBTPHTHONGS, AND VOCAL K. in No Vocal E German, Italian, or French. 60 (p. 47#), which is uu'-^-oo, or uuoo, the glide being There is no such thing as a vocal r in received formed only by closing the lips from the wide open or French but in German in to the -round form. This is a German, Italian, ; high Lancashire and unaccented syllables, the common "r" often Derbyshire "lip glide.'' Similarly, uu-\-oa or uuoa " " " e " renders the preceding obscure, that is, like u is a very common lip glide diphthong in the eier or u\ Thus German (eggs), feuer (fire), South of England, and may be constantly heard bander (ribbons), manner (men), are aarur\ foi'ur\ in the exclamation, "Oh!" and in a doubtful " " maen-ur with a faint weak on ! the of 60 it be baen'dur\ , very glide No On analogy may written " " to the r', which, however, is never lost, so that 6a. The common vanish oa'w is also of the " " final e", and er," on which much of the sense 60 class, for it is generally made by bringing the thus depends, are never confused, eine gute frau (a lips closer together, while pronouncing o, without good woman), ein guter mann (a good man) are raising the tongue, and hence is not completely distinctly aai'nu' goo'tu' fraau, aam goo'tu'r oauo. Both 60 and 6a should be avoided, and the faint trills exist in rnaan-. Similarly Cumberland, full oo, oa should be struck firmly and clearly. A " " Derbyshire, and many provinces. The Germans, similar lip glide would occur in i-\-ue or \ue use the uvular l r French and in or aieo however, very frequently (see i, compare ueee, p. 49(5), al-\-eo also in Glossic p. 51, and V Index, Section XII) and e-\-oe or eoe ; also in aa-\-ao or aaao. And in trilled like in place of the r', our own Northumber- the same way we might alter other vowels. Many land speakers. of these occur as provincialisms, and all have to be sedulously avoided, except as exercises to become acquainted with their effect and learn how to correct it by knowing its nature. There are also 6. OF " SIXTH CLASS DIPHTHONGS, ARISING FROM throat glides," where the lip and tongue remain TONGUE GLIDES, LIP GLIDES, THROAT GLIDES, at rest, and the change is effected in the throat. GLIDES. AND NOSE The most marked of these is i-\-ee or iee, written where the throat is narrowed utterance. The classes of diphthongs here enumerated are e'e, during This is also a and South Lancashire properly speaking not the only ones which can or Derbyshire be avoided. do occur. In most of these cases there is an sound, which should in alteration of position of the tongue, or of both There are also nasal diphthongs, which one or are nasalised. This is tongue and lip, or of tongue, lip, and throat. The both elements particularly " tongue may move alone, forming tongue glides," the case with ei diphthongs when an n follows which is the true nature of the "vanish" ai'y (see p. 44#). In this case we have, therefore, "nose as in which should also be avoided. (p. 46). And the lips may also move alone, glides," carefully 56 JLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIEATES. VII. GLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIRATES. Glottids Defined. The subject of the present from a tap into a jug, or decanter, as it fills. This Section is of extreme to the and cannot be used the it is as much a noise importance singer, by singer ; it should be well studied. The speaker also will and an annoyance as the wind-rush over the find it useful in correcting many faulty methods of mouthpiece of a flute. Hence the singer has to commencing vowels, especially after consonants. avoid it as much as possible. In other positions, " " " The nature of the glottis is explained on it forms consonantal hisses," to be considered p. 180. "Glottids" glot-idz are actions of the hereafter. glottis and the parts connected with it, as the vocal chords, which compose its sides, and the H', Whisper, Glottis Contracted. The edges in so emission of air which passes through it, and is of the glottis are brought nearly contact, air especially regulated by it, on its way from the that the division of the into "puffs" (see lungs to the outer air. Their action is to start and p. 186) is very imperfect indeed, and the result lies flatus and the end a vowel or other sound, not to modify it, that between the former subsequent " " it is is, they deal especially with the attack and voice. It is much used in speech, because " " release of vowels, and the emission of un- sufficient to make the vowels distinctly intelligible rocalised breath, with its passage to vocalised to an ear which is close, and even, with an effort, breath. to a whole theatre, but it is very fatiguing, a especially to the lungs, as it consumes very large it is not intended to be H, Flatus, Glottis Open. Keep the glottis quantity of air, even when wide open, and force the air from the lungs rapidly heard at a distance, and it is totally unfit for it vowels are written 'ee through (see p. 180). When this flatus passes singing. Whispered thus, t vowel as &c. subsequently through any position, thus i'u, iu, Hi, of which the first has the most on driving puffs of air through the vocal chords, distinct and the last the most indistinct termin- finding a clear passage, produces a much more ation to the glide. Writers of dialectal specimens audible flatus, and the result could be almost " to oak 1 written should never use the often use ea, oa" express eeh', , among jee^/i. Singers write " and in are other sounds ; some, however, eer, ear, gradual glottid, speakers England air," and so on, where no r' might be sounded, recommended to discontinue it. In the release while the presence of r in writing necessarily eeih, oo/A, if the vowel positions are maintained, implies some permission at least to sound r'. In we obtain effects like ee'yh, oo'kh, which are such cases eeu, aiu, &c., or eeh\ aiti, &c., are the extremely unpleasant, although in some languages proper symbols, as they forbid the use of r in (as Danish) they are received. speech. As all vowels require this action of the the vowel ee are glottis, signs t aa, 00, &c., supposed to include it. 1 Clear Glottid. The glottis is closed to the voice position, before the air is driven from the Gradual Glottid. is or in I The glottis open, lungs, but the chords are held only loosely against the state for producing flatus, when air first issues, each other, so that the air can immediately force and is rapidly contracted to the whisper state, and them asunder, thus tee. The effect is that the then closed for the voice state. The vowel position voice begins instantaneously, and without any of the resonance cavities having been assumed, say preparatory flatus or whisper. Similarly in releas- " " for ee, the result is that we hear a glide in the ing, the air should cease to be forced from the quality of tone, of which ee, 'ee, ee are parts, the lungs before the vocal chords are separated. The " " flated vowel ee gradually passing into the result is like a clear or clean edge to the vowel whispered vowel 'ee, and this again gradually at both ends, thus feet, as distinguished from the " " passing into the full vowel ee. This gives an in- burred edge of the gradual glottid ?<^. This distinct, blurred kind of commencement of the is the true method of attacking and releasing vowel, called the "gradual attack," and written vowels for the singer, and all speakers who wish jee. It is common, enough in careless speech, but to be heard well at a distance should employ it. it is wanting in precision for the singer, because The effect is extremely neat and pleasant, from the his true singing tone ee is preceded by an un- absence of unnecessary noises. It should be most musical series of sounds, and although they are diligently practised, and great care should be much shorter than the note themselves, they are taken to avoid not only the gradual glottid but always more or less offensive. If, as sometimes the check and jerk presently to bo described. As happens, the flatus is made more prominent, which every vowel is supposed to begin and end with the may be written ihee, a sort of aspiration is produced clear glottid, unless some other method is indicated, where none should be uttered, and this has a very it is not necessary generally to indicate it. It bad effect both in speaking and singing. After clearly separates syllables between two vowels the vowel is established it may leave off in the which do not glide or slur on to each other. This same way, the vocal chords gradually separating has been hitherto pointed out by the hyphen, " so that we have a reversed glide or gradual which, however, indicates properly a union and in of kai-os release," ee, 'ee, ee, which may be written eej. not a separation. Hence place chaos if The whole effect is therefore written jeej. This it would be proper to write kai-fos, or there is gradual release is still more common than the the usual slur kai-^-os, but for general purposes the gradual attack, and produces even a worse effect, hyphen or accent-mark suffices, as kai-os, kai'os. because the force of the wind, previously expended The difference of the slur kai-^-os and the clear 58 GLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIRATES. Sec. VII. attack kai-fos, is something like that between effect of the check attack and check release, as taking two notes to one bow or to two bows on the ;ee;, is useful in singing extremely staccato notes, violin. as it effectually separates the notes, with more suddeness than the clear glottid, though not so Check Glottid. Let the vocal chords be so ; pleasantly. tightly compressed, that it requires more than ordinary force of wind to be sent from the lungs H or Jerk, HH, HI, H;. The air from the in order to separate them and allow a "puff" to lungs may be laid on gradually, clearly, or pass. This produces a staccato (staakkaa-toaj suddenly. In singing and speaking the "clear" effect. When a stone is sent from a sling, it method is generally pursued, the lungs being well leaves the thong with a clear, well-defined initial inflated, and only just so much wind being velocity, very different to the sudden action "turned on" by the action of the muscles of the produced by striking the stone with a very ribs and of the diaphragm (dei'ufram, or muscular hard hammer. The former case resembles the separation between the lungs and stomach, &c.), as clear glottid, and the latter the check glottid. will suffice to keep the vocal chords in proper There is a kind of explosion about the check action, and force regular puffs through them. The which is disagreeable to English speakers, but it gradual method is not convenient for speaking, is very characteristic of the German habit of and impracticable in singing. It would imply speaking. It is not commonly used in German for imperfect vocalisation. The force of air set on by every initial vowel, but principally when it is the clear method may vary considerably, produc- desirable to shew that a consonant .does not glide ing more or less loudness,. as in the crescendo and on to a neighbouring vowel, as in "erinnern" diminuendo of the singer. The sudden method of (remind) aer';een-ur'n, not u-r'in'en as Englishmen setting on the air implies a "jerk," or an action " " it unausstehlich and usually pronounce ; (unen- suddenly made very great rapidly diminishing " " durable) oo"n;aaoo's-shtai'leeky' h. This check to something small. This jerk is made by a man is not considered a beauty in German, and hence with his diaphragm, the action of which may be need not be imitated by Englishmen, who, how- felt by placing the hand on the pit of the stomach. ever, should put on the clear glottid ? to indicate By a woman the jerk is effected by the muscles the division. It may be interesting to know that between the ribs suddenly contracting the lungs. the check is used as a means of accentuation in By a pair of ordinary bellows we may illustrate " " Danish, as mand (man) maa;n, and it is one of this action well. After opening the bellows in the the Arabic letters, called haamzaa. It is quite usual way, we may compress them very gently, unknown in Italian and French. A vowel may be and thus make a faint stream of air come out, released the as well as it a candle flame. This answers to upon check, begun upon ; scarcely moving this is accomplished by closing the vocal chords quiet respiration. We may gradually increase the suddenly, and so tightly close that the air, which is force, producing a strong motion in the flame. still driven from the lungs, is condensed and checked This answers to a crescendo. Or we may compress suddenly. The effect is heard in speaking when a the bellows suddenly, producing a violent jerk, is " out. This is vowel suddenly interrupted, as in saying : Did which will certainly blow the candle you see the ca...?" meaning "cat," supposing a strong H. But we make the jerks slight and that the speaker were suddenly unable to finish successive, which will blow the flame aside and the word. It is also not much dissimilar to a allow it partially to recover, without extinction. hiccup. As a release it forms one of the Chinese This is an ordinary quiet H. These "bellows' tones at Canton, called the shoo;. The double actions" of the lungs (or physems/ei'smz) require Sec VII. GLOTT1DS, ATTACK AND RELEASE OF VOWELS, ASPIRATES. 59 much study by the singer, but belong more to the ending with a simple clear release, as hieej. management of the voice and breath than to pro- h-}ee?, hfact? h^aaj. hiaa?, to quick and slow notes. " nunciation simply, and must consequently not be The last gives the singing laugh," which would further treated here. Now suppose that the be thus quite clear and 'ringing. It is my own glottis were open, the result of a jerk in case of practice, I believe, so far as I have watched myself, C actual speech would be to produce flatus A, with to use hf rather than hi initially in speaking, and considerable initial force, which may for the I find it a very common custom in England. It moment be written hh, where the first h repre- appears also to be the custom in India, as I have sents the jerk only. If then the mouth were been told by educated natives, to use the clear placed in the position for any vowel, as ee, we jerk /<} only, and certainly the old Sanscrit writers should have hee, instead of an hh, which does not on speech-sounds, do not justify the assumption of distinguish the position of the vocal organs above a previous hi in that language. In ordinary the vocal chords. If then we passed on rapidly to Glossic hi and hj. are not distinguished, and h Q 'ee and ee as in the gradual glottid, we should simply is used, leaving it undecided which form have an effect which might be written tyee, as should be employed. But in almost all English distinct from the ihee before employed. The words which begin with "h" in writing, either difference between h^ee and ihee consists in this, h? or hi must be pronounced. The exceptions are that hiee begins with a sudden large amount of very few, and have diminished of late years. " flatus, and hence with a very perceptible noise, Even now hour, honest, honour," and their whereas ihee may begin with merely such an amount derivatives, have no "aspirate," but "humble, as is perceptible, without being very striHr.g. The hospital, herb, hotel," have it almost always <; tyee is an "aspirated" (as'pirai'tedj ee in the (though "hostler" is now written ostler," the " " ordinary meaning of the word. It has the mani- h having disappeared even in writing). Atten- fest disadvantage of introducing an unmusical tion to the proper insertion of h has become a kind " amount of flatus quite unsuitable for singing. of test of education, persons who drop their This HI is, however, regularly used in German, ai-chez" being considered out of the pale of and in Scotch, and is used by so many English society. Hence the greatest possible attention speakers, that it is never wrong to employ it, must be paid to its due insertion. Those who do not however disagreeable it may be. It is quite usually employ h are apt to substitute a check, and unknown in Italian and French, and many other say ;at for hat. This only serves to call the especial languages. But just as hj is a jerked gradual attention of hearers to the speaker's defect. glottid, we may evidently have A?, a jerked clear Others give a careless gradual glottid iat, as if glottid. This would be produced by bringing the there never had been an h. This must bft over- glottis into the position for the clear glottid, before come. The high Germans, like the Scotch, never setting on the air from the lungs, and then setting fail to "aspirate." The Italians own that they on that air with a jerk. The consequence would have no aspirate at all. The French, who talk of evidently be a vowel-sound beginning quite clearly their "h aspire" (aash aaspeer'aij generally " " but very suddenly and rapidly diminishing in replace it by a clear glottid ?, as le heros leo force to the usual amount, thus hj.ee. It is quite jairoa (the hero), the main test to their ears being evident that this is the proper method of marking that the preceding vowel is not elided, or a pre- the place of the aspirate by a singer, because it ceding consonant run on to it. This test fails foi makes the effect perfectly perceptible, and adds the single word "onze" (eleven), for they say nothing unmusical. The singer should carefully lae wan'z oer', leo ?can'z due mwaa for "les onze " " practise this clear jerk with all the vowels heures, le onze du mois" (eleven o'clock, the 60 GLOTTIDS, ATTACK AND RELEASE OF VOWELS, ASPIRATES. Sec. VII. eleventh of the month) although the word was diphthongs, and care should be taken to produce never with h. spelled Some French actors try to the effect of the clear jerk on weak or unemphatic the flated but pronounce jerk hi, they generally syllables without producing the slightest effect of fail. In the South of France, however, I am told that hi is common, but that is not the received pronunciation. A curious fault with many Croak, Bleat, Wheeze. There are several other such as the croak or Englishmen (and some Low, not High, G-ermans) important glottids, Danish ,r, " is to omit the h it letter the Arabic bleat called and where ought to be sounded, and r," i, '.aayn, sound it where it ought not to be heard, and this wheeze 'A, called 'haa, but as these are very especially happens when the speakers are nervous, difficult sounds for Englishmen, and do not occur and wish to speak particularly well. This can in the languages here treated, they need not be only be overcome by patient practice on the use of further mentioned. the open and closed glottis without reference to is particular words. The first great difficulty is to Why H the Only Glottid written in Ordinary make such speakers hear the difference, and this Glossic. Of the glottids here treated, the aspirate is best effected by means of artificial words, to h is the only one indicated by a special letter in which no association is attached. See Section XI, ordinary Glossic. The clear glottid ? is Ex. 16, and Section XII, Glossic Index, under H. sufficiently indicated by the absence of any letter Contrasts are very useful in case of much or symbol of glide. It is only in discussing points : as : ee ee ee hee hee hee ee hee ee hee : of that the clear has to be difficulty, \ pronunciation glottid : : hee ee hee ee ee hee ee hee ee hee ee hee hee : from the check on one hand and the \ \ distinguished : hee ee ee \ and so on with all the vowels and slur on the other. CONSONANTS. VIIL CONSONANTS, voiced Consonants The nature of consonants be done with consonants, but as the flated con- is in so far the same as that of vowels, that for one sonant is so common as to have a special symbol, it whole series of them the vocal chords are set in may be placed before or after that of the voiced action in the same way, and the voice resounds in consonant to shew the change; thus in German the same cavities, so that the only real difference sie's (she it) jzees or szees ; and in English, seas " consists in the modifications of those cavities, (plural of sea ") seezi or seezs. which are of a nature to render the emitted voice of of in most (not all cases, entirely unmusical and Mute Consonants. Both these series con- " " unfit for singing. These are called voiced sonants have decided sounds of their own, which consonants. can always be prolonged for a sensible time, and in most cases quite as long as any vowel. Hence the Flated Consonants. -In another series of con- ordinary definition of consonants, implying that sonants, the voice is not set on at all, but the they can only be sounded with a vowel, is incorrect. larynx being open, merely flatus is modified by But there is a third series of consonants which resonant passages, so that the only real difference have absolutely no sound of their own, which are of the resulting sounds from flated vowels (p. 56) merely positions that entirely obstruct the passage is that the resonant chambers are more obstructed. of sound, and which are therefore only effective " These will be called flated" consonants. by forming the initial or final point of a glide of voiced or flated sounds, both of which glides occur, Whispered and Gradual Consonants. Of course the latter being very common in English finals. ' the flated consonant can glide into the voiced These consonants are called mute." Both the " " " " " consonant, which has the same resonance cavity, flated and mute consonants are voiceless." precisely in the same way as the flated vowel into the complete or voiced vowel, and in the interval Systematic Arrangement of the Consonants. " " a whispered consonant will be generated. The Consonants have been classified in numerous ways. glide may also take place in the reverse order, When all the consonants used by different nations from the voiced through the whispered, to the whose speech has been investigated, are taken into flated consonant, and this transition is more consideration, or even all the consonants used in common in English, the first case being common the received and provincial pronunciations of the in German, and neither occurring in Italian or four languages here considered, they are so French. In the case of vowels, as only the voiced numerous as to render any classification difficult " " vowel was recognised in writing, this gradual and complicated. It will be necessary here to change was marked by prefixing or affixing the consider all the received consonants in English, gradual glottid to the vowel sign. The same may German, Italian, and French, and some others 62 CONSONANTS. Sec. VIII. whicn occur provincially or arise from imperfect from the lungs is unable to escape by the mouth or atterance, because they must be noticed in any nose, and consequently such a condensation of the directions for perfect speech and studied when air is rapidly produced within the mouth as to they occur, to avoid them. The Systematic Table prevent the production of any sound audible of Consonants on p. 17 contains only 80 out of externally. Hence for B, D, G there is an audible much more numerous forms used in various voice sound which cannot be continued beyond a languages. The capital letters in the Table very brief period without altering the position indicate the 23 English consonants, the small which shuts it off. But there are evidently two Roman letters indicate the 8 additional consonants other means of producing sound, by driving flatus used in German, Italian, and French; and the into the same aperture, or by suddenly raising Italic letters shew those 49 further consonants the larynx, or otherwise condensing the air. The which occur regularly, occasionally, or only pro- first of these might be distinguished as "flatants" in all will and the second as vincially four languages, but have only (flai'tentsj , "implodents" to dents which is the name Dr. be incidentally mentioned. (imploa* J , given by Merkel the first who drew Oral and Nasal Consonants. The linear division (Mae^'hl), person " attention to them. The second only are known is first into two great groups of 70 oral," and 10 " " to exist in and also I the nasal consonants. In the first the nose is Germany, (as analyse effect of the definite article for t'man=d maan) entirely inactive, the uvula being pressed firmly in Yorkshire, &c. They may be written as B, D, against the back wall of the pharynx. In the G, shewing that the condensation of air, which is second, the nose is open, but more or less of the the peculiarity of B, D, G, is effected not by th<- oraA cavity is allowed to act with it, the peculiarity entry of voice, but by the contraction of unvoiced being that the waves of sound pass into the outer air in an enclosing cavity. These then form the air through the nose only, by the entire closure of 1 4 imploded shut consonants. These sounds are of the mouth at different places, as for the mute considerable importance dialectally, but the singer consonants, but the resonance is partly oral. In " " has simply to avoid them. both divisions the voiceless and corresponding " Central Oral Consonants, Hisses and Buzzes. voiced" consonants are placed under each other, " " " " In the 26 central consonants there is an un- the three great divisions of voiced," flated," " " obstructed narrow passag-e left between the tongue or imploded," and mute," being distinguished and the palate, forming more or less of a central by these names. Some voiced consonants have no groove, as for the EE-position (diagram 8). This corresponding flated forms in the Table, because to the 13 "voiced" consonants more or such in gives forms are not use, although of course they " less tbe character of a of which Z is exist. buzz," the type; and to the 13 "flated" consonants Oral Consonants. In the 70 oral consonants " or less the character of a " more hiss," of four different grades are distinguished shut, which S is the type. The groove, however, may central, lateral, trilled." be almost obliterated, as when the soft lip or Shut Consonants, Mute, Imploded, Sonant The tongue touches the teeth, and the breath can only " " 22 shut consonants close the aperture of the get through by the yielding of the soft part, as in. mouth against any passage of flatus or voice. The the hisses F, TH, and the buzzes V, DH. These " voiceless series contains the 9 " mutes proper, as were placed by Mr. Melville Bell, and after him by K. " P, T, The voiced series contains the 9 me in the Standard Cour&e," p. 61, in the next " sonants," or voiced shut consonants, as B, D, G, division, but 1 think that they are far more in which the voice is set on, but the air forced suited to this division. Sec. VIII. CONSONANTS. 63 lateral Oral or L Class. In the 8 1 2. Consonants, & ORAL CONSONANTS WITH LIPS (1) HOUND "lateral" consonants there is a central (latur'eli AND (2) FLAT. obstacle, the point of the tongue closely pressing P. Shut Mute. Lips Round and Flat. The against the hard palate, round which there is a lips are brought into close contact as tolerably free passage. The type of the 5 ''voiced" (diagram 15), when the but the teeth forms is L, the most vowel-like of all the oral breathing through nose, are kept apart, and the nasal is voiced consonants The type of the 3 flated forms aperture closed, unless the sound is meant to be ori is the Welsh "11" or 'LH, in which one of the following -nasal, as sometimes in lateral happens French only, as in paon passages (the left) is generally blocked. pakn' (peacock), hence it is generally closed. The Trilled Oral or K' Class. In Consonants, the is glottis also closed for the clear attack ? on the 14 "trilled" consonants, the central passage is following vowel in received English, Italian, and obstructed by a flexible valve, which is made to French, but many English speakers have the vibrate the action of the by passing air, very much for glottis open the gradual attack ;, the effect of in the same way as the vocal chords themselves, which must be considered in the next Section, and but as the valve acts much more sluggishlv and those (chiefly Northern) Germans who distinguish the result is a imperfectly, periodical interruption P and also B, generally use the gradual attack j. of the passing flatus or voice, known as a "trill." The lungs are ready to emit breath directly the The of the voiced forms is R' type 7 , the 6 flated closure of the lips is relaxed, but not an instant forms are only incidentally in use. Among these before ; this is an important point. With the clear are included two r and rudimentary forms, t( "r, the attack, only one that singers should use, the which are not trills proper. lips open, the lungs are compressed, and the voice acts at the Contacts and Approximations. The 13 columns same moment. This should be carefully " studied to avoid breathiness." in the Table indicate an arrangement by the parts Say p?aa, not nor nor of the mouth which come either actually or nearly pjaa, p- h}aa, p-fyaa. In closing with the clear the in contact for the formation of these shut, central, release, compression of the lungs ceases as the lateral, or trilled, openings or obstructions. The lip position is reached, as aa?p. If this is the close of a sentence or first 12 are arranged from left to right, so that the phrase, generally the is point of approximation of the organs passes from glottis immediately opened, and a certain the to the extreme of amount of flatus is driven out to relieve the lips back the mouth ; for the " " thirteenth both the extremities come into action. speaker, written thus aajph, or a slight click is The names written over each column shew by heard, written thus aa?p, this is neither always nor most what organs the approximation is effected. The frequently the case. These peculiarities will be examined and words "point, front, back" refer to the tongue. explained in Section IX. The particular action for each caae will be In the meantime observe that when paa, aap are explained afterwards. This Table of 80 con- written, p^aa, aa?p are meant, the clear attack being the sonants may be compared with that in the only proper mode of speech for singers, and " the final windrush or click Standard Course." p. 61, for the English 23 being unmusical and consonants only. In describing the mode of permissible only on special occasions, to be here- after examined. forming these consonants and their peculiar powers, it will be most convenient to take them in the order of the cohunns, which is that of their B. Shut Sonant. Nose shut off, lips firmly physiological formation contacts and by approxi- closed, voice set on and forced by the lungs into mations. the cavity of the mouth, which is placed in 64 CONSONANTS. Sec. VIII. readiness for the following sound. As long as the recognise either a P or a B sound. When P is the voice a dull lips are tightly closed, produces expected a B seems to be said, when B is expected muffled sound, rather of the nature of a grunt, a P seems to strike the ear. But at the end of altered in effect which can he considerably hy syllables no implodent is possible except as follow- the the hollowing or rounding cheeks and lips ing a mute, and hence only P is said. On this and can he continued (keeping their edges closed), German peculiarity are founded many bits of fun, for ahout a or at most two seconds, hut the second, German being always made to say exactly will he finally stopped the condensation to what an would always hy contrary Englishman say ; but of air in the mouth becoming too great to allow of the fun is often driven further than actual use " the proper formation of waves of sound. In allows, as in Leland's Breitmann Ballads." sound never lasts a actual practice the beyond very Attention is drawn to it here for the use of English small fraction of a second, but it is always enough singers, that they may know that this is a local to distinguish P from B, that is, a glide on to a peculiarity which need not be imitated, and that if with absolute following vowel commencing silence, they cling to English use, pronouncing P or B a with a con- as for P, from glide commencing according to the spelling, they will be as well tinued voice sound, as for B. B is quite clearly understood as Germans themselves, and merely be produced in English, Italian, and French, and no considered to have a refined pronunciation. Three difficulty is felt with it in these languages. But years residence in Saxony has rendered me Germans do not usually distinguish P and B, and thoroughly familiar with a confusion which at when they are anxious to do so, they use pi or first seems incredible to an Englishmen. p-hi for P, and in case of B continue the voice or "grunt" for some time. Both ihis gradual or W, V Central Buzzes, and WH, F' Central Hisses. It is in these that the jerked gradual attack and grunt should be avoided round and flat of the become of as quite unmusical and unnecessary, even by positions lips importance. The Germans, and should never be acquired by English position of tongue is also different for the W and V. The voiced forms are taken first singers of German. No Germans learn to dis- "W, V because are best but the action of the tinguish P and B when final. They profess to say they known, is shewn best in the flated forms P but very often say B, according to the glides lips WH, F'. which occur. See Section IX. The W is a peculiar English consonant which I have not met with elsewhere in Europe. The B. Shut, Implodent. This is the sound sub- WH seems to occur in some pronunciations of stituted for P and B at the beginning of words in Spanish, as Juan Whaan-, but whether this is a large part of Germany, and more especially in received or local or provincial I do not know. Saxony. The entrance to the nose and the passage Even in English WH is passing away, and is little through the lips are closed as for P, and even the heard even in educated Southern pronunciation. larynx is completely closed by the epiglottis, so But many words are distinguished by its use, as that the air in the mouth is thoroughly inclosed, wheel weal whee'l wee'l, which should be no more and has no room to escape. Then by a strong confused than : feel veal fee' I vee'L Hence the muscular action the larynx is raised, forming a singer will have to deal with it as he deals with F, piston, which compresses the air, as in a condens- and make its flatus sensible, though he must ' ' ing pump, or a common pop-gun." The result always make it short, because, as long as it lasts, " is a dull thud," which somewhat resembles the flatus is always a positive interruption of the "grunt" of B, but is yet too different from it to music. For W and WH the lips are brought allow those who know P and B familarly to together nearly in the high- round position Sec. VIII. CONSONANTS. 65 (diagram 12), but the aperture is closer. The air is driven between the lower lip and the upper tongue is high-back or in the oo-position (diagram teeth upwards to the edge of the upper lip. If If 5). the aperture of the lips were the same for the hand be held just before the lips when saying oo and ^v when the voice is set on, an oo vowel wh and /' forcibly, the different direction of the would of course result. Germans, Italians, and flatus is well felt. For /, as is well known, the Frenchmen, not perceiving that, the opening of the lower lip touches the upper teeth, and the flatus is lips is too small to admit of anything but a buzz, forced between the lower lip and the upper teeth, treat our w, therefore, as simply the unaccented so that not only is the lower lip more contracted initial do of a diphthong. This is of course under- than for /', but the hiss is much stronger. The stood, though felt as an inexplicable foreignism by blowing for wh is like that of heads of Boreas or an who himself hears the Italian other wind with cheeks and the Englishman, gods, puffed lips ; uomo ooao'moa as wau'moa, a sound which would blowing for/' is like the blowing with a thin flat be also understood, but also felt as a foreignism by stream of wind to cool hot tea or soup. For V an Italian. The English feels the Italians ooai for it is only necessai-y to set on the voice instead of his wai much too "thick." The real difference the flatus, but the effect in moving the lips is not lies in the lips. When oo is pronounced the lips so apparent. are quite stiff and motionless, their only action is ' ' ' ' to round or diminish the cavity of the mouth The Germans always use V in place of English to make its resonance deeper. But for w when it W, and of English V, neither of which they are is pronounced forcibly (and this is better felt for able to pronounce without much practice. The iv h, as flatus has more motive power than voice), consequence is that they seem to say w in English the edges of the lips tremble slightly, and the air when v is expected, and v when w is expected. It inserts itself between the teeth and the lips is possible that the Londoner's and Kentishman's " " (especially the upper lip, and just beyond the- confusion of his w, v may arise from his corners of the lips; blowing them out like a sail, saying v' in both cases. This was asserted by Dr. as may be seen in the mirror, and easily felt by Beke, but it is so many years since I have- been placing the tips of the fingers lightly at one time able to hear the sound from lips to which it was over both the upper and lower lip, and at another native, that I cannot say positively what they do. just beyond the two corners of the mouth, while At any rate when a German talks of one vulgar uttering ivh and w forcibly for as long a time as woman, saying v'aon vtiol-gar' v'uom-en, the possible. Of course, when w is pronounced in the Englishman is apt to hear von wuol-ger vuom-n. I " " usual brief manner this bagging of the upper know two or three Germans, long resident in lip is no longer visible, but it can be just felt with England, excellent linguists, who speak English the finger. By uttering ooai wai, ooaa waa, &c., well and with a good choice of words, who have in rapid succession this effect may be better got over other difficulties, often thought insuper- perceived. It was for this reason that the lips able, and who cannot (or at least do not) pronounce were said to be "round" for W, perhaps "inflated" the English W with certainty. In the North of or "bagged" might have been more expressive. Germany V is said to be used even in speaking On the contrary there is no bagging of the lips for High German I have never yet heard V from a V, F'. The lips are by contrast "flat." The German when speaking his own language. The tongue is not necessarily raised, as for w, to the sound of V is so much more musical and better high-back position, it seems indeed to be rather in suited to the singer than V, that singers are the position for the next vowel. The corners of recommended to use V for V even in English the mouth are rather pinched in than not, and the singing (not speaking), and at any rate to bestow 66 CONSONANTS. Sec. VIII " " is reinforced and the great care upon its acquisition if they wish to sing then qualified by German songs. resonance of the cavity of the horn itself. In the W and WH occur in English whenever they are case of the French horn, the performer's hand enables so written as the beginning of a word (except inserted at the bell opening, him to alter words beginning with who, in which the w the pitch and quality of the tones. The analogy between this and the motion of the vocal is not attended to . V occurs in German wher- chords, ever w is written at the beginning of a word, and the cavity of the mouth and action of tongue, is " also in the initial combination qu-," called kv-'. complete, and may serve to render the operation F' occurs in German only after P, as in pfahl more evident. is (post) pf'aa-l, where the combination much For 'br voice takes the place of flatus, and con- easier than pf as pfaa-l, for which the under lip siderable exertion is required. This sound is to be drawn back and as sound of had suddenly pressed against interesting the voiced 'jt?r, and also the upper teeth. But most of the educated Middle for being used in a very forcible state, with a clear to use and Upper Germans are now learning pf. and almost metallic rattle, for stopping horses bys Some German theorists wish to use /' whenever a German coachmen. In a very tight state, it is " " German word begins with v, as von (of), vater a defective utterance of r in England and I l (father), thus f'aon, f'aa-tur'; but cannot probably everywhere, written wr in Glossic. The recollect this in it exist in l loose as noticing practice ; may lips for wr are tight, not for w, with v" as some districts. Both/' and occur the sounds which it is usually confused, especially in print, v of written "f, v" in Hungarian. The occurs because w is the nearest sound to it, but those " " l also for written b, v in Spanish. But all four who really use this wr, resent the notion that they consonants w, wh, v\ /', are absolutely unknown say w. The tightness of the lip much limits the in Italian and French. amount of trill, and hence makes the sound more like w, but the sound is generally much more 'PR 'BE, 'WK, Lip-trilled Buzzes, Lip-trilled lengthened than w. This is the drawler's very Hiss. For ( flatus driven " pr being forcibly through rude ve'wr-i 'wroo'd, usually written vewy wude" the closed are made to and lightly lips, they open in Punch. It is needless to say that singers must shut with thus and l great rapidity, interrupting have nothing to do with 'pr, br, or 'wr, which are the current of air Babies checking alternately. here explained merely to be corrected. l delight in the sound of pr, but the principal reason for calling attention to it here, is that it roughly represents the action of the vocal chords in the larynx, which open and shut in the same 1. NASAL CONSONANTS WITH ORAL RESONANCE manner, only with much greater rapidity and LIMITED BY ROUND LIPS. perfection. The lips are sluggish and require much force to move. By controlling the extent M Shut Hum, and MH Shut Snort. For m of their vibrations by muscular action, or better the lips are as for b, but the uvula is advanced still a of the vibrations be 22 so that the voice to the by ring metal, may (diagram >, passes outer confined to the extreme edge. The mouth-piece of air through the nose only, but is permitted to a trumpet, French horn, or Trombone, is a con- resound in the whole interior cavity of the mouth, trivance of this kind, and it is this vibration, this just as it does for b, but with the advantage of series of puffs, which produces the musical tone. a free outlet, when the nose is in a healthy and This tone, therefore, receives its original pitch unobstructed state. If the nose be obstructed by from the tension of the lips and force of the wind, pinching the nostrils tightly, the same sort of Sec. VIII. CONSONANTS 67 muffled sound will be heard as for but even t(*ttm b, decidedly Some persons say t j&im, which sounds qualified by the resonance of the nose, and it will must be carefully avoided. But when m forms a rapidly cease by condensation Various other syllable by itself, singers will find it convenient to changes of quality can be effected by compressing follow this hint, and say kaz'u'm, &c., making the the nose at different places and with different 2 buzz very short, taking the chief length of the j degrees of force, from the end of the bonv part, note to the vowel u or u at pleasure, and ending down to the nostrils. Such experiments shew the with a sharp glide on to m. which will be just meaning of nasal resonance When there is much faintly touched, so as to have as little of the dis- mucous Smeu'kus) in the nose owing to catarrh agreeable nasal resonance as possible. In saying (kataa-r), or cold in the head, the resonance is kaz'm properly, the buzz of the 2 is heard till much injured, and m comes to sound rather as a the mouth closes for m, and the uvula being defective b, which may be written bm\ It may be immediately opened for the nasal sound, there is imitated when there is no cold in the head, and is merely a nasal glide while the tongue is removed said to exist as a usual sound in Westmorland. from the z position, so that no vowel at all is The m itself is so vocal that complete airs can be possible. executed which are then said to be upon it, For mh, flatus is treated in the same way as " hummed." It will be in found, however, voice for m. It is not an acknowledged element in the scale and down that the running up upon m, any mode of speech. But it is recognised in is active. The lower is " ' tongue very jaw depressed English by Mr. Melville Bell in lamp, which he and the in the low-mixed for tongue low, position writes lamhp. The meaning of this will be the low notes. As the the pitch rises, jaw rises, understood hereafter, when we come to treat of the the teeth lock, and the rises in the mid- tongue glides. mixed form (diagram 4), the resonance being much injured if the tongue is not kept in the mixed position. The peculiarity of the tone 3. ORAL CONSONANTS WITH LIPS AND TEETH. makes it desirable that singers in general should F Central and V Central Buzz. These not dwell upon it, although as an occasional Hiss, formed the action variety, musical parts have even been written for are the only consonants by joint humming; thus Mozart in the Magic Flute has of the lips and teeth. The lower lip is somewhat more or less given a few bars to Papageno (Italian Paa'paa- retracted and pressed tightly against jai-noa, but in the original German opera, always the lower edge of the upper teeth (diagram 18) and forced between the teeth Paa-paagai'noa), which are entirely sung on m, his the flatus or voice being lower mouth being supposed to be closed with a padlock. and the lip, blows the lip slightly upwards of the on the Hence m acts as a true nasal (as distinguished from and outwards. The pressure lip of and as it a French ori-nasal) vowel. The reason why it is teeth may have any degree force, usually classed as a consonant depends upon its lightens the lower lip is less retracted, till finally mode of gliding, hereafter described. It occa- the flatus and voice passes the teeth so easily that sionally forms a syllable in English, as in rhythm the ear cannot tell whether / or /', v or v' were it is find v fith'm, chasm kaz'm, spasm spaz'tn, prism priz'm, intended. Hence not usual to both and " in are in and our numerous -isms," as sophism sof-izm, v recognized any language (as they where it forms a distinct syllable. But in the Dutch, where, however, v is rather yo or fv, see termination -Im, it ought not to do so, as elm elm p. 610). In German, for example, though v' is not el-m, film film' not fil'm, because the I is also extremely common, v presents such great diffi- in vocal, and glides on to it as if it were a vowel. culties (p. 65) that even Dr. Merkel describing 68 CONSONANTS. Sec VIII. it shews that he did not appreciate it, and hence prominent. Then W and V, a very difficult we may believe that those who assert the presence exercise, and, still more difficult, V and V. Much of v in German are in error. English, Italian, practice is here necessary. The final /and v must and French have distinct v but no v\ German has also be especially practised to avoid lengthening is the / in general use, and f after p, but even this /, or adding on an / after shortening v, and lost. six forms iv h v thus or instead of haa-v. becoming The w, f ', /, v, saying haa'vi haa-vf are thus distributed Unnecessary flatus must be avoided by the singer on all occasions. English wh w / v German f v' f Italian / v French / v 4. ORAL CONSONANTS WITH TEETH AND POINT OF In modern Greek where v and not v' is re- TONGUE. cognised, I have heard all forms from v to v, the TH Central Hiss, and DH Central Buzz. The dental character increasing with the vehemence of point of the tongue is brought against the upper the speaker. Probably the same may occur in teeth so that a small portion of it can be just seen Spanish, and possibly the Italian v is thus below them, but the thickness of the tongue rests descended from an older Latin v\ a change which against the back of the front teeth, so that the tip has also occurred in the Indian languages. of the tongue is not actually between the teeth The singer has to use / in all four languages (diagram 25, in which the teeth are represented as here and v in all but where he too far at the time treated, German, apart) ; same the top of the employs the much pleasanter v\ Of course if the tongue rests against the side upper teeth rather or has no front teeth he must use in singer speaker tightly, much the same way as for t, so that 1 f and v in all languages. But singers are bound really the greater part of the flatus for th and voice to fill up any gaps in the front teeth at least, to for dh passes between the teeth and the tongue. prevent any deterioration in their quality of tone. There is therefore not a great deal of difference in In singing, the sound of / being entirely unmusi- the effect of the hisses of / and th, both being cal, must be reduced to the smallest possible produced by forcing the- hisses of air between a sufficient to it stiff for dimensions, make audible, but real tolerably obstruction i^lip / and tongue for audibility must be secured, even at the expense of th}, and a perfectly unyielding obstacle (the teeth musical sound, or distinctness of speech will be in both cases). Hence /and th are easily confused altogether lost, because the glide from / would be The principal difference lies in their effects on a confused with the glide from p. The learner must following vowel. Such a phrase as vat fin fin ov vit practise such exercises as faa faa faa, paa pace, paa, fikfish would be unintelligible in place of dhat thin faa paa faa, paa faa paa, with all vowels and at Jin ov dhis thik fish, and foreigners do not confuse all pitches, slowly and with great rapidity, taking th dh with/, v, but with their f and d\ which have care not to make the hiss of / too prominent, and nearly the same position and glide. In Orkney } should place a friend at a distance to inform him Shetland, Kent, and part of Sussex, the words " by silent signals, which is heard in each case. the, they, that, those," &c., are pronounced with Sounds without meaning should be chosen for this d. Under certain circumstances dh becomes d, and purpose, in order that the ear of the listener may th becomes t in other dialects. Of course, no not be prepossessed. V and B should be exercised educated Englishman is liable to make such con- in the same way, the buzz of V not being too fusions. Sec. VIII. CONSONANTS. 69 The sounds of th, dh, are by no means peculiar as to completely prevent the passage of air to English. Icelandic, Modern Greek, and Arabic, through the mouth, but yet to leave a considerable have both th and dh, Spanish has two sounds cavity between the top of the tongue and the which strike the English ear as the same, and palate just behind the place where the point of Danish has dh. But it so happens that these the tongue is made to touch the palate. The sounds are utterly unknown to Germans, Italians, glottis is ready for the clear attack, but no air is and Frenchmen. For them the simplest rule is, driven from the lungs till the tongue begins to " place the point of the tongue between the teeth move from the palate, just as for P (p. 63 and the anti try to say s, z." The result, though imperfect, formation of D and D from T is precisely the is at least always intelligible. same as that of B and B from P (p. 63), and need The singer must treat these as he does /, v ; not be described again, but D requires especial make the hiss and buzz very short, but audible, notice because it is the only implodent constantly and rely chiefly on the glide. He should exercise used in some English dialects. In Cumberland, himself with th, dh, in precisely the same way as Westmorland, Yorkshire, and Durham, the definite the with/, v, and should vary the exercise by mixing article is regularly pronounced d or d', and all four letters together, as faa thaa vaa dhaa, in Lancashire, Cheshire, Derbyshire, and North faa dhaa vaa thaa, faa dhaa thaa vaa, and so on. Lincolnshire, it has that sound occasionally, its And it is still more necessary for dh than for v regular form there being the simple hiss th. In " final to avoid the release such a as at the the gradual ; beware of phrase door," "the" sinks making bree-dh into bree'dhi or bree'dhth, because it into d in all these counties, as aat d doour', with is very common at the end of a sentence, and very gentle /', which is sometimes quite inaudible. because the final whisper would spoil all delicacy In singing provincial songs this has to be attended of effect in singing. to, as d or th is not reckoned as a syllable, and hence has no note allowed to it, but in either case there is an interruption to the music, which for general purposes has simply to be diligently & 8. ORAL 5, 6, 7, CONSONANTS, WITH (5) GUMS avoided. AND POINT OF PALATE AND POINT OF TONGUE, (6;. The position of the tongue for T, D seems to be TONGUE, (7) THE FRONT OF THE TONGUE ARCHED peculiarly English, in Europe, and perhaps in the OR CONVEX TOWARDS THE HARD PALATE, AND world. The Indians recognise it as the same as that of their "cerebral" letters. (8) THE FRONT OF THE TONGUE HOLLOWED OR (ser-ibrelj But these are more for which the under COXCAVE TOWARDS THE HARD PALATE. properly ,T, ,D, (instead of the upper] side of the point of the It is convenient to take these four series together tongue is pressed against the same point of the because are so they closely related that one helps palate, or one slightly further removed from the to the other. explain gums. This hollows out the front of the tongue behind the point of the tongue, and gives a T, T, Shut Mutes Shut ,T ; D, D', ,D Sonants, peculiar shape to the cavity above the tongue, D, D', Shut For ^D Implodents. T the lips and which is also affected by the way in which the teeth are the open, upper surface of the point of tongue has to stretch out sideways to form a firm the is tongue pressed firmly against the hard closure with the side teeth. The effect of this behind the palate, just gums, but not touching hollowness on the following vowel is rather them (diagram 16), and then the outer is so that taa daa are margin marked, t t really quite distinct over the spread palate and against the teeth, so from taa daa. These sounds are mentioned here 70 CONSONANTS. Sec. VIIL because of their connection with other important S, SH, S', T'H Central Hisses, and Z, ZH, Z', sounds in the same column, and because Anglo- D'H, Central Buzzes. Those who whistle are Indians are so much troubled with them. In fact, aware what changes they produce in the resonance the "re- of their mouth the motion of the our t, d positions lie exactly between by tongue, verted" and the "advanced" for which in must allow the air to t t, /?, t', d', every position pass which the upper surface of the tongue is brought centrally over it towards the lips. For S the front " firmly against the gums, with the under part of the tongue is arched," that is, it is convex at resting against the front teeth, the rest of the the upper part (diagram 19), and the sides are held closure being formed with the sides of the tongue firmly"by the palate and side teeth (diagram 28) so and the side teeth as before. These are the "dental" that there is a narrow channel over the upper surface still t', d' of almost every nation of Europe except the of the tongue, narrowing more towards English, and notably of German, Italian and the point of the tongue and between it and the and also occur in India as well as hard and teeth. of the French ; they palate, gums, The point d. The intermediate character of our own t, d is hard and and is t t, tongue kept quite stiff, perfectly renders it extremely difficult for an Englishman to unruffled by the passing flatus. The lower lip is hear the difference between the two Indian pairs somewhat retracted. The glottis is wide open. of d' and This is the so-called "dental" s. letters, t', f, t d, although important ordinary Very differences of meaning exist according as one or little change is produced in the hiss by bringing other is used, and I have been told by Indian the point of the tongue over against the lower " Civil Servants who had been many years in India, gums, and advancing" the strongly arched front that they were unable to hear the difference. Yet to form the very narrow channel between tongue a native Indian who spoke English well and had and teeth. The sharpness of the hiss depends on been in France, in speaking with me at once the narrowness of this channel, and appreciable " " " identified his dental" or advanced d' differences of effect t', with are produced by widening it, the French, and his "cerebral" or "reverted" among other reasons, because it is then difficult to " " d with the consonants. dental ihe stiff t t, English The keep tongue enough. This advanced 1 f, d certainly occur in some English dialects form of * is useful as a corrective to those who before and tr' r, especially when follow s, and have a tendency to lisp, which arises from bringing a listening to German's sfr'aong for strong may the point of the tongue in the first position so near assist the learner to a right appreciation of the the bottom of the front teeth as almost to strike it. sound. When not quite striking, the effect is that here " " written fh, and is said to be the sound of z After these explanations it will be seen that an in Tuscan (the best) Italian, when followed by Englishman need not trouble himself with " acquir- i" and another vowel in an unaccented syllable, t' d' for ing t foreign languages. His own t, d as f grazia (thanks) grace' heeaa, vizio (vice) resemble and can occasion no closely them, mistake, vee't'heeoa, but this is not the pronunciation because never occur in other they European recommended for English singers, who should and are not offensive to the ear. The languages, use the recognised graa'tseeaa, vee-tseeoa, without chief difference in the action on the being vowel, caring even whether the t should or should not be and if that is attended to all will go right. It is t\ The true Spanish z is said to have the same when an to India only Englishman goes that he lisping sound, but Englishmen are here recom- has to learn the two other of and " pairs sounds, mended to use their own th. Say cats, nets, although this is a matter of great practical pots, cuts, puts" kats, nets, pots, Jcuts, puots, and importance we have to do with it here. t nothing observe the effect of the on the following s, in Sec. VIII. CONSONANTS. 71 drawing that part of the front of the tongue just hollowed (it is rather too straight, however, in behind the tip, closer to the palate, so that there is, diagram 26), but it is sufficiently different from it least at first, a continuation backwards of that the arched front of S to entirely alter the nature extreme narrowness, which in the ordinary s lies of the sound. In Germany, certainly, and some- only between the point of the tongue and gums or times in England, the lips are also considerably teeth. This is written s', and is said to be the protruded for SH, being curved outwards so as to true Tuscan Italian pronunciation of initial "z" form a trumpet-bell shaped aperture. This is in accented syllables, as in zio (uncle) s'ee-oa. The very marked in the command hush ! and is so well English speaker is not recommended to attempt known that the mere assumption of this position this. He should confine himself to tsee-oa, touch- of the lips, without emitting any breath, is ing the palate first and so leading on to the *' generally understood as an order to be silent. involuntarily. This is also the recognised pro- Still this position of the lips is not at all essential nunciation, and is certainly the sound of the to the production of the sound, and gives it rather " German initial z," as in zuzuziehn (to draw to) an inelegant 'thickness.' S is a hiss, SH is a tsoo-tsoo-tsee-n. This initial combination ts, run on whish, or hush. S or st in English and French, is to the following, and not affecting the preceding in German and Italian, is used to rouse and call vowel, will require much practice in German and attention. SH in all the four languages is used to it does not occur in and French. to indicate of to Italian ; English calm, moderation sound, or even In all these varieties of S, the front of the order silence. This arises from the contrast of the tongue is well arched, the point is well forward, sharp hiss S, and the dull whish SH. and there is consequently no hollowness at the In singing, the hiss S is apt to be very back. But for SH the typical form of the tongue prominent, especially when final, much more so is that for T with the under surface of the than the whish SH. Some seem to have a 4 tongue singers towards the palate, which it does not touch, positive fondness for the sound, though it is allowing the air to pass over between this reverted entirely unvocal, and interrupts the music pain- under surface and the palate, and to eddy, as it fully. It is generally possible to recognise the were, in the hollow behind this reverted front of presence of every s in a hymn, where the other the tongue. This is the true Indian sA, which is letters escape observation. The singer must related to t as * is to t. In therefore be careful to shorten the hiss as ( English, German, very Italian, and French, for sh occurs in all these much as possible. It must indeed be heard, but it languages, the typical form has undergone a little should be very unobtrusive. It is so sharp and change, arising from the method in which it was cutting that the least touch of it is well perceived. historically derived, for it is a recent sound in all Hisses and buzzes can be made exceedingly short these languages, and not primitive, as in the by a rapid separation of the parts of the mouth Indian, Arabic, and Hebrew. For true SH the which generate them. There seems to be a great point of the tongue is drawn much further back desire, however, to retain the position at the end of the should than for S (as may be readily seen in the mirror words. Hence singer practise saying and felt by the probe), and is directed towards the sees, sais, saas, saus, soas, soos, with an almost hard palate at some distance behind the gums immediate removal of the tongue, lowering it, not so that when looked at in the mirror the muscular action of the but of the (diagram 26) , by tongue, the under surface of the tongue is well seen, lower jaw, which will drag the tongue with it, and shewing that it is not presented to the palate. render the hiss impossible. The sounds of S and The front of the tongue behind the narrow passage SH are common in all the four languages. SH is thus formed is consequently rather straight than written sch in German, except before t, p at the 72 CONSONANTS. Sec. VIII. of when it is written as in Italian initial combinations this beginning words, , which produce " stehen spielen, now called shtai'n shpee-len almost effect are sd, sg, sgh, sm, sn;" I have not noticed " universally, even in Hanover, where stai'n spee-len it in si." These combinations do not occur in used to be heard forty years ago. Occasionally, French, but I have observed Frenchmen say zmees however, sh'tai-n, sKpee-len may be heard (see sh' for Smith Smith. There are the same words with sc and sci other- initial z in below). In Italian before e, i, French as in English, and the z is kept wise, and in French ch represent this sound. light but pure, as zael, zaest, zeegzaag, zoan, The letters Z (with z', dh] and ZH differ only zao-aolaozheek. and z " from the corresponding S (with *', fi) SH, by Final (written s ") occurs frequently in instead of having the glottis closed for voice, open English, and if followed by a pause of perceptible for flatus. But the narrowness of the passage is length, has invariably the gradual release, as sins so extremely ill-fitted for vocal resonance that the sinzi or sinzs, scenes see~nzi or see'nzs. But in this effect is that of a strong buzz, even more marked case the z is apt to be made very short, and the * than for v, dh, and more unpleasant to maintain, very long and conspicuous. This is usually pain- whereas the hisses s, sh are much pleasanter and fully prominent in children's singing. Singers easier than the hisses /, th, because the air passes should practise keeping the z pure to the end. freely through a narrow but unobstructed passage, The z itself is certainly quite unmusical, though and has not to squeeze through between a sluggish not unvocal, and from its bad quality of tone barrier obstacle (lip or tongue) and an immovable should never be long sustained. But it must not to some curious results. In be and must not run off into s. (teeth^. This leads omitted, none of our four languages are z, zh primitive Final z never occurs in German. It is always a " in all cases derived whether written (they have been historically pure sharp s, s, ss," as in das " from other actions, which cannot be here des- (the) daas, nuss (nut) nuos-, or sz," as in flusz there is a constant to cribed) ; and tendency open (river) fioo's. easier hiss whish be z the glottis and let the and Final never occurs in Italian. heard. In the few English words beginning with Final z often occurs in French speaking, and is as rose in z, of which "zeal, zest, zigzag, zone, zoological" written "-se," raoz, but French singing are most in the z is either this before a (all foreigners), use, becomes raozeo, except vowel, so that made extremely short, or refined by a gradual it is only in very recent times that any real z final attack, as pee' I or szee'l, with the s scarcely has been known in this language. z touched, but no singer should allow himself to sing Medial z, that is, between two vowels, is very initial * before a vowel and is indeed the usual jz or sz. In German the common, way of pro- " " is always pronounced with this gradual attack, nouncing a written s in that position in all the except when influenced by a preceding vowel or four languages. r' in as voiced consonant (which can only be I, m, n, Many languages have no z, Spanish, Ice- German) as sie, sehen (they see) jzee, izai-n, or landic, Welsh. * as Initial zh never occurs in it szee, szai-n, with the just touched, separate English, but is in " words, but szee zai'n when connected. This extremely common French, written j," as is zheo or " pronunciation, though universal, not acknow- jejase (I chatter) zhaaz, "g" before e," ledged, and hence singers may confine themselves as gene (inconvenience) zhaen, geole (gaol) zhoal. to simple z. In Italian, initial z never occurs Final zh never occurs in English, but is frequent the except under the influence of a following voiced in French speaking, through omission of final consonant, as sdegno (indignation) zdai'ny'oa or "e," as in age (age) ahzh, but not in French singing, " " or szdai'ny'oa, with light *. The where this e is pronounced, thus ahzheo. 73 Sec. VIII. CONSONANTS. is a vowel on to which the I can so Medial zh occurs in English in a very few words, there glide, and that the hiss Ih be avoided. as division divizh-en, confusion ku'vfioo-zhen, always If the of the be advanced fully similar words, leisure lezfriuor or lezh'ei, treasure point tongue of the of the trezh'iuor or and similar words. It is against the gums and top hinderpart trezh-er, " " " it is front we have the dental or advanced" an extremely recent introduction. In French teeth, ootraa-zhai. L', the sound in German, very common, as outrager (to outrage) only acknowledged the Italian, and French, for which, however, ZH never occurs in German or Italian, although Englishman may always use his own L, so that he SH is common in both languages. need feel no trouble in making this distinction. not It is, of course, I'h, the flated form of I', and and L, L', 'L, ,L, Lateral Murmurs, LH, L'H, lh, which is really heard in French. LH, Lateral Hisses. The common English L is If the under surface of the tongue is brought mouth. the true type of the lateral passage in the against the palate, so that we have a hollow front, of the is against as for d we obtain the "reverted" The point tongue pressed firmly k (p. 69#), /, the palate, as for T, but the sides of the tongue which possibly occurs dialectally in England, but sides are free, so that the air can pass between the produces such a disagreeable thickening of the of the tongue and the cheeks or teeth on both sound, that singers must be very careful to keep of sides, and in doing so will generally cause both the front of the tongue well arched for their own the sides of the tongue to nutter slightly (diagrams thin/. are wide in a natural is sides 20 and 27). The lips open, In all these I, there a passage on both of inactive position, and the teeth are well apart. the tongue. By pressing one side of the tongue The whole under surface of the tongue is seen in tightly against the teeth and palate (as in prepar- the mirror, but none of it touches the palate ing to make the click to start horses), that side itself. The glottis is contracted for voice. If it will be closed, and the result will be a unilateral l the same l. is open, and flatus pass through position (ewnilat'ur'elj or one-sided I, written The as for LH, the sides of the tongue are seen to unilateral effect is heightened by also closing half l vibrate much more. This sound of Ik does not of the mouth. The flated form of this is lh, in " occur in English, but it is not unfrequent which is the Welsh 11," thus quaintly described colloquial French, as table taablh, although the by William Salesbury in the oldest English book " is " entire omission of the "le more common still, on Welsh pronunciation, in 1567 : The Welsh as taab, in which case the b is lengthened, or II is spoken the tongue bowed by a lyttle to the rather, when the b is released the tongue is in the roufe of the mouth, and with that somwhat so that there is from b to it selfe position for I, a glide /, extendying betwyxt the fore teeth the but the I is not prolonged to form a syllable, as in lyppes not all touching together but leaning open the English tai'bl ; it is rather absolutely mute, as it were for a wyndow the right wyke of the though the fact of bringing the tongue to the mouth for to breathe out wyth a thycke aspirated I position and the glide up to it, convince a French- spirite the same II. But and if ye wyll haue the man that he really pronounces it. Occasionally, very Welsh sounde of thys letter, geue eare to a when very energetic he may do so, but the Welshma when he speaketh culltell, whych be- recognised form even then is taablh\ the I gliding tokeneth a knyfe in Englysh : or ellyll a ghoste." 1 on to ti p. 56&) as a remnant of taableo, and any These words are called Wlh'tae'lh ae'lht''lh in sound like taab' I is purely foreign, English or Welsh. Many Welshmen deny the unilateral German. This taableo is the recognised sound, and character, but my Welsh teacher (a clergyman at is the only form used in singing, except when Beaumaris, in October, 1857) insisted upon it. 74 CONSONANTS. Sec. VIII. This consonant is the only one in Welsh which there is a completely unobstructed passage, so that offers any difficulty, and has often to be imitated some obscure vowel of an indeterminate character by English people, who also sing Welsh songs. results. In singing we may hold this as tak-u'l, imitation as The usual English thl, Llangollen hig-u'l, but in speaking we do not hold it, and Thlangoth-len for 'Llaangao'lhaen, is very in- hence have only the effect of a glide lasting for a adequate. longer time than in the other cases. The English L is the most vocal of the English This vowel / is common in German, and in oral consonants, and may itself form a syllable, as Austrian names it is commonly written without a the in little lit-l, tackle tak-l, apple ap'l. But vowel, as Ischl, Gungl eesh-l, guong-l, but in resonance is not agreeable enough for singing common words it is written el, as in bibel beeb-l upon, and hence it is preferable to say lit'tt'l, (Bible), fackel faak-l (torch), wandel v'aan-dl tak-u'l, ap-u'l, giving the principal part of the note (walk). But even here the theoretical pronuncia- ' to tion is to and closing with a sharp glide on I, which ail, as beeb-ail, fdak-ail (which is really is briefly but audibly sustained, as previously never used in actual speech), and beeb-ul,faak-ul, explained for vocal m (p. 67#). In speaking, how- v'aan-du'l are quite admissible, in fact preferred in ever, I is purely vocal after p b, t d, though a slight declamation, and necessary in singing. In usual vowel, or at least a distinct glide, is perceptible Glossic we write beeb-el,faak-el, v'aan'del. after k g. Thus in apple, babble ap-l, bab'l, the No vocal I occurs in Italian or French. lips are closed for p, b and the tongue put into the at the same so that Point Trilled proper position for I, moment, B', B", ,B Buzzes, and U B Point when the lips are opened, there is only a short Bise, B'H, B"H Point Trilled Hisses The first glide and the I alone follows; whereas for ap-u'l, difference between the English initial R' and L is bab'u'l, the lips are closed for p, b and the tongue that the passage for air is central in R' (diagram put into the position for u' (or u at pleasure) at 28) and lateral for L (diagram 27). The next the same time, so that on releasing the lips, there difference is that the sides of the tongue vibrate to and then one from u' on to for and the of the is a glide on u', I, slightly L, point tongue vibrates and however short the u' may be, this is percept- more strongly for R' . The position of the tongue for ibly different from a glide on to I only. Again for R' (diagram 21) andS (diagram 19) is very similar. little fiddle lit-l fid'l, the point of the tongue when The whole back and part of the front is almost is also in I in the same for in the t, d position the position, and position T, S, and R' (diagram 16, without removing it at all, we simply release the 19, 21) being fixed firmly against the palate and sides of the tongue, and there is the smallest side teeth for T. But in T the point of the tongue possible glide heard during this motion, after stops the passage by being pressed up against the a I remains. But to introduce for S it narrows the which pure any palate ; passage by being held 1 as u between d and the of the near the and teeth for R' it is held vowel, , t, I, point stiffly gums ; tongue must be removed and replaced. However loosely in the same passage, across which it can rapidly this may be done, a totally different effect "flap," so as at one time, when the point bends is produced, and this is written lit'u'l fid-til. In down, to admit the air to pass more freely than for the case of tackle, higgle tak-l, hig-l, the contact of S, and at another, when the point turns up, to " " the tongue for k, g, as we see by diagram 17, check it almost as much as T. This flapping renders the placing of the point in the po&ition for or vibrating of the tongue is too rapid to be " " I impossible without previously releasing the back effected by a voluntary muscular action, and of the tongue from the k, g position, and there is the incapacity which so many persons feel to " " therefore an exceedingly short time for which trill their r's arises from attempting such an Sec. VIII. CONSONANTS. 75 " " action. The trill of the loose point of the it is accomplished by a voluntary muscular effort, in- tongue seems to be produced just in the same way and we merely wish to render a membrane without as in a loose piece of paper held in a crevice voluntarily obedient to an external force, the wind "blows. had this use of muscle and next because the through which (I once any ; tongue effect provokingly produced "by the loose end of a in saying r never assumes the completely checking of which came over a little for d and because the utterance of piece wall-paper just position ; lastly, to be chink between the window-frame and wall of my any vowel, as aa after d, requires the tongue the result horrible and from the molar teeth and then bed-room , being groans entirely removed r' must moans on a windy night, of which it was difficult returned to it, whereas for the tongue to discover the origin). By holding a piece of never leave the molar teeth, so that we are paper in the crevice of a window slightly open training our muscles falsely throughout. when there is much wind, this fluttering is easily For R' the glottis is closed for voice, but the seen. The fluttering of flags on a windy day is sound is constantly interrupted by the trill, which another example. The loose point of the tongue is not fast enough to produce a musical note (as is really placed in a crevice through which wind for the wall-paper in my window-frame) but gives " " is driven, and if we only take care to leave it the effect of beats in music, as when two notes sufficiently elastic, by relaxing the muscles of that of almost the same pitch are sounded together. part while the rest remains stiff, it will be rapidly This is vocal enough to be sung upon (as in the driven to and fro by the passing air, and produce voix celeste vwaa sailaest stops of an organ or the required "trill." On one occasion, many harmonium) but by no means pleasant. Hence in years ago, when I was explaining the phonetic German, Italian, and French, where the trill is method of teaching to read before a class of naturally much stronger than in English, it should teachers at the Home and Colonial Schools with a be considerably softened, by decreasing the extent class of very young children to exemplify my of the swing of the vibrating parts, which teaching on, I found that three of these children diminishes the sharpness of the beat, and also " could not trill their r's." I succeeded after about decreasing both the rapidity of the vibrations a minute in making each of them trill an r' very and the length of time that they last. Still the " intelligibly by these directions. Say z. Buzz it trill must be heard. In English it occurs only well." The children were delighted with the and always before a vowel, and is replaced by the ' in buzz, and it is important for them to continue it, "vocal r," that is, the vowel u or other in and make it strong, because it causes the point of places (p. 53). For this reason the most the tongue to tingle, and they thus become ordinary English Glossic it is sufficient to use r " concious that it is resisting an obstacle. Now for both the vocal and trilled effect, thus roa-rring then don't you feel the end of your tongue rather for r'oa'rr'ing, that is, r'ao'ur'ing. (" Teacher's of r queer ? Hadn't you to hold it very tight ? Very Manual," p. 202). But this double use has well, now then buzz again and let the end of your been purposely avoided in the present treatise tongue go loose and be comfortable." And the where it was important to draw the. attention of trill came out at once. Another way of acquiring Englishmen to the distinction. The difficulty 1 trilled r before any given vowel, as in r'aa, is to which they experience in German, Italian, and repeat daa daa daa with the greatest possible French, and more especially Italian, is to pronounce rapidity, trusting to increase of speed to make the a clear and distinct trill when no vowel follows, with d imperfect, and hence to arrive at something like either a long or a short vowel before this trill, as r . This is the method usually recommended, but Italian veer' too", French vaer'tue, and if necessary to " " it appears to me inferior to the other, first because double the sound, as Italian gooaer''r'aa gueria 76 CONSONANTS. Sec. VIII. of introduced vocal or of r which be (war). No shade an r, (t ("Visible Speech," p. 70), may vowel it must be introduced. The vowel considered as really u, , sufficiently distinguished by position. must glide on to the r' as clearly and sharply as ou Thus he writes: Agrippa, art, permitted, for, to a or z. It is of d and z that this as ah d by means stretched, forth, answered, Aag ttrip'aa, (trt, 1 Practise st a''nse' effect can be best acquired. aad, aaz, pe it rmit'ed) fo i( r, t( raetsht, fao (trth, (( rd, aar' aadzr' so on with all vowels. which I or aadz, ', and pronounce Ugr'ip'u Agrip-a\ acrt, The tongue is sometimes more advanced than in pumit-ed,fauu, str'echt, fao'uth, aan-sud. The real 1 diagram 21, so that in the upper movement of the difference here is as to the use of r or u r, the tongue it approaches the teeth rather than the vowels are of no consequence, either set being " " This the dental or "advanced" admissible. the use of initial r palate. gives To me (l has the trill r", which properly occurs after a real (thus effect of defective utterance, and it occurs to me 8t'r"ai for st'r'ai the in Bell his r stray, common str'ai], that Mr. insisted on form (l to instruct dialects which use t\ The singer need not trouble Scotchmen (among whom he had lived so long) to himself with it. Whatever his natural trilled r' avoid their very strong trill. In English the may be, provided it is trilled, and made with the trilled r' must be much lighter than in Scotch or front of the tongue arched he may use it. But Irish or Italian, that is, the distance by which it there is another trill made with the front of the flaps backwards and forwards must be less, and as it is for d 69 and zh hence it must never the so tongue hollow, t (p. j (p. 7l), approach palate nearly, and this is the West of r. For this and also the number of vibrations England t / and duration " the tongue is reverted," and the trill is made by of vibration must both be less. All this is effected the under surface of the tongue flapping to and by diminishing the force of the breath which is from the palate. The effect is extremely rough driven through the mouth, and increasing the and disagreeable, but very characteristic of the muscular looseness of the point of the tongue. In locality. Any inhabitants of districts where it is some of our dialects the amount of trill is barely used should correct the habit if possible, especially perceptible, but there is a something present in where it the effect of all different from either singing, greatly spoils any vowel or the rise ,,r, vowels which it follows. which attentive examination enables us to appre- the reversion is not more ciate as a trill. A untrilled rise r If, however, complete point perfectly ft than for sh (diagram 26), the point of the tongue has a singular effect. It is much used in America, being only slightly raised, the effect, though de- and I have found the name of this country a bad. voice cided, is not by any means so But when perfect of test, a kind of Shibboleth (Judges xii., 6) passes over the tip, stiffened to such a degree that for distinguishing even those Americans who it cannot vibrate, the effect is not unlike the vowel speak most like Englishmen. They always say is Mr. Melville Bell's untriUed ume r'iku or a?me M itself. This ,.r, l( itr-ika\ not umer'-iku or " > or rise," as I prefer to call it, which on this view a mer''ika'. its is a mere modification of r and All these forms of R' of formation t t would have their flated " " hence be as a trill. such as of may regarded rudimentary forms, r"A, r'A, t rh, ((rh, which the two this r be classed the first are introduced into the in For convenience tt may among Table, as, colloquial trills themselves, although it is really an imperfect French, "-re" often becomes r'h, or more properly or the same relation to the as sabre or still "pervious" t d, bearing perhaps r"7i, saabr"h, more " " d itself as v' to or to Mr. but more impervious t b, gh g. colloquially saab, properly saabrh', and " " this is r saabreo. Bell considers that the true form of in in singing, Compare the French Ik, lh\ wherever it initial or in The flated I do not English occurs, final, only p. 73. t rh, f( rh, remember to " the latter he considers it a semi-vowelized sound have heard. Fee. VIII. CONSONANTS. 77 5, 6, & 8. NASAL CONSONANTS, WITH ORAL RE- be prolonged and have the main effect of the note, but at the end it and SONANCE, LIMITED BY (5) GUMS AND POINT OF just glides up quickly briefly to n, which is touched before the voice quits the TONGUE, (6) PALATE AND POINT OF TONGUE, just note. The n is thus made audible, and the effect (8) THE PALATE AND REVERTED TONGUE. is totally different from oa'pu', while the sharp N, N", ,H, Shut Hums, and Shut NH, N"H, glides to n in oa'pew, oa'puw are altogether avoided, Snorts. The tongue is in the placed precisely so that these disagreeable pronunciations are not same position for n as it is for d, for n" as for d\ presented to the mind of the listener, and the for n as for but the nasal is ( ( d, in passage opened horrible change of quality of tone from oa to n is the usual way ( diagram and the voice 23), escapes not heard. This is the method in which singers through it entirely (shewn with by experimenting are recommended to sing the syllables which con- the nostrils as for m, But there is a p. 66). tain a simple n. Of course, they will continue to resonance in the part of the mouth communicating speak them correctly. Compare the remarks on with the throat, and limited by the tongue. The vocal m, p. 67 0, and vocal /, p. 740. In such a word cavity for n thus formed is much smaller than the as oa-pn, the syllable on n has no glide leading to for m. Hence the resonance is not so full. cavity it. The mouth closed for p may remain closed or The difference is tried. Hum a few notes easily open for n, as we have seen, and the tongue on m, and then them for n without repeat opening assumes the n position so rapidly after the p the lips, and finally repeat them for n with the lips closure, and before the nasal passage is opened, open. The first of tone differs quality decidedly that no vowel and no m can intervene. To say from the second, but the second and third are oa-pmn, oa-bmn would be difficult even to English identical, that the of the mouth shewing part organs. But for oa-pu'n the mouth opens before the in case of n has no effect on beyond tongue the nasal passage opens, and hence an oral vowel the resonance. The n is more and decidedly nasal, escapes. In the still more common case of vocal less musical than the m. Still it is possible to sing n after t or d as eaten t ee-tn, Newton Neu-tn, on n, which forms a distinct in syllable many sodden sod-n, wooden wuod-n, there is absolutely no words, as taken lessen English open, oa-pn, tai'kn, motion of the tongue in passing from the mute or les-n. In the well-known bass song, "The sea! sonant to the and hence no on to the n is " ??, glide the sea ! the open sea ! Corn- (words by Barry possible. The nasal passage is opened, and the that and wall, is, Proctor, music by Chevalier nasal resonance is added to the oral ; the utmost Neukomm Sheovaalyai in Naorkaom, English that can happen by way of glide is the passage Noi'kum) there is a and note on the long important from imperfect to perfect nasalisation as the uvula last syllable of open. leaves the back wall of the pharynx. It is, how- ever, always possible to remove the point of the tongue and produce a real oral vowel, and hence ie sea, the sea, e op - en sea as before we may and should sing ee-tu'n, Newtu'n, Philips, who was the original singer, always sang sod'u'n, wuod'u'n. In cases like oaken oa-kn, the "en" to n, and the dull nasal effect (I have broken broa'kn, twiggen twig-n, there should also heard him sing it) was very disagreeable, coming be the shortest possible glide in passing from k to as it did after immediately the fine oa. But n, but exactly as in tak'l, hig'l (p. 740) there is " " Philips contended that the word open was more tendency to introduce a vowel, and in some properly pronounced oa-pn, and that it would be forms, as chicken chick'in, a clear vowel is usually erroneous to either on,' say pew or oa-puw. The employed. For listen lis'n, mizen miz-n, the glide true middle course is to say oa'pu'n. The u' is to is very short, as the tongue for s, z is already half 78 CONSONANTS. Sec. VIII. for has to be The snort nh n"h as the case is arranged ?/, and the tip only suddenly (or may be) thrown up. In kitchen kick-in a clear vowel is sometimes heard as a kind of snuffle, and as a common, but not so in beechen, birchen bii-chn, defective utterance of children, and when we f berchn, nor in ashen, freshen ash n, fresh-n, where endeavour to clear an obstruction in the nose, by the treatment is quite similar to that in lis-n. closing the mouth as for t, and blowing through the And earthen erth-n, heathen hee'dhn are similarly nasal passages. It is no longer recognised as an related to eet'n, but as the th is quite dental there element of speech, except by Mr. Melville Bell, in " will be a tendency to use the dental in prefer- such a word as tent, which will be considered in " to the real n in there is a Section but it the k" in ence English ; fact, IX, formerly replaced " as " difficulty in retracting the tongue from the th words beginning with kn," know," and the position (diagram 25) to the n position (diagram pronunciation nhnoa was laid down by some 23 and I find that own not to of the seventeenth and , my practise is, orthoepists eighteenth retract the tongue, but to leave the point against centuries, and nhnaa may still be heard in the teeth, and raise the part just behind it to touch Cumberland. Of course, singers will carefully the gums and palate up to the spot where the avoid such a disagreeable interruption to music. point is usually placed for n. This would not be The Germans pronounce a pure kn, as in knabe the case in foreign languages. knaa'bu (bov\ Vocal n" is very common in ordinary German 9, 10, & 11. ORAL CONSONANTS, WITH (9) FRONT speech, but it is considered incorrect, and it AND POINT OF TONGUE AND PALATE, FRONT should always be replaced by an obscure vowel (10) ' as in thus OF TONGUE AND PALATE, (11) FRONT AND BACK followed by n" t English singing, lieben lee-bu'n" or lee'bun", for which lee-bu'n may OF TONGUE AND PALATE be used not lee-bn. In by English speakers, such Central and YH, Central Hiss. This " " Y, Buzz, words as meinen to it is common to think) say is the only form of this series which is generally mahyn-^-n, that is, the first n is taken short, and recognised. The tongue is nearly in the same then there is a perceptible diminution of force, position as for ee (diagrams 1 and 8), but it is without a complete cessation of voice, followed by pressed much closer to the palate at the top, a new vocal n. It is better, however, to say sensibly diminishing the narrow channel left by mahyn-un, and in singing this is necessary. ee between the tongue and the palate, so that it is Germans profess to say maayn-ain, but this is not difficult to squeeze out any voice at all, and what the even in solemn declamation. There is practice reaches the ear is very obscure and broken, so that a combination of vocal I with the usual syllabic it differs materially from ee. Hence it is quite non-syllabic n very common in German, which possible to distinguish ee from yee, although many Englishmen often find difficult, as in nudeln people find a difficulty in so doing. It is not an noo'dln wandeln vaan'dln (vermicelli), (to walk), uncommon English or German sound, as in yea where the combination is similar to our fallen yai, ja (yes, G.) yaa. In French and Italian it is fawln ; or as some persons pronounce kiln (for replaced by an ee, forming a diphthong of the which kit is more usual), and like our elm. In third class (p. 48), as cavalier (horseman, F.) singing and speaking say noo-duln, v'aan'duln not kaavaaleeai, des yeux (eyes, F.) daezeeeo, jeri v'aan'dlun usual N noo'dlu'n, (the English error , and (yesterday, I.) eeae-ree. But Englishmen may still less v'aan-dulu'n. In usual Glossic noo'du'lu'n, without hesitation use their common and familiar we write noo'deln, v'aan'deln. y, and say kaavaalyai, daezyeo, yae-ree, which are There is no vocal n or n" in Italian or French. the Glossic forms usually employed. Sec. VIII. CONSONANTS. 79 If flatus is used instead of voice YH results. which have evidently no claim to be considered This sound occurs only in English, in such words shut consonants at all. The real Sanscrit series as hue human are and b. Now the hew, ytuoo, Hughes Yhiooz, k, ch', f, t', p, g, /', t d, d', yMoo-mu'n, humid yhioo-mid, humour yhwo'mu'r object of mentioning this curious sound is to draw (formerly called yoo-mu'r). But English orthoepists the singer's attention to a possibility of avoiding have generally failed to recognise it, and consider the initial unpleasant hiss and buzz of ch, j, in that hfioo, hfioo-z, lifioo-mun are the real sounds, chest, jest, as usually pronounced, by substituting and this was most probably a previous pronuncia- ch'est,j'est. The final forms in such age such ai'j, tion. As singers should always avoid the intro- if treated as such' ai'f simply, would be unin- duction of flatus when admissible, they are quite telligible. The glide up to ch',j' is so nearly the at to that be heard liberty say hfioo, hfioo'z, hfioo'mu'n, with the same as that up to t, d, they would simple clear jerk, and thus get a perfectly vocal as a variety of su't, ai'd, unless a vowel followed, sound, much easier to produce. In usual Glossic, or unless some voice or flatus were emitted after therefore, we write heu, heuz, lieu-men, heu-mer. the letters, as is usual with all shut consonants. Now if we release ch', not through yh (which CH' Shut Mute, and J' Shut Sonant, with the would require considerable effort in order to retain Consonantal Diphthongs CH Hissed, and J Buzzed, the tongue in its place and groove out the central and their True First Elements TY' Shut Mute, channel), but by withdrawing it bodily, so that and DY' Shut Sonant, and Second Elements SH' the whole upper surface of the tongue ceases to Central Hiss, and ZH' Central Buzz. Now have contact with the palate, though the point of suppose that the extremely narrow channel above the tongue remains planted against the lower " " the tongue which is left in y becomes entirely gums, we shall obtain an arched front or obliterated by forcing the tongue against the S-sound, modified by having the narrow channel palate so as to make a complete stop. In order to backward instead of forward, and differing from " " do this it is best to plant the point of the tongue the hollowed front or SH-sound, by having the the firmly against lower gums. The result is a principal opening in front of the surface of the shut sonant consonant J'. In singing j'aa, the tongue instead of behind it. On the whole this front of the tongue should not be allowed to hollow modification resembles sh more than *. and it is in the or else more or less of sti . in the 9th column slightest degree, an I hence written (Its position effect yaa would be produced. If the reader of the Table C, p. 17, though most convenient, for j succeeds in this contact and releas- is not correct making firmly a reason, to be given presently, quite ; it well ing on to the aa, the resulting sound faa the natural order is rather *, sh', sh.) This sound will be almost indistinguishable from jaa, and Mr. of sh' is said to be the true Tuscan Italian pro- Goodwin (in 1852) considered that this true shut nunciation of Italian ce in cinque (five) sh'eeng-- consonant was the proper sound of the English kooai, dieci (ten) deeae'sh'ee, which sound to an ;', which is usually analysed as dzhaa. The Englishman as shing'kwai dyae-shi, and for which voiceless form would be CH', and Mr. Goodwin he is recommended to use the theoretical sounds also considered this to be the true form of the cheeng'kwai, dyae chee. But if a final ch' be released English chaa, usually analysed as tshaa. I find upon sh' very lightly, thus such'sh' no Englishman from vivd voce observation that native Sanscrit would find any fault with the pronunciation for scholars actually pronounce the two shut con- such, and if a vowel followed, as in touching sonants which are interposed in their series of shut tuch'-ing, even this release is not necessary. My consonants between t and and between d and own is that ch in is not ch' t k, t g, impression English as precisely ch', j", and decidedly not as tsh, dzh, nor ch'sh', nor tsh nor even quite tsh'. I find on SO CONSONANTS. Sec. VIIL own of in carefully watching my pronunciation such, nai-tluou, vu-dluou, or common Glossic nai'teury that I do not begin exactly with sut, for which the ver-deur. This is also recommended as far the point of the tongue alone should touch the palate, pleasantest and most desirable pronunciation in but that in reality both the point and part of the public speaking. front of the tongue lie on the palate, which is indi- The sounds represented by ch, j, wherever they cated by tif in column 9, p. 17. This ty' generally are written may be considered the same as in ee I as in arises from some or following t, nature English, however they are really pronounced, nai'fiuou. When ty* is released, it is not easy to because the differences are so slight that long go to the position sh, for which the tongue is more practice would be necessary to acquire them with or less bent in exactly the opposite direction, being certainty. The ch is found in German, as deutsch instead of convex to the but it is Zschokke concave palate ; (German) doich, name of a German very easy to drop to stt as already described, and I author) Ghaok-u. But j is never found in that find that I really say suty'sh'. Indeed this way of language. Germans use ch for it when initial, and deriving sti is most convenient for Englishmen* generally also when final, but sometimes say dch and for that reason I took the liberty of putting when final, as Ch dor dch for George ty' and sK in the same column of Table C, p. 17. Italians have both ch and j (or the substituted 1 Between cA'sA' and ty'sh there is no practical forms sh', zh"), and when these sounds have to be difference, and either may be considered the doubled the first is taken either consciously as analysis of ch, which will always be used in f, d', but possibly in reality as ty' and dy', or else j writing. But tsh is no. doubt not the analysis, ch and j' respectively. Thus cielo (heaven) although it has been generally assumed so to be. chae'loa or chyae'loa, ciarla (chattering) chaar'-laa ; m By merely using the voice instead of flatus, we caccia (chase) kdat'chyaa ; gemito (groan/ jae - or and not the old as the obtain fzti dy'zh' , dzh, meetoa, giusto (j\ist)joo'stoa, oggi (to-day) aod-jee. analysis of J, which will be always written. The French have neither eh nor j except in is is not Observe, however, that when j final and foreign words, where they are written "tch, dj," followed by a vowel or voiced consonant, it is very meaning tsh, dzh. But there is great reason to 1 usual to substitute dy'sh for dy'zh', probably believe that ch, j were the sounds of the present in " because zh never occurs finally our language. French initial sh, zh (written ch, j ") at the time ' Thus ' do you know his age ? would be generally of the Norman conquest, and even much later. pronounced colloquially dyuonoa'izai- dy'sh' ? The KY' Shut Mute, and GY' Shut Sonant, with singer should avoid this flatus, and endeavour to their Derivatives KY'H Central Hiss, and GY'H sing ai- dy'zh', which is what is meant by writing Central Buzz. More closely connected with yh, y all ai'j. The habit, however of saying ai-dy'sh' and than these forms, and absolutely confused with the difficulty of uttering zh final, will render this them occasionally by German writers are ky'h, rather troublesome at first. ffy'h. In the older pronunciation of English, which These observations explain also the old deriva- may still be heard, a kind of y is introduced after tions of ch,j, from ty, dy, and the English habit in k and g before an aa sound, as cart kyaa't, guard " nature, verdure," &c., of introducing a ch and j gyaa'd, sky skyadi, which often passes into nai-chu' and is sometimes sound as , vwju (in common Glossic, kyeeaa-t, gyeeaa'd, skyeeaal, made as nai'cher, ver'jer). The change is from nal'tiuou, much more prominent, skyee-yaai -to be avoided to as a all On careful examin- vu'dluou through nai'ty'u , vu'dy'u' nai'ty'shu' , nightmare by singers. it that there is vu'dy'zh'u', that is nai-chu', vu-ju'. But on the ation, however, appears not a successive action of k and or and but that principle that the singer should avoid hisses and y, y y, buzzes whenever he can, he should distinctly say the back and half the front of the tongue He on Sec. 7IH CONSONANTS. 81 the in e as palate, producing ky ', yy\ the exact counter- occurs booted afte-r ee, ae, sounds, nicht parts of ty\ dy\ in which, the point and half the (night) neky'ht. front lay on the palate, so that ty', ch\ ky' form a The singer has to make the ky'h hiss as short as graduated series of positions. This consonant re- possible, but the glide must be distinct. The gy'h leases most easily on the vowel ee, and hence becomes better by being taken as g or y, as last introduces that sound. In Italian it is not uncommon in the so-called close diphthongs 1 (p. 450), as chiacchierone (immense chatterer) LY' Lateral Buzz. Assume the position for ty ky'aakky'airoa-nai. But ky\ gy' need never be already described, and loosen the contact between anxiously distinguished from ky, gy. the tongue and back side teeth, so that there is a Bring the tongue into the position for ky\ gy\ small exit for the air on each side of the tongue. and then make a little channel in the middle for Or else assuming the position for I (diagram 20), the air to pass, as for yh y, and the result is ky'h, draw up the front of the tongue (the part im- ffy'h. The position clearly differs from that for mediately behind the point) and bring it in contact yh, y, only by having the back part of the tongue with the palate. The position would then be a high as well as the front part, but this difference is mixture of diagrams 20 and 1, with 27 instead of a sensation in the soft for 8 so that it be described as an to appreciable by palate ; might attempt ky'h which is absent in yh. The distinction, pronounce I and y at the same time. But it is however, is very slight, and requires much essential that there should be a passage on each familiarity both with hearing and speaking the side of the tongue. Close the glottis for voice. language to understand thoroughly, so that On driving voice through forcibly, there is a con- Englishmen may certainly use their own yh for siderable rush on each side out of the narrow ky' h. Thus madchen (girl) mae'dky'hen or mae'd- opening, causing very perceptible trembling of the yhen, ich (I) eeky'h or eeyh, nicht (not) neeky'ht sides of ^he tongue, and generally a bubbling of or neeyht. But it will not be sufficient to use y saliva, so that the sound is anything but pleasant, ior ffy'h The ffy'h when strictly pronounced, is and should be retained as short a time as possible. very sensibly rougher than y, as general gy'haen- It is very unlike the vocal resonance of I. On airaa'l, not yaenairaa'l ; fliegen (to ny)fae'ffy'hu'n, releasing the tongue on to an aa position, as ly'aa not fae-yu'n ; berge (mountains) baer' -gy' hu ,not somewhat of an ee effect seems to interpose, and in baer'-yu'. "Whenever y is thus used for ffy'h, Italian, where the consonant is common, it is although intelligible, it has a ludicrous under-bred always released first on an ee, as gli (the, or to effect on a German ear. It is far better to use a him) ly'ee ; paglia (straw; paa'ly'eeaa ; orgoglio common and baer' as In it g, say gavnairaa'l y jlee'gu', 'gu , (pride) aor'gao'ly'eeoa. Spanish, where is is done in the North of Germany. It i8 only in the also common, the ee is not written, but is heard all termination "-ig" that y may be used by preference, the same, as llano (plain) ly'eeaa-noa. The sound as konige (kings) keo-neegy'hu or keo-neeyu or even used to exist in French, and Littre in his great keo'nyu. The consonant ffy'h is always ky'h when French Dictionary, insists on its being always final, as konig (king) keo'neekyh or keo'neeyh. pronounced, but it has quite vanished from The consonants ky'h, ffy'h are unknown in received French pronunciation, and is replaced by English, Italian, and French. To an Englishman ee or ee, forming a diphthong with the preceding: they at first sound like sh, and many find it vowel, see pp. 45, 46i, 47. difficult even after weeks of residence in the The sound ly does not occur in English, but in country to believe that Germans do not say ish, saying such words as million mil'yen, brilliant velsh, for eefy'h, v'aelky'h. The consonant ky'h brilyent, if the I is dwelt upon, and thus doubled,, CONSONANTS. Sec. 7III be the thus mil'- 12 13. ly' may generated by way, & ORAL CONSONANTS, WITH (12) BACV 3* 1 ; but this is unusual. In German the l-ly -yen TONGUE, AND (13) BACK or TONGUE AND LIPS. sound is unknown, and Germans are apt to replace K, KW Shut Mutes, and G, GW Shut it by ky'h or yh when final, as email aimaayky'h Sonants, and G Shut Implodent. For K the is or aimaayh, for aimaay (enamel). tongue into the brought nearly position for oo (diagram 5). not dwell the The singer must upon very un- but makes a firm contact with the soft palate above buzz of but to the the of pleasant ly\ pass rapidly ee, and tip the uvula. On looking into the ope^. if he finds a difficulty, simply endeavour to say ly, mouth, by means of the mirror, it will be seen that the contact is really so high as to conceal the arches of the palate completely, the whole back of the tongue resting on the soft palate, and com- pletely preventing the passage of air. The K is 9. NASAL CONSONANT, WITH FRONT AND POINT absolutely mute, and becomes effective merely by its glide on to or off from a vowel. OF TONGUE. neighbouring The glottis is closed for the clear attack thus fyaa not NY' Shut Hum. The tongue is put into the for the gradual as kiaa, nor for either a jerked clear position for ty', but the passage to the nose is attack k-hfaa, or a jerked gradual attack open. This leaves a small and rather peculiarly k-htaa, and hence not k-haa. The formation of G shaped aperture at the back of the mouth, which and G from K is precisely the same as that of B modifies the nasal it and B from P and the resonance, rendering sensibly (p. 640) , implodent has no worse, and hence not one fit to be sustained. The particular interest, for it is not used either in effect of the initial consonant is almost ny, and of England or Germany. The size of the air-chamber the final consonant almost yn ; thus Englishmen behind K is almost quite confined to the throat, for often call Boulogne booloi-n in place of boolaony" nearly all the mouth is cut off by the contact of and hear Montagne as montei'n instead of moan'- the back of the tongue with the soft palate. Hence can be taany' . But such errors must be carefully avoided. G sounded for a much shorter time than B, for which the air-chamber extends to the NY' does not occur at the of words in beginning lips. French, and in the middle of words it constantly For K, G then only the back part of the mouth releases on to a vowel, as gagnons (let us gain) ' is and the are free. 1 occupied, lips To bring out not . gaany'oari , very nearly gaan-nyoan' , gaan-yoari the effect fully the lips should be quite open In singing ny' always releases on to a vowel, as diagram 11). But it is evident that a great con- moan'taany'eo, almost moan tadn-nyeo . And as this trast would be effected by making them assume is allowable even in speech, the English speaker or the high-round form (diagram 12). The result is singer can always use ny if he prefers, and should written KW, GW, as in queen kw'een, guano never use the atrocious yn. gw'aa-noa. The effect is different from kwee-n, ffwaa-noa, and also from For In Italian NY' rarely occurs at the beginning of kooee-n, gooaa-noa. in the first case (kw ) there is a from k and a word as gnomo (a gnome) nyao-moa, but it con- glide w at the same time, in the second there is stantly forms the beginning of a syllable, as (kwj irst a glide from k to and then from but few bisogna (business) beezao-ny aa. It never occurs w, w, persons appreciate this difference, and hence in finally. Hence the Englishman can still use his ny. ordinary Glossic it is enough to write kwee'n^ NY' never occurs in English or German. gwaa-noa. In the third case, which is that of the Sec VIII CONSONANTS. 83 [talian quanto (how much) kooaan'toa, guanti kh as kw' bears to k (p. 82), thus auch aawkw'h as this effect (gloves) gooaan'tee, there is distinctly a vowel (ooj (also), buch boo'kw'h (book), but has following the k, g, and not a buzz (w), but yet for not been generally acknowledged, a simple kh may ordinary purposes we find it enough to write be used, as aawkh, boo-kh. If voice is driven out so that Glossic as in kwaan'toa, gwaan'tee, ordinary instead of flatus we have gh y gw'h, tage (days) kw, gw have really three values, unless specially taa-ghu, taugen (to be worth) taau-gw'hen or noted. In Italian then kw', gw' are replaced by taawghen. This voiced sound gh is often found koo-, goo-. In German kw' is replaced by kv', as much more difficult by English people than the in quast (tassel) kvaast, quer (transverse) kv'eer', flated kh, but it is used by Germans as much softer compare English queer kw'eer. In a few French and pleasanter than the sonant g. As however in words, however, I am inclined to think that true the North of-Germany g is always used, as taa-gu, kw',gw' occur, as coiffeur (hair -dresser) kw'aafeor', taawgen, English singers may employ it in aen' ends a in coin (corner) kw , goitre (swollen neck) German songs. Gh never word German givahtr"'. And in precisely the same way, by unless the next word begins with a vowel, but it closing the lips to the high-round form, while the makes the preceding vowel long, and becomes kh, r we tw' dw' rw 1 taawkw'ht or tongue says t, d, , s, get , , , sw', as tag (day) taa-kh, taugt (is worth) which seem to occur in French toi (thee) tw'aa, taawkht, and if the g sound of gh is used, it may doigt (finger) dw'aa, roi (king) r'w'aa, sole (silk) become k, as taa'k, taawkt, but this is very harsh. ' sw'aa, and similar words. In all these cases, When ' ch is written in German, k must never in however, oo or w is the recognised form, place b employed. The sounds of kh, gli are unknown of w' and be also said. the fourth and French. It is , may Compare in English, Italian, necessary class of diphthongs, p. 49#, where the existence of to distinguish carefully between these sounds tw dw' in is indicated. and the , English kh, gh, or kw'h, ffw'h, ky'h, gy'h already explained (P-80^), because there is no KH, KW'H Central Hisses, and GH, GWH difference in spelling, and everything depends Central Buzzes. Assume the position for K, and upon the preceding sound. The kyh, gy'h are then loosen so that a thin stream slightly it, very heard after the palatal vowels ee, ai, ae, tte, eo, oe of air can itself between the back of the be taken in all squeeze and after r", I, n ; and kh, gh may in tongue and the palate. Watching the tongue other cases, since kw'h, gw'h are not recognised. is the " the mirror as this loosening effected, very In the diminutive syllable chen," kyhen is said, forward motion of the whole slight tongue by but no other syllable begins with ky'h in German, which it is done be seen. When may easily and no syllable begins with kh or gh. flatus is expelled the result is a peculiar hiss, Back Trilled "R Uvula which is not sharp as for *, because the palate is 'B, 'GH Buzzes, Rise, Trilled Hisses. the nasal here quite soft, and the hiss is often accompanied 'RH, 'KH Back While by a slight rattle of moisture, which is always passage is well cut off by pressing the upper part of the more or less to be found in this position. This is of the uvula against the back wall pharynx of the uvula is as the German ch in ach aa'kh (ah!) doch daokh (p. 210), the lower part free, (however), and always after sounds of aa, oa, ao. shewn in diagram 2. If this part be now advanced It never occurs at the beginning of a syllable in so as to lie almost upon the back of the tongue, German. It also occurs in Scotch in similar and be left quite loose, the stream of air passing it to or positions. After the vowel oo, the lips are often between it and the tongue causes flap left round when the kh is pronounced, and the vibrate. Much difference of effect is produced 1 result is kw h, which bears the same relation to according as there is little or much moisture and 84 CONSONANTS. Sec. VIII. according to the hardness of the uvula or its musical sounds. Experiment with the nostrils as freedom from the tongue, and according as there for m (p. 670). Try the various nasalities m, n, ng, is a more distinct sound of kh, gh in union with by keeping the mouth shut and humming on them the flated 'rh and voiced 'r. When the tongue is in succession, thus, assuming any easy pitch raised to the position of kh, gh, the effects, which are written 'kh, 'gh, occur in Swiss German and need for kh, ky'h, and gh, gy'h, only be noted m n ng n m ng ng m n be are sounds to avoided, though they recognised and observe how much more resonant m is than in Arabic. When the uvula is made too stiff to either of the others, and n than ng, owing to the but lies above the it flap perceptibly, tongue, difference in the size of the resonant portion of the interferes with the of the vowel slightly passage mouth, and how much more nasal, reedy, and and an effect analogous to the rise produces point unpleasant ng is than either of the others. The r be called the uvula and (t 76#) which rise, (p. may singer should consequently avoid prolonging it, written "r. It is heard in South Northumberland when should the " " but, necessary, prolong preceding between so that becomes vowels, very vaa"ri, vowel and make the final glide conspicuous, thus and at the first moment the sound seems to be not sung' with ng lengthened, but su'ng with u vaa~-i, but on close attention the little roughness " lengthened. produced by "r will be heard. The full uvula occurs at the trills," 'r, 'gh, are extremely rough, coarse, and The consonant ng never beginning unpleasant in English speech, and barely in- of words or after long vowels or diphthongs in are the telligible in some words. They are indeed not English, where ing, ang, ong, ung only recognised in any of our four languages, but are combinations known, as in 'sing, sang, song, nevertheless in constant use in German and sung.' But in German it is also found after ee, da, French, and in Northumbrian English (in the last de, uo, as singen, sang, gesange, gesungen ^to sing, of which the 'r is even labialiscd as 'rw'}, but not sang, songs, sung) zeeng'en, zdang, gezdeng'u, in Italian. Their nature has to be known in order gezuong'en. Observe that in English when ng to be carefully avoided, if possible, especially at comes between two vowels, g is sometimes added the ends of words, where they are especially dis- and sometimes not, as longer (more long) long-gu, agreeable. They may be heard from most (one who longs) long-u. In German the g is never Germans and Frenchmen who speak English, and added, as langer (more long) laeng-ur"', finger " noticed especially in final r," which of course feeng'ur*. At the end of words it is provincial in is not trilled at all in received pronunciation, thus English to add on a g, as song songg, and quite a as nuth' k. In 'where' in the mouth of a German is apt to become vulgar to add on Jc, nothing ing v'ae-'r'rh, the voice being quickly abandoned in German the Jc final is not unfrequently added on, even final 'r, and the flated 'rh being chiefly heard. as gesang (song) gezdangk, which some poeta make to rhyme with dank (thank) ddangk, but as the usage is not admired in Germany it need not 12. NASAL CONSONANTS WITH BACK OF THE be imitated. NG never occurs initial in German. TONGUE. In Italian ng occurs before a following k or g, as ;to NG Shut Hum, and NGH Shut Snort. Place franco (free/ fr'adng-koa, ringhiare gnash the in the for The sound is unknown in the -tongue position Jc, but open the nasal teeth) reenggeeaa-rai. passage ^diagram 24), the mouth may be open or French, being superseded by the nasal vowel shut. When voice is allowed to pass, there is a wherever it might have otherwise occurred, as peculiar hum on which it is possible to produce rang rahn', &c. 3. VIII. CONSONANTS. 85 The tiated form ngh does uot occur, so far as I have observed, although Mr. Melville Bell assumes that it is introduced before a following flated con- sonant, as in rank ranghk. Musical Qualities of Consonants. The 80 con- sonants which it has been found necessary to and observe the wonderful effect. After hearing enumerate may be classed thus : this it will be felt that if these sounds are to be The 9 Mutes, namely, P, t\ T, ( t, ty\ ch\ ky\ K, produced at all in singing, they must be barely 1 no sound at and become kw have absolutely all, heard, and that the main reliance must be on the effective the and only by determining beginning absence of hiss, and the presence of glides. end of glides, and these glides may be on to flatus, On the other hand, the 5 Voiced Lateral Con- introduced, as will be explained in the purposely sonants or Murmurs, F, L, 'I, t l, ly\ except perhaps next Section. the last, ly\ are more or less musical, but even The 4 Implodents ^ d\ d, g, audible, but when they form a syllable, it is better to introduce unsustainable and unmusical. the vowel u' to sing on, closing with the glide on The 13 Flated Centrals or Hisses WH, /' T, to the lateral consonant. The ly* has a very reedy the TH, th', s\ S, SH, sh', YH, ky'h, kh, kw'h; effect. Try, however, the effect of singing " 3 Flated Laterals Fh, Ih, vowels and consonants consists in their musical should not be sustained, so that when m t n and that as form syllables, they should, be sung as u'm, w', capabilities, I, r', m, n, tig, known " with the u' sustained, and m, n short. See pp. 675, liquids or vocals," are so much superior to the 740, 77. other consonants that they might form a separate class, so that omitting the less important sounds, Gradual Transition from Vowels to Consonants. we might arrange the others in order of musical feel that the real distinction between Hence we character, thus, placing the best first : VOICE. Vowels.... H' AA, AU, OA, UO, E, OE, UE, EE ; AHN', OAN', OEN', AEN' ; (voice). Vocals .... L, M, N, R', NG-. Glides .... -f Buzzes .... H' Z, ZH, V, DH, W, Y ; (whisper). Sonants .. B, D, G. Slurs .... -7- FLATUS. Hisses .... S, SH, F, TH, WH, YH ; 'LH, E'H ; H (flatus), i (gradual^, HT (gradual jerk) Implodents B, D, G. ATTACK AND RELEASE Mutes P, T, K; ? , (;) HI (pure jerk). The speaker has to give full effect to all of these, hence reduce as nearly as may be to the condition the singer must rely upon the vowels, vocals, and of mutes, relying on the glide for making them glides for musical tones. Of the others the mutes clear and intelligible. Hence we feel the neces- are most important as producing no interruptions sity of studying the action of glides from and to but merely determining the direction of a glide, or consonants, or the effect of consonants on the mode of setting on the voice, and the rest are adjacent vowels, and other consonants, at con- inflictions which the singer must not omit in any siderable length and with great care, as in the n^ case, but should mitigate as much as possible, and Section. MIXED AND CONSONANT GLIDES. SYLLABLES. 87 IX, MIXED AND CONSONANT GLIDES, SYLLABLES. Vowel, Mixed, and Consonant Glides Denned Murmur Triphthongs Reconsidered. The great and Distinguished. The general nature of Glides importance of mixed glides to singers will mate it at is explained at the beginning of Section VI (p. 420) necessary to consider them some length. First as consisting in a continually variable sound, recur to the murmur triphthongs (p. 52&) such as having a distinct beginning and end, with a con- in fire fmu, where the vowel glides would be more necting path. fully represented u-\-i-$-u ; that is, there is the vowel u, bearing the stress, gliding sharply (-J-) Vowel Glides begin and end at vowels, which on to the vowel , which does not bear the -stress, may be themselves prolonged musically, but form and this gliding weakly (-f-) or slurring on to u, no part of the glide itself, and merely serve as which has also no stress. The real stress is not so clear marks of its beginning and end, and the path, much on which is as on to the earlier which in this case consists wholly of voice sound, u, very short, part of the glide, in u-\-i. The weakness and want forms the really appreciable "voice-glide." Such of stress in the slur i-^-u prevents this from vowel glides have been fully considered in Sec. VI. making the whole into two syllables. Mixed Glides have a vowel at one extremity and a consonant at the other. When the consonant is a vocal (p. 86 \ the mixed glide bears a strong Action of a Vowel between two other Vowels. resemblance to a vowel glide. When the con- Syllables. Now take aalaa or aa-\-i-\-aa, when sonant cannot be sustained but has a there is a aa to i and from t to aa musically, sharp glide from t sound of its own, being a buzz, sonant, hiss, or without any proper repetition of 1. Here the implodent, it still serves to mark the beginning or double glide, first diminuendo and then crescendo, end of the glide distinctly. But when it is a is so conspicuous, that the ear naturally separates " " mute, the beginning or end of the glide is rather the sounds into two groups, or syllables (from uncertain, just as the beginning of motion in a a Greek word meaning "collection" or group). ball suspended by a thread that is set on fire. A speaker would therefore be apt to lengthen the it Consonant Glides have a consonant at each ex- middle t, separating into two parts by decreas- the which be the tremity. If both consonants are mute, a glide is ing energy, may represented by of thus which makes the impossible. If one is hissed and the other mute, sign *--?, aa-\-i-^-\-aa, two more or if both are hissed, there is a hiss glide only, as groups conspicuous. distinct from a voice glide. If one is voiced and To feel the effect of the glides more distinctly the other mute or hissed there is an approach to a suppose that one or both are omitted, and represent mixed If both are is so aa...\ the glide. voiced, there an the result by (.. ), that means vowels approach to a vowel glide. aa and i with a silence in place of a glide between 88 MIXED AND CONSONANT GLIDES. SYLLABLES. Sec. IX. even when has them, but with the greater stress on the first the consonant, vocal, necessarily less force than the vowel. Hence as before vowel. Compare much . these ten cases are written aa...l...aa, aa-\-i...aa, aa... \-\-aa, aa-\-i l-\-aa, aa I a, aal a, aa laa, aal laa, aalaa With these also compare aalaa, aalaa, aalaa, aallaa, aallaa aa~i-\-aa, aa-{-i-^-i-\-aa, aa-^i--aa, aa-^-i-^-aa, This is quite enough in practice when the custom aa-\-l-\-aa of the language is understood, but not enough for Where the shews that there is no cessation of -7- the purposes of accurate study. In the present voice, but merely a diminution of force, so that examination, then, (...) will be generally repre- the glide becomes a slur, and is very inconspicuous, sented by separation, and (-}-) by closeness of the and the I shows that this vowel is both without letters, but (-f-) will be retained except when the force and lengthened. consonant is doubled. Thus the ten cases will be In Grlossic we should write these ten ordinary accurately distinguished as cases thus aa I aa, aal aa, aa laa, aal laa, aalaa aa t aa, aay aa, aa yaa, aay yaa, aayaa aa-^-l-^-aa, aal--aa, aa-^-laa, aal--laa, aallaa aayaa, aayaa, aayaa, aayyaa, aayyaa Now in the first we have three Thus confusing glides and slurs. To the singer, here, case, distinct and emissions of aa I however, it is of considerable importance whether he separate voice, aa, without It is convenient to call these has suddenly to check the flow of air from his lungs glides. or each consists of or not, and hence he is always more inclined to slur syllables groups, although only " " " one as we call one a number" than to break, that is, to use (-;-) than to use (...). sound, just thing " " Thus aa...i,...aa would have to be with the of things, although a number of things should sung " consist of " more than one clear attack and release to each vowel, as evidently thing. The first case, aa I aa then, of three taai...ti}..4aa?, but aa-~i--aa would require the consists, syllables. The sixth also the effect of clear attack at the beginning and end only, as case, aa--l~aa, gives three not well because there is )aa-$-i--aa}, the glottis remaining in the position syllables detached, for voice all the time. only relative not absolute silence between them. The other eight cases consist of two syllables each. Action of a Vocal between two Vowels For aal aa and aal-^-aa it is evident that the first which is felt to Syllables. In these cases we have simple vowel syllable ends with I, be slightly in the second and the glides. In the mixed glide between vowel and prolonged form, second vocal we can trace the same effects as syllable begins with aa, with a clear attack in one, . . in with no attack at because aa...l...aa, aa-\-l...aa, aa...l-\-aa, aa-\-l. l-\-aa, but the other, all, the has never ceased to act and to voice. aa-\-l-\-aa glottis produce in the firct case are aa-^-l-^-aa, aa-\-l--aa, aa-$-l-}-aa, aa-\-l--l-\-aa, The two syllables separated by " aa+ll+aa a silence, in the second by a muffled" voice. In ordinary Glossic writing the necessity of For aa laa and aa-^-laa, the first syllable ends clear release in the collecting into one written word the symbols of with aa, having a aa} first case, a reduction of force in the second case. the sounds which compose it, and of avoiding such but merely the The second with I with a clear connecting marks as (-}-, --), have led to con- syllable begins in first but with fusion of slurs and glides, and to represent either attack tf the case, merely renewal of them by writing the vowels close together. of force in the second. The two syllables are The difference of stress in the beginning and end separated by a silence in the first case, and by a voice in the second. of glides did not need to be distinguished, because muffled Sec. JX. MIXED AND CONSONANT GLIDES. SYLLABLES. 89 For aal laa and aal-^-laa there axe also distinctly transition after the s, thus sjaa ? The habits of two groups, and the separation is evidently made different nations and individuals here differ con- in the first case by a silence, and in the second hy siderably. So far as I have observed, it is common a remission of energy in pronunciation of l~l, in English to say aajs and aas, and it is common so that -j- serves again to divide the syllables. in Italy to say aazs and aas, but the first often For aalaa the I is short, and for aallaa it is long, falls into simple aaz. In German aaz and aas, and but there is no reduction of energy during its in French aaz and ahs are both usual. The continuance. The whole length of the I itself English singer is recommended to say das, aas, forms, therefore, the sensible separation between making the change smartly and suddenly in the first and second glide. And if we group the passing from the vowel to the hiss, because the beginning of I with the preceding aa, we must slightest suspicion of z is unpleasant to our ears, group the end of I with the following aa. We having a Zum-erzetzher effect. But the *, of course, come then to the conclusion that the must never be in use syllables lengthened singing ; we must " " in divide the middle of I or II. s~s or *...*, with two short s, in place of ss. The ten spoken forms are then Action of a Buzz or Sonant between Two aa s aa, aas aa, aa saa, aas saa, aasaa Vowels. Similar considerations apply to the cases aaj-^-s-^-iaa, aas-^aa, aa^-^-saa, aas-^-saa, aassaa where the consonant which separates the syllables The slurs require the gradual attack and release, is a buzz or a sonant. Thus we can and should because the is never closed but the glottis ; effect distinguish is not pleasant. It is important, however, for the aa z aa, aaz aa, aa zaa, aaz zaa, right understanding of glides to note the great aa-^-z-aa, aazzaa aaz-^-aa, aa-^-zaa, aaz-^-zaa, distinction between aas arid aa s, or even aaj-~s, aa b aa, aab aa, aa baa, aab baa, aabaa that the singer may accustom himself, even when the vowel is much to out the aa-b-^-aa, aab-$-aa, aa-^-baa, aab-^-baa, aabbaa prolonged, bring glide smartly and clearly. Action of a Hiss between Two Vowels. When Action of a Mute between Two Vowels Kecoil the consonant is a as in dividing hiss, aasaa, there When the separating consonant is a mute, the is a distinction. The from the vowel slight glide case again changes aspect. The glide is once more to the hiss, aas, with the voice. begins necessarily a complete voice glide, but there is no resting-place Should that voice be carried on to the that up hiss, at the mute. The voice is simply cut off at the is, while the moves from the aa to the s tongue end of the glide, and this is effected not merely by position, and should the be then glottis suddenly the closing of the external apertures, but by the opened, so that flatus can be heard? This only closing of the glottis itself. Hence the three action may be represented aas. Or should the by separate syllables and slurs become impossible. voice die off into a and into flatus whisper, pass If we say aa p aa, the effect is the same as aa aa, during the ? This second action be glide may except that perhaps there is rather a longer pause Or does represented by aa?s. the voice continue between the two vowels. To make any audible into the s and " " position, producing z, during that, effect possible we must either implode the p or position change through whisper rapidly to * ? introduce flatus or voice either before or after the This third action may be written or aazs. as aa b aa aazi p, aa, hp aa, aa h'p aa, aa ph aa, And similarly in passing from the s to where aa aa, p-h'aa. Of these the after-flatiis ph, pro- does the voice begin ? In the thus szaa ? im- s, nounced very rapidly, is most common in England, after the thus saa " mediately s, ? with a gradual and is sometimes known as the recoil." In this 90 MIXED ANi> CONSONANT GLIDES. SYLLABLES. Sec. IX. case an ph aa can indeed be made quite audible there is a perceptible silence between them which as three distinct syllables, but then ph really divides the syllables. But in aapaa this silence contains a flatus-glide from the p position to some disappears. The second glide begins where the easy indefinite position, say that of flated u or . first ends, with no more interval than is necessary That this is really the case may be felt by saying for reversing the action of the muscles, so as to Q rapidly, ph, th, kh ; th, kh, p h; kh, ph, open instead of closing the lips. But for aappaa th, when it will be found that each of the three that separation is slightly increased by making the " " sound is easily distinguishable, although, if there contact tighter, giving an energetic character were no flatus-glide, there would be nothing heard to the consonant. The remarks on p apply with but a succession of the same flatus sound h. If proper changes to t and k. the sensitive back of the hand be held before the Q mouth while saying ph, t h, kh, the force of wind Vowels Running on to Consonants, and Con- will be found to be very great for the two first, versely, Open and Closed Vowels, Final and and the character and direction of the blast to Initial Glides, Medial, Doable, and Split Con- differ considerably in each of the three cases. sonants. When a mixed glide takes place from a vowel to a consonant in of the stated But even this contrivance fails for the slur. It any ways just " " the vowel is said to run on to the consonant or of to a stream of air is, course, impossible keep " " " to be closed" by it, and to occur in a closed passing through the mouth when the passage but when'it is a or the mouth is and if we syllable ; separated by silence, through shut, merely " " only united by a slur, it is said to be an open diminished force in passing from aa to p, we or to occur in an The should render effect of the vowel, "open syllable." simply any p inaudible. " " consonant is said to act finally on the vowel, and Hence the five forms aa p aa, aa-^-p-^-aa, aap-^-aa, to "close" it. The glide is "the final effect" of aa-^-paa, aap-^-paa must be excluded, and there the consonant on the vowel. remain only the five important forms When the mixed glide takes place from a con- aap aa, aa paa, aap paa, aapaa, aappaa sonant to a vowel, the consonant is said to "run For aap aa, the voice glides precisely as for on" to the vowel to ''attack" it, to act on it " aab aa, but ceases, by an action of the glottis, as initially." the p position is secured, and the voice does not go When a consonant forms a mixed glide with both on resounding in the closed mouth, as for b. The a preceding and following vowel, the length of effect of the glide in aap without anything to mark separation of the glides may be long, or short, or its termination, is very incomplete and mutilated. absolutely nothing at all. When as short as But when a vowel or other consonant follows, it is possible, as in aapaa, aasaa, the consonant is said the only one admissible. Some persons will say to be "medial," or to produce its medial effect. aaph, but the singer should never allow himself When just perceptibly lengthened and strengthened to indulge in anything so unmusical. For aa paa as in aappaa, aassaa, it is said to be "double" or " the glide on to p is lost, but that from p remains. energetic." When there is an actual perceptible This is just as mutilated as aap, but it has not the pause or slur between the two glides, as in aap paa, " " same effect, because the voice dwells as long as it aas+saa, the consonant is said to be split or " pleases on the final aa. But many persons find it dislocated." The last case occurs properly only not distinctive enough, and introduce an aspira- in spelling syllables, or when a singer is obliged tion, SLap-hfaa or p-fyaa, both of which are highly (by the fault of the composer) to take breath the former is effect is objectionable ; a German, the latter between syllables. The "double" very an Irish error. For aap paa both glides occur, and common in Italian, as hanno (thev have) aannoa, Sec. IX. MIXED A3TD CONSONANT GLIDES. SYLLABLES. 91 " not aan-^-noa, and even in English, compare loose." The voice seems to loose energy, and it bouquet bookcase buok-ai buok-kais, missive missent glides weakly, and hence not very clearly on to the mis'iv missen't, unowned unknown unoa'nd unnoa'n, consonant. This is peculiarly a vice of singers, who penny penknife pen'i pen'neif (not pen'if, as some have to lengthen even short vowels, and to whom say. It also occasionally occurs in German and the noise of a consonant is a nuisance. They French. The "medial" effect is the most com- consequently altogether lose the effect of con- mon in English and German when it closes an sonants even in syllables which in speech have accented and begins an unaccented syllable, as short vowels, and therefore, as the voice is in full messen (measure) maes-en, konnen (to be able), energy on commencing the glide, have smart koen-en, manner (men) maen~ur', happy hap-i, &c., glides. But the omission of a final consonant, where in ordinary orthography two consonants are coupled with the inevitable lengthening of a short written as if there were a double effect. This vowel, is quite enough to make a word unintellig- double effect may, however, always be used by the ible. Hence the singer has to practise his glides singer, and frequently with advantage, as it tends very carefully till he can make them perfectly to bring out the effect of the consonant better. smart, with long vowels gliding on to mutes, as in In Italian and French the medial effect is not aa-p, aa't, aa-k, without any flatus after the acknowledged theoretically. It seems to me that consonant. He should sing them in any order to Italians end the syllable when possible by a slur, a person at a considerable distance, and not be as sano (healthy) saa'-^-noa, not saa'noa, ridere (to satisfied unless that person hears every consonant laugh) ree'-^-dai-Z-r'ai, not ree'dair'ai ; the rule distinctly, which he can easily signal by holding after for being that when the consonant or consonants up the right hand p, left hand for t, and both the vowel can be pronounced, (that is, have their for k, without interrupting the singer. This is effect made audible, by Italians,) without the not an easy exercise, but it is one of the most assistance of the preceding vowel, they should be important for a singer who would acquire a clear so pronounced. But in French it seems to be that enunciation. The tightness and consequent the consonant is always medial if possible (that is audibility of the glide is produced by rather if it can be made to act upon both vowels) as increasing the force of the vowel just as it begins malheureux (unhappy) maaloer'eo, not maa-~loe~- to glide and keeping up the force till the vowel is r'eo. In English an unaccented vowel is always lost in the consonant, that is during the whole "open" when preceding such a consonant as can glide, which must be made very short and sudden. produce its effect by help of the following vowel, In the first exercises, of course, the effects must as merrily mer'i-^-li, happiness hap-i-^-nes, repay be exaggerated, and then, when the action is ri-^-pai', presume pri~-zeu'm, laboratory lab'- familiar, they will have to be toned down to the u-^-ru-^-tur'i, navigable navi-^-gu~bl. emotional requisite delicacy. Initial Mixed Glides from Voiced Consonants Tight and Loose Mixed Glides. The glide is and Hisses. Initial mixed glides proper are those tight," "close," or "smart," when there is a which occur from a consonant to a vowel, after a " considerable distance between the of that is, after a sensible j positions pause," very silence, the vowel and consonant, and this distance is generally enough to draw breath once or twice, or travelled in a short time. Hence to the at the of a sentence or In this ) produce beginning speech. i effect of a consonant clearly, the glide should be case the vocals, buzzes, and hisses, should be taken i made rapidly and smartly. In English when the very short, and the vocals, buzzes, and sonants " " I vowel is long it is usual to make the glide lax or should begin with the clear attack, }. There is no 92 MIXED AND CONSONANT GLIDES. SYLLABLES. Sec. IX. danger in any of the four languages that vocals this sz is the only combination of the kind which should be preceded by their flated forms, that is, occurs in that language. In Italian and French, that we should say Ihlaa for laa, with a gradual so far as I have observed, there is no tendency to attack, because they do not possess this flated begin an initial buzz with its flated form. sound and it is difficult for their the initial consonant is a Ih, consequently When sonant, b, d, g t speakers to utter it. But the buzzes are so rough there is no real difficulty to an Englishman, and disagreeable, that there is a tendency to make Italian, or Frenchman, but most of the Germans them begin with the flated forms, that is, with the have a considerable difficulty, because they are Q gradual attack, and in the same way there is a used to "implode," and say b, d, g, which is on tendency in case of the hisses to introduce the the other hand difficult to Englishmen. The Ger- buzz after the hiss. Thus in English there is a mans therefore try to prolong the voice sound of tendency to say whwen for when simply, and even b, d, g, which is so difficult that they are apt to to say wen for when. In the West of England open the nasal passage, and say mbaa, ndaa, nggaa. fvaa, thdhaa, szaa, and even shzhaa occur, which This is a common habit among several nations, under different degrees of energy give more or and is here only mentioned as a fault, into which less prominence to the flated or voiced form, so singers might be easily tempted, but which they that sometimes faa, thaa, saa, shaa seem to strike must carefully avoid. the ear, and at others vaa, dhaa, zaa, zhaa. The singer should always avoid this ambiguity. He Initial Mixed Glides from Mutes. When the is of should take one or the other form clearly. This initial consonant is a mute, p, t, k, the difficulty managed for the hisses by keeping the glottis open having a perfectly silent commencement of the for the whole (very brief) duration of the hiss, and glide leads very frequently both Englishmen and closing it suddenly to the clear attack at the Germans (not, I think, Italians or French) to beginning of the glide. The effect is then a hiss, begin with the gradual attack. The consequence followed by a glide which resembles that from a is that there is an explosive escape of flatus as the mute in having no previous duration of voice check to the voice is released, occupying the sound through a fixed position. The singer should position of the glide, and then the vowel follows, * saa that and an(^ in of the and practise aa, y is, s.,.)aa si-^*aa, beginning perhaps part glide, perhaps Q note the difference of effect, and also the difference at its full position, thus p-\-h?aa or phaa, t haa, from where the Q which be written more si~\-aa (that is, s-\- 'aa-j-00) , change k haa, may conveniently from flatus to voice takes place during the glide. pfaa, fyaa, tyaa, because the vowel is really begur For buzzes the effect is produced by beginning gradually, and the explosion is simply occasioned with the clear attack, as )vaa, that is, putting the by the release of a tight position. This is some- organs in the proper position for voice at once, and times exaggerated by suddenly jerking the lungi thus avoiding the gradual attack, as yoaa,, giving so as to force the flatus of the clear attack stil fvaa. In German all the words beginning with more strongly, as p-h^aa^ t-h^aa,, k-hfaa. This ii ' * as ' sie ir s,' (she) are pronounced with sz, as szee, by no means unfrequent with public speakers even indeed it have even heard a who usec by singers ; was by observing England (I minister, singers that I first became acquainted with the this method consciously and designedly, declar< fact more than thirty years ago. Singers, however, that it was the only method of making thes< are recommended not to indulge in the habit, but consonants properly heard), and it is genera to commence with the clear attack, and make the among those Germans who distinguish mutes fron " buzz very short. As the Germans have no 0, or sonants, that is, who do not implode." That ii th< zh, and use/' only after p when they use it at all, was common in older German we see from Sec. IX. MIXED AND CONSONANT GLIDES. SYLLABLES. differences in the consist in the iormspfaa-l, t's'oo, the actual pronunciations of the only syllables * zu' of the nasal on the 'pfahl' (pole), (to), which arose from paa- 1, instantaneous opening cavity t'oo. Still these sounds are not required for in- cessation of the glide in the first three cases, and telligibility, and should be most studiously avoided the muffled resonance of the vowel in the mouth by the singer, because they introduce an unneces- only in the last three cases. It is of extreme sary and unsingable flatus. They also destroy the importance for a pleasing pronunciation of English real singable voice glide altogether. The singer not to allow the least nasality in any vowel sound must carefully practice singing aa aa aa, pact, paa or vowel glide. And these syllables form great paa, taa taa taa, kaa kaa kaa, aa paa, aa taa, difficulties to foreigners. There is no tendency in aa kaa, paa aa taa, paa taa aa, and so on, with any of our four languages to drop the voice and go different vowels, and feel the great difference off to flatus, when the vocal ends, as aal-lh, occasioned by the glide, when kept strictly voiced, aar'-r'h, although Germans often say aa'r-'rh, without a trace of flatus. This will add greatly (p. 840) which is not to be imitated. to the beauty of his English and German singing, When the final consonant is a buzz, there is a and it is quite indispensable for Italian and constant tendency in English to drop the voice and French. See Section XI, Exs. 2 to 8. pass into the hiss, most with z, as aazs, but not unfrequently with dh, as aadhth, and more rarely Final Mixed Glides on the Voiced Consonants with v, as aavf, as in: That's his ! I can't breathe! and Hisses. Final mixed glides proper from a Have you five ? dhats -hizs ! ei kacrnt "breedhth ! vowel to a consonant, before a "pause," present hav eufeivf? The singer should avoid the flated similar difficulties. When the consonant is vocal, form aa unsingable. The final zs is particularly there is a tendency to prolong it unduly, especially disagreeable in singing. In German there is no if the is is preceding vowel short. Thia all very final buzz in a glide, but only pure hisses. In well in speaking, but as the vowels may always be Italian no word ends with a buzz. In French the in lengthened singing, and the vocal, though final buzz does not pass off into a hiss, as la rose is far less musical the it singable, than vowel, (the rose) laar'oaz ; observe here that the r' is must not be in thought of singing. The singer medial. As regards the glide up to the buzz, it must endeavour to tighten his glide on to the should be treated in the same way as for a vocal, and that vocal, make vocal very brief indeed, so but the buzz afterwards should be very brief. that it comes to a sudden as if off. stop, broken The final sonant, as in aab, aad, aag, has glides Some of time is length necessary, of course, for the of precisely the same nature. The singer should audible utterance of the and this will suffice vocal, continue the muffled resonance of the b, d, g, just to it from other in distinguish consonants the same time enough to be perceived, and especially avoid column of the Table, on p. 17, that is, which are two methods often adopted to make these sonants the produced by nearly same position of the organs. more conspicuous. Many speakers, even so great Thus aal is kept distinct from aad, aar', aan, with an actor as the late Mr. Macready (Mu'kree'dij, all of which it is liable to be confounded, owing and very many lower class tragedians, allow the to the resemblance in the great three glides. final sonant to become medial, by adding a very aam must be Similarly kept clear of aab, and aang brief and indefinite vocal sound, so that the sonant, of As the ang. respects nasals another point must which is brief and never ceases to be heard, is be attended to no of the ; particle glide from the followed by a glide to some indefinite form, nearly vowel to the consonant must the nose. which is thus pass through u, represented by K , aab-h', aad'h', Hence the in ' f glides aa-\-m, aa-\-n, aa-\-ng, are aag'h\ Thus stab, add, nag,' become stab h\ identical with those in aa-^-b, aa-\-d, na-\-g, and ad'h', nag-h', that is nearly stab'u, ad'u, nag'u, 94 MIXED AND CONSONANT GLIDES. SYLLABLES. Sec. IX. ' sounding like stabber, adder, knagger.' Other glide ought to end in a silence, but, as already speakers, wishing to bring out the sonant more noticed (p. 90#) it often ends in the "recoil." strongly, drop the voice, and end with flatus, thus Singers should be satisfied to end with the glide, aab-ph, aad'th, aag'kh, which is very apt to as aap. But if the check is released, the mute produce the effect of aap, oat, aak, and should should not glide on the flatus, but make a very therefore be also avoided. The proper method, faint smack or click by the sudden separation of especially for the singer, is to prolong the vowel as the two lips for p, point of the tongue and palate much as is required for the music, make the glide for t, and back of the tongue and soft palate for k, tight, just prolong the sonant enough to be felt, all of which parts are moist. ^Representing this and end with a clear release. In German no word click by () at the end of a word, as a contraction as ends in b, d, g before a pause, but if a vowel or of A, practise first holding the breath so to be voiced consonant follow, I seem to hear the proper sure that no flatus escapes, and then saying p, t, sound of b, d, g or yh, gy'li, at any rate such sounds k, as loudly as possible, and then gradually ' are quite admissible. In other places final b, d, reduce them to the lightest sound which is just g' become pure^, t, k or M, ky'h, however they audible. This is the utmost amount of recoil that be written. In Italian the elision of a vowel a should allow thus aatQ may singer himself, aap, , will sometimes, but rarely, produce a b, d, g at the aak '. It is sufficient to relieve the organs, and end of a word, and similarly in French, and in then the singer can breathe freely and noiselessly. both cases they are pronounced clearly. And even the speaker had better limit himself to When the final consonant is a hiss, the only this faint click. It may be mentioned incidentally point to be remembered is to voice all the glide, that these form the bases of the celebrated South and to open the glottis suddenly at the moment African and North American clicks. In German the hiss position is assumed, and not to prolong the same practice may be adopted. In Italian the hiss in singing. The greatest care has to be there is scarcely any occasion to use it. In French taken with s, which has such a cutting hiss. In p, t, k, could only occur finally by the elision of a ' German especial care is requisite with the final mute e,' and French speakers in practice prefer kh, ky'h. English singers of German are apt to the faintest possible indication of this eo, which omit them altogether, which of course is atrocious, may be written eo to distinguish it from merely and renders the words and short eo and then double the perfectly unintelligible ; they usually preced- difficult to follow even with the text. But there ing mute, that is, they glide tightly up to it from should be a to tight glide up them, and then they the vowel, and loosely from it on to eo, making should be sustained just long enough to be dis- a barely perceptible pause between the two tinctly separated. They are certainly bad inter- glides. This is especially done in poetry with all ruptions for the singer, but they are characteristic final consonants which arise from the elision of of the and be well ' language, must heard. Practise a mute e,' in order to supply its place, and singing such phrases as : Ach ! nicht ich doch (Ah ! made the existence of the elided syllable apparent. not aakh ! I, though) neeky'ht eeky'h daokh, to Thus chape (a cope) shaappeo, chatte (a cat) as very long notes, and hence aa~kh, me-ky'ht, shatteo, moque (laughs at) maokkee. ee ky'h, dao'kh, making the glide tight (exag- Consonant Glide from Vocal to gerated), and the hiss light. Vocal. Passing from mixed glides we have to consider purely Final Mixed Glides on to Mutes, Kecoil with consonant glides, where each element is a con- Flatus, Click, or Voice. The mute final necessarily sonant. The consonant glide of vocal to vocal is presents the greatest difficulty. In this case the rare, and in English is only found after a vowel. Sec IX MIXED AND CONSONANT GLIDES. SYLLABLES. 95 as in falien elm. In and such These fau-ln, fau-ln words, present no difficulty. The only care re- the tongue having come into the I position, the is not to finish off the z quired with an s, by is not removed from the but the sides point palate, dropping the voice, as henzs, &c. close to the teeth to complete the check, and the uvula descends to open the nasal passage. There Consonant Glide from Buzz to Buzz. The con- is thus no room for any vowel to interpose, but sonantal glide between two buzzes is not so there is a it rapid glide from I to n. If, however, the common, but occurs final in English, as halves point of the tongue were allowed to quit the haa-vz, wolves wuolvz, breathes bree'dhz. These for an palate instant, a voice sound, which we may present two difficulties, to retain the voice through all the write u\ would be heard for that instant, the I first buzz and also through the second. The latter is would glide on to it, and it would glide on to the rarely done in the pause, in that case and two would the buzz falls into the , syllables arise, thus fau-lu'n. readily hiss, as haa-vzs, In the elm, point of the tongue should be similarly wuolvzs, bree'dhzs, which, however, the singer should maintained on the roof of the mouth, while the avoid. None of these glides occur in the close other three lips in for the m, as and they close, the uvula languages. One of these words con- should tains an descend to open up the nasal passage. example of a vocal and a buzz, as in shelve twelve Many speakers find this glide so difficult, that they shelv, twelv, delves delvz, selves selvz. In let the point of the tongue drop too soon, and French we have also Beige (Belgian) hence introduce a vowel, as el-u'm. The vowel baelzh, charge shaar'zh. The permissive trill should always be avoided in this case. The would give us starve staa-r'v, as in French larve termination In is very common in German after e (insect larva laar'v, but the combination is not or as nudeln common. u, (vermicelli) noo-du'ln, spiegeln (to mirror) shpee'gy'hu'ln ; and Im occurs in halm Consonant Glides from Sonants to (stalk) haal-m, helm (helmet) hael-m. Neither Vocals at the occur in Italian or French. end of Words. In cable addle ad- The final glides r'l, kai'bl, 1, giggle ' deaden the vocals n r'm, r'n, are quite optional in English, in snarl, ffiff'l, ded'n, I, make distinct Here the distinction arm, barm, tarn,' generally called snaa-l, aa-m, syllables. between the glide on to the vocal baa-m, taa'n, but allowably aa'r'm, baa-r'm, taa'r'n. pure and the interposition of a vowel must be But these glides are frequent in German, kerl perceived. In kai'bl, the tongue is into the for I (fellow) kaer'l, arm aar'-m, herrn (accusative of brought position before the lips are ' from the so that herr,' sir) haer'n, and French perle (bead) paer'-l, separated b, no vowel can be charme but in verbal (charm) shaarm, lucarne (attic window) inserted, vu-bu'l, cymbal sim-bu'l, the is not in contact luekaar'n, but not in Italian. For this glide the tongue when the lips are opened. idle r' acts just as a tremulous vowel, and the tremor For ad-l, ei'dl riddle rid'l, bidden bid-n, the of the is continued through the glide. Such initials as point tongue is already in the position for I and care has to be taken not to tnlaa, nlaa, mr'aa, nr'aa, and even mnaa, r'laa, are remove it, but quite possible, but do not occur in our four merely to slacken the contact of the sides of the languages. tongue with the teeth to let out the I sound, or else to retain the side contacts firm, and open the nasal Consonant Glide from Vocal to Buzz. The final passage for the n sound. If the point of the consonantal glide of vocal to buzz is rendered tongue is removed in either a vowel sound is inter- common in the English by mode of forming our posed, as in medal med'u'l, idol ei-du'l, bridal as bells plurals, belz, crumbs krumz, hens henz, brei'du'l, abandon uban'du'n. Now the difference and with foars things thingz, permissive r\ feeur'z. of the two pairs of sounds bl, dl and bu'l, du'l is 96 MIXED AND CONSONANT GLIDKS. SYLLABLES. Sec. IX. so slight that they are often confused, and as the large number of dialect speakers) convert it into latter are much more singable, the singer has been dl-, which is very easy, because to pass from d to I already recommended to use them in place of the we have only to loosen the sides of the tongue, and 'I is rather differ- as dl- does not in former (p. 745). The case of gig occur our language, it occasions ent; but here the glide is only stronger. The no mistakes. But it is nevertheless an error in tongue has a great leap to make from the position speech which should be avoided. This error is not in for g (diag. 17) to that for I (diag. 20), and while known German and French, or in the very few it is changing, the voice being omitted, there is a and recent Italian words in which it occurs. In very evident glide. But this glide being altogether the greater number of Italian words gl- is replaced obscure in sound does not differ so much as in the by gee or gy, as in ghianda (a gland, or acorn) last cases from the effect of an interposed u' ; com- geeaawdaa or gyaan'daa. the initials pare wriggle, regal r'ig'l, ree'giil, and hence The br'-, dr'-, gr' present no difficulties, latter for the former is even more but in bw- a effect use of the t dw-, gw- peculiar results. In admissible in singing. Only it is necessary to saying true bw- there is but a very slight gliding sound. make the glide from the u' to the I, n, loose, not The lips are quite close for b, the vocal to resonance tight, so that there should be no resemblance an being entirely within the mouth, though m if accented ul, un, as jid-ul for fid'l fiddle, which has the finger be placed lightly on the lip it will be 1 found to always a disagreeable effect. The final br', dr\ gr" tremble. For w the lip is opened, and the become bu', du\ gu* in English, and bur\ dur', gur' voice escapes as a buzz. The extremely slight in motion creates in German, but may be heard colloquial French, an extremely slight glide, which is, as sabre ^sabre) saabr' or saabr'eo, ordre (order) however, perceptible, and hence bwaa is not easy. aor'dr' or aor'dr'eo, ogre aogr* or aogr'eo, and even Care must be taken to avoid bu'waa. This diffi- the flatus is sometimes substituted, as saabr' h, culty is practically overcome in two ways. One is to convert aordrk, aogr'h. The final bl, dl, gl are sometimes w into So, producing booaa, and perhaps treated in the same way in French, as sable (sand) this is a common pronunciation of the French saablh, but properly saableS, never saabl. In bois (wood). But perhaps the commonest, as it is German the final I gliding from preceding sonant the neatest pronunciation, is to close the lips for b, in is written 'el' in general, and may be always not the usual way, but as if the lips when rounded for were drawn in called el (not ael), or u'l, but it often becomes a w up the middle, just is even so as fiedel like a closed a Then pure I, and occasionally written, bag by running string. open- or out the vowel we have a combined effect (fiddle) fee-del, fee-du' I, fee-dl, grxibeln (to grub) ing upon of b and w thus grue-beln, grue-bu'ln, or grue-bln, in which last case pronounced together, bw'aa, where buf this the glides are ue-\-b-\-l--n. None of these finals represents peculiar conformation of the occur in Italian. lips by which an attempt is made to pronounce both b and w at once. This effect is easier to Consonant Glides from Sonant to Vocals, and to produce for dw'aa doit (owes), gw'aatr' goitre of Words. the Buzzes W, Y at the beginning (glandular swelling of the neck), because the lips The initial bl-, gl- require care to keep the I very being perfectly independent of the tongue, they short, and yet make it sufficiently heard for the can be brought into position at the same time with previous consonant to glide on to it sensibly. Such the tongue position for d, g. This is altogether a sounds as bl-loo, gl-loo, or bu'loo', gu'loo' are quite better way of producing the effect. In English inadmissible, although occasionally heard. As gl- dwell, dwindle, &c., I think that dw'el, dw'in-dl is presents difficulties in the very rapid motion of the both easier and commoner than dwel, dwin-dl, and to 20 most children a I its use tongue (diagrams 17 , (and recommend especially to singers. Simi- GLIDES. SYLLABLES. 97 Sec. IX. MIXED AND CONSONANT as for the word t'sh or fsh'. When final, it follows an I easily, as larly for gwawnoa; buoy bitfoi, boot or that on to its dij as in bulge bulj. appears to be a mistake. Sailors say booy, glides readily There should be no more in which agrees with the original Dutch pronuncia- difficulty chai'nj in chai'nd but tion. (change) than (chained', many speakers do not glide on to the dy' at all, and pro- Consonant Glide of Vocal to Sonant at the End 'sh'ai-nzti or as hear it. nounce ty ', chai-nzh, they of Words. The final combination of vocals with Various reasons lead me to prefer chai'nj, which sonants offers no difficulty to an Englishman ; seems most natural to English mouths. In bulb barb bald hemmed thus bulb, baar'b, bauld, ' ' changes it is not so usual to omit the dy' initial hemd, end end, hanged hangd, jeered jeeur'd. Such element, because there is then naturally only a slur combinations do not occur in German, or Italian, and not a glide between the n and the /, thus nor, so far as I remember, in French. In fact, chain-^-Jez. When the permissive trill is used, we such forms as end, and, offer great difficulties to a have also -r'/ in barge baa-r'j never baa-r'zh. Frenchman, in an endeavour to avoid nasalisation, The final of buzz on to sonant is ' glide quite as he would naturally say aen'd, ahrid, as in Inde, common in English, owing to the mode of forming bande.' our past participles, as amazed umai'zd, halved Consonant Glides between Buzzes and Sonants, haa-vd, breathed bree'dM, judged jujd, bulged and between Sonants and Sonants. Initial com- buljd. There is a tendency in the two last words binations of buzzes and sonants do not occur in to remit the voice, and end with t, as jujsKt, English or German. In Italian, however, z-, zd-, buljsh't, which singers should avoid. No glide of zff-, occur, as in sbaglio (a mistake) zbaa-ty'oa, this kind occurs in the other three languages. 1 - sdrajarsi to stretch oneself at length) zdraayaa'r Some cases occur of two sonants at the end of a see, sghigno (sneer) zgee'ny'oa. The much more word, as grubbed, bagged grubd, bagd. The very difficult form or rather or z resonance of the voice for the sonants dz-, d'z'-, perhaps only } imperfect also occurs in Italian, as in zelo (zeal) dzae'loa, renders these glides extremely difficult to perform d'z'ae-loa, or z'ae'loa. It is easy enough to say dz audibly, so that there is danger of changing the or d'z the consists in the which is inadmis- ', difficulty making glide words into grupt , bakt, quite short to the effect of a sible or into which is more enough produce single ; grubdt , bagdt , consonant on to the vowel. In French into which has an following allowed ; or grub'u'd, bag-u'd, 1 also not only zb-, zd-, zg-,zr'-, zv-, occur in adopted archaic (aakai'ikj sound, even if the u take the but the difficult of voice or even into foreign words, more combination form the lightest K ; grub, gz- is used in a few words taken from the Greek, bag, with total omission of d. Many, therefore, as : xerasie disease of and the will find Xenophon gzainoafoan? , (a say grub'd-K, bag'd-h' , singer the hair) gzairaazee, xiphoi'de (sword-shaped) this easiest in the pause. The speaker must, how- gzeefoa-eed, a word often used as a test of French ever, learn to make the glide easily and audibly, pronunciation. The difficulty does not consist in for to say bag-d-K dhem for bag'd dhem would have the glide gz in itself, but in making it sufficiently a foreign effect. These combinations do not occur short, and not dwelling on the z, but gliding at in the other three languages. once on to the next vowel. The final glide of sonant to buzz is also common In English and Italian the Glossicy is really one in English, owing to the mode of forming our of this class, being absolutely dy'zh", which very plurals, as cabs kabz, beds bedz, bags bagz. Here complicated form is pronounced by Englishmen again the singer must guard against -zs, must and Italians with the greatest ease, while French- make both the sonant and buzz short, and rely for men imitate it badly, and Germans flate it into musical length on the vowel. 98 MIXED AND CONSOJfANT GUJDES. SYLLABLES. Sec. IX. Rule for Consonant Glides when one Consonant thinks that this makes the voice too long and Voiceless. is Voiced and the other In the pre- heavy, and writes -Ihp, -Iht, -Ihk, that is, he does ceding cases of initial and final consonantal glides not permit the voice to pass through the I at all. after and before a pause, both consonants were This is opposed to my own observation of what voiced, and hence no difficulty occurred in the actually occurs, and at any rate the rule just given to compulsory passage from voice flatus, or flatus is best in practice. But in the case of -It, the to voice. The effect would be similar if both con- recoil is necessary to audibility, as felt- or felth. sonants were flated, or one flated and the other I have, however, heard the mistake of saying mute. But we have already seen the difficulties feldt for felt (felt), which then became difficult which occur when a hiss or mute precedes or to distinguish from feld (felled). But this is follows a vowel, in determining where the voice guarded against by the rule just given. Similarly should be taken off or put on (p. 92#). The we must say shelf and not shelvf, which would ' upshot of our considerations was, "That in an sound like shelve.' With the nasals some little initial glide voice had to be put on at the moment additional difficulty occurs. In lamp, the nasal m that the mute or hiss position was released, and continues as long as the nose is open. When it is that in a final glide voice had to be shut off at the shut, no sound whatever is heard, for there is then or hiss was assumed" exit the flatus enters the moment the mute position no for the breath ; which The same rule should apply to the voice in con- mouth is not sufficient to cause even an implosion. " sonants as well as in vowels, in connection with the Hence unless there is a recoil," the p cannot be to and hiss glides and from mute positions. heard in the pause. There is actually no glide from m to p, and we have to say lamp . If voice Initial Consonant Glides from Mute to Vocal, or follows, the p becomes evident, at least by a to the Buzzes W, Y. Ia.pl-, pr'-, pw-, tr'-, tw-, si'.ence, cutting off even a slur. Thus lamplighter kl~, kr'-, kiv- initial the previous observations on lamplei'ter (using ei and er as in English Glossic) the sonants in these positions will therefore apply is not at all lam-^-pleiter or lam-pleiter, but is with the above restriction. Observe especially really lauw-yleiter. The p seems, therefore, to that the glides are the same as when the initials replace the sign of clear release. It is, however, a are as in little more than that. lam it will be sonants, bl-, br-, bw-, lr'-, dw-, gl-, gr'-, j On saying .off the voice and 0w-,'and that it is only the absence of any length I found difficult to shut sharply of voice at first which makes the difference. As ! cleanly if the nose passage be not suddenly in the case dl- for gl-, the tendency to say tl- I stopped. If we stop the nose without the voice, rather than kl- has to be avoided as in dw - lamb is no ; and, we say (which longer pronounced, If for dw-, the tendency to use pw'-, tw'-, kw'- in although it is written, in English). we stop of If we both voice place pw~, tw-, kw- t has to be cultivated. In the voice only, we say lam?. stop this final -pi, -kl, there is the same syllable formed and nose, we say lamp, and by means we cut it off with as for -bl, -gl, thus : apple ap-l, cackle kak'l, and shorten the m considerably, and Melville Bell writea the singer has to cultivate the use of ap-u'l, quite a clean edge. Mr. kak-u'l, in the same manner as before. lamhp, which I do not hear. But we must not say difficulties occur with to lambp . Similar respect Final Consonant Glides of Vocal on to Mute and hint, thingk, where, without the recoil, only hint, Hiss. It is so that we have to hint , only when a vocal glides on to a mute thingi can be heard, say Q that a . as we had difficulty has been raised. In -lp, -It, -Ik, *hingk Precisely lam, lam}, lamb, our most and rule makes the voice glide all the way from bmp, of which the last ends cleanly the I to ent. and the p, or t, or k. but Mr. Melville Bell pharply, we have en. enj, end, ing, ing^ Sec. IX. MIXED AND CONSONANT GLIDES. SYLLABLES. 99 This clean is * without check in ingg, ingk. sharp, ending very position, ; -Its, -nts, the voice is evident in speech, but it is more difficult to make checked by the mute position, forming a very clean it evident in singing, where under no circumstances edge, and then there is a hiss glide from that the would m, n, ng be sustained. Hence in singing position to the s, and in -Iz, -nz, the voice is carried before a pause, the recoil may become a full flatus, completely through the * position. In many words as lamph, hinth, thingkh, sacrificing music to the distinction -ns, -nts is of importance, as audibility. presence, presents prez-ens, prevents, accidence, the above cases In felt, lamp, hint, thingk, the accidents ak-sidens, ak-sidents, Sec., and hence it vocal and the mute had the same form of mouth. should be well understood. ' ' But in attempt, winked,' and also in length, anxious,' the vocal differs in position of the mouth Initial Consonant Glides of a Hiss on to a Vocal, from the following sonant or hiss. Hence by or the Buzzes W, Y. The only cases of a hiss applying the rule we are able to make a glide up gliding on to a vocal in English are sw- (or sw'-), to the new position. The nature of this glide is, si-, sm-, sn-,fl-,fr'-, thr'-, thw- (or thw'-), shr'-, however, complicated, through the opening of the and in German there also occur shl-, shm-, shn-, as in nose. We might evidently make it nasal, as swim swim (rather than sw'im), slay slai, smooth u'tem-\-nt, wing-\-nt, leng-\-nth, ang-\-nshus. This smoo'dh, snort snawt, floor flaou, frisk fr'isk, throw is not done, and if any persons have a habit of thr'oa, thwart thwaw t (rather than thw'au-t), doing so they should correct it. We might also shrine shr'ein, and German schleichen (sneak) shut off the nose, allowing the corresponding shlaayky'hen, schmolz (melted) shmaotts, schnee sonant to be heard, and then run on to the final (snow) shnai. The combination shr'- initial offers mute or hiss, thua utemb-\-t, wingg-\-t, lengg-\-th, difficulties to many English and American speakers angg-^-shus. But the practice of English speakers who are apt to say sfein, thus the inhabitants call appears to be to end the nasal with a clear release, Shrewsbury, Shropshire Sroa'zbur'i, Sr'op'shur. and then hiss or make the final mute evident by The difficulty arises from passing from a hollow recoil or flatus, without any glide preceding it, as front of tongue (diagram 26) to an arched front u'tem}...t, wing^...t, lengi...th, ang}...shus. This (diagram 21), and would be avoided by saying clear release is best made the clean either sh rein or but neither admis- by edge given t sr'ein, being by the introduction of the corresponding mute, as sible in received English, the organs must be utemp.. t, wingk...t*, lengk...th, angk...shus, or, as practised constantly (for many hours in bad cases) we write in -English Glossic, atemp-t, wingk't, till they learn to make the transition easily. The lengk-th, angk-shus. Mr. Melville Bell again writes tongue being arranged for sh, sound that hiss, atemht, winght, lenghth, anghshus, which I have then convert it into sh' by arching the front, and not observed, and find difficult to render evident. then slide the tip along the palate till it requires The of s case final has to be especially noticed. merely releasing to vibrate for the rh, iising flatus In -Is, -ms, -ns, -ngs, there is, of course, a constant only. The real sound said seems to me to be to tendency say -Us, -mpls, -nts, ngks, in order to rather shr'ein than shr'ein, and the whole difficulty prevent -Iz, -mz, -nz, -ngz. It so happens that we is surmounted when the sh' position is substituted have most of the cases in English, and the speaker for that of sh. Indeed it is possible to trill the and singer should learn to them thus of the when it is held in the sh' distinguish ; tip tongue position else, belts, ells els, belts, eh; empts, hems empts, as well as when it is held in the s position (and I hemz, sense, fens think that the sh' or rsh' as it be scents, sens, sents, fenz, thinks, trill, may written^ things thinfffcs, thingz. The distinction is simply is actually used in Polish, as przez (through) that in -ns this, -Is, the voice glides up to the prsh'aez). The whole difficulty then resolves 100 MIXED AND CONSONANT GLIDES. SYLLABLES Sec IX. itself into making an sh without hollowing the cannot glide on to one another initially or finally, sh' . front of the tongue, that is, converting it into and we have even an objection to make a mute sh before n be a true on to or * The German v\ I, r', m, may glide m, n, initially, hence in many sh, but in the common pronunciation of stehen words taken from the Greek we simply leave out (to stand), spielen (to play) and similar words the mute in these cases, and call pneumatic ' beginning with st, sp,' throughout the greater neumat'ik, tmesis mee'sis, psalm saa'm, pterodac- part of Germany, the sound is really sh'tai-n, tyle ter'-oadak'til, and so on. But some purists sh'pee'len, and not shtai-n, shpee'len, which is felt aim at uttering them, by making a recoil aftei Q by Germans to be broad and vulgar. (This is a the mute, thus p-neumat-ik, p -ter-oadak-til, point on which I have made careful observations, &c. This is not recommended. But final com- and had many discussions with Germans) . In the binations of two mutes are common in the pause > North of in Hanover as in act akt or as it ther Germany, (Haan'noa'vur Ji apt, apt , apth, akth, 1 and it was to becomes to or else tc Hamburg (Haam-buor gy' h) , common necessary pronounce them, say stai-n, spee-len, but I have been informed by a implode, and say ap-d, ak-d, which is no1 Saxon resident in Hamburg, that such a pronunci- admissible in received pronounciation. (It appears ation is never used on the stage there. I have, however, that a slight implosion actually takes however, beard it in the pulpit. In Silesia place in those districts where the definite article t' a't dttur' (Schlesien Shlai'zeeen} even sv'aar'ts, smaa'l, snaay- becomes t, as in Derbyshire, at dur d dur' may be heard for Schwartz, schmal, Schneider, for at the door at dhi daou). In French unde] 1 shv Harts, shmaa^l, shnaaydur' (black, narrow, such circumstances an eo is always spoken, as act tailor). Observe that the final -st, -sp should (act of a play) aakteo. In such an English phras( * aever be pronounced -sht, shp in German, or even as you must ac towards me, act dutifully,' th< its -sh't, -sh'p (as in August ist aawguosht eesht) final mute, t, is, I think, omitted, and place because this is a well-known and extremely vulgar supplied by a silence. The tongue indeed takes is German pronunciation. the proper position for the t, but there no recoil because the tongue would have to be brought uj Consonant Glides between S and Mutes. The into the same position for the following t or d, and combinations with s before and after mutes are this would be inconvenient, compare akt tao-udz. very frequent, as spy spei, splay splai, spread aktdewtifuli. Hence the t is felt by the speaker spr'ed, stand stand, stretch str'ech, sky skei (not but is merely telegraphed to the listener by t sky'ei or skyeeei), script, skript , squeeze skw'ee-z, moment of silence. The singer has, therefore, nc /apse laps, helps helps, hats hats, wrists rists (not occasion to trouble himself with the mute, but will ris'tiz or ris'tisez, both common provincialisms) simply omit it in such rare cases. melts melts, hints hints, axe aks, hulks hulks (not huolks), casks kaasks. In all these cases there may Principle of the Division of Syllables. The always be a hiss glide made to or from the whole nature of syllables or separate groups of mute. Thus s-\-p...pei, s-\-p...plai, and lap...p-\-s, sound, is contained in the two Sections VI and IX Practice of this ris-\-t...t-\-s. kind, making a centra] on glides. The nucleus fneu'kliusj or pause between the two glides of the mute, will core or pith of a syllable is a vowel or vocal. A soon bring out the distinction between this and buzz or hiss is not sufficient to produce the effect s...pei, s...plai, lap...s, rist...s. Of course, we unless it stands alone. This by itself will have an really say -ts\ and not ts when final (p. 7l). attack and release, and thus really form a group of Treatment of Combinations of Two Mutes, and a vowel and two glottids, but these glottids not of Initial Mute before M, N, S. Two mutes being generally written (except in the case of the Sec. IX. MIXED AND CONSONANT GLIDES. SYLLABLES. 101 aspirate) in European languages (except Greek), between the three cases of medial, double, and there is an appearance of a single vowel, say aa for split consonants, val-i, val'li, val\..li, which are jaw at full. But in place of the attack and really distinguished in natural speech. To this release, another vowel, or some consonant, may syllabising we may attribute the frequent doubling if in is glide on to it, and this vowel, initial, will have of consonants written words, where there no } an attack, but no release, as it simply passes into doubling in actual speech. The speller syllabised the original aa, as fiaai, and will have a release and wrote what he heard during this artificial but no attack if final, because it simply continues process, and not what he usually pronounced when the central vowel, as laauoj, fiaauof. Then other speaking naturally. This doubling occurs chiefly vowels and consonants may glide on to this, as laauo, after short vowels, because the short vowel re- plaauolp, or laaw pyaawlp, and this can be continued quired a consonant to "stop" or "close" it, and till we come to a mute or sonant. After this only a allow it to be pronounced distinctly without hiss, or buzz, or sonant can properly be placed, on lengthening. But the long vowel not requiring to which the former mute or sonant would glide. it, the speaker syllabised 'rolling, paling,' a? If a mute be added it can only be rendered sensible roa',..linff, pai-.. ling, and would naturally unit* by the recoil in the pause. If any vowel or vocal them so with one consonant, although in actua followed we should have the core about which a speech there is just as much of a glide from the I new syllable would be built, and some of the final to the preceding vowel as in val-i. consonants of the preceding syllable, such at least as could be used as an initial combination, would Special Rules for Dividing Consonants between immediately be attracted away from that syllable, Two Syllables. When several consonants come and combine to form part of the next. Thus if between two vowels, of which the first is accented, after pyaawlp we added ai, the final p would cease some of them certainly glide on to that vowel, and at once both it to act upon the preceding I, which would one may glide ways, provided can form an slur up to it, and would form the initial of the easy combination with the preceding consonant, glide into ai, thus pyaawl-^-pai. "We thus get a but otherwise it is attracted entirely from the first conception of the mode in which syllables separate, vowel to the second, and is at most connected by a but the habits of different languages differ greatly slur. Thus lapse lap-\~s, but lapsing lap...s-\-ing, as to the preservation or omission of the glide, or battle bat--\-l, but battling bat '...ling, because tl is its conversion into a slur, and it is not necessary not a usual initial combination, and bat-l-^-ling for the present' purpose to go into the complicated would make three syllables, but ask aas-k, details of the subject Much depends upon the aas- -\-k-\-ing. position of accent. In English a single consonant Where the singer is forced to divide syllables by between two vowels, of which the first is accented, awkward phrases which oblige him to take breath, " is medial, that is, glides on to both, as valley he may follow this rule : When several con- va-\-l--\-i, polling poa- -\-l-\-ing, matting ma-\-t'- sonants come between two vowels which make an \-ing. The syllable divides then in the middle of easy final or initial combination, they may be the consonant, that is, between the glides. But in separated anywhere, and the consonant of separa- "syllabising" (sil-abei-zingj, which is an entirely tion may be repeated," thus aas...sking, aask...king. artificial process, intended to bring out the separa- "But where there is the least difficulty as to tion of the groups distinctly, we separate the final or initial pronunciation, divide where it ' ' glides by a pause, thus splitting the consonants seems easiest, and do not double the consonant," as 905j and mat- staa-t not which is (p. say val-...li, roa'l...ling, ...ting', startling ..ling, staa-tl...ling, very or even math ..ting and thus do not distinguish bad, introducing a new syllable, or 8taa\..tling, 102 MIXED AND CONSONANT GLIDES. SYLLABLES. Sec. IX. which gives an unusual initial combination, and where it best suits your convenience, but if omits a glide. Again, struggling strug-...ling possible avoid losing the glides on to the accented rather than strug'...gling, because of the difficulty vowels, and avoid making them on to preceding l-, unaccented vowels." Similar rules will in of ff apply " German. In Italian, however, the intermediate When there are two mutes or sonants, or a consonants should, when practicable be taken to mute and sonant, between two vowels, taken one the following vowel, so as to end all syllables with to one and one to the other," thus acting ak'...tmg> a vowel as much as possible. Consonants end not ak-t ..ing, which is never said, obdurate syllables in Italian only when they also end a ob'-~deuret, obtuse ob.. tews. word, as amor aamoa'r' for amore, or are followed the accent lies on the second "WTien, however, by another consonant in the same word, as onda vowel, or on neither vowel, the single consonant oan-daa, or are "energetic" (p. 900), another (or the whole combination if is taken to the initial) vowel following, as anno aan-noa. In French, following vowel, and the first at most glides to up on the contrary, where there is no really accented it. Thus happily hap'i-^-li, reprove ri-^-proo-v, but syllable, the intermediate consonant is always restore res-^-stao'u, respond res-^-spon'd, restrict medial in actual speech, though theorists always res--strifct. The however, singer, may say separate it from the preceding vowel. This ri ..stao'u, ri...spon-d, ri...strik't, to avoid length- happens even between words, and gives a peculiar the hisses. ening character to the thus in ma femme language ; my The whole of these directions for dividing wife) maafaam, the / is medial, sa grotte (her " syllables may be comprised in the rule : Divide grotto) saag-r-raot. ('ITCH, FORCE, brio. 103 X, LENGTH, PITCH, FORCE, ETC, LENGTH (OR QUANTITY), PITCH (OR MUSICAL ACCENT), FORCE (OR ORDINARY ACCENT AND EMPHASIS), QUALITY OF TONE, WEIGHT (OR IMPORTANCE), AND SILENCE (OR PAUSE) AS ELEMENTS OF SPEECH. Introduction. Besides the vowels and conson- time to pronounce, arising from the various lengths ants, glottids and glides, by which speech sounds of its vowels, of its glides, and of its consonants, are generated and formed into words, all languages separately and jointly, and this total duration is distinguish certain parts of syllables, and certain called the length of the syllable. This is an syllables in a word, and certain words in a extremely important consideration to the speaker, sentence, by alterations of duration of utterance, who relies upon the length of his syllables for or pitch of the voice, or loudness, or emotional much important discrimination of meaning. It is quality of tone, or other characters denoting the important to the versifier, because ancient Greek importance attached to them by the speaker, and Latin and other rhythms used to depend including the pauses between words. The full entirely on the comparative lengths of syllables, consideration .of these belongs to works on elocu- and all rhythms are more or less affected by this tion, and affects the public speaker more than the length. It is important to the musical composer, singer. But no singer can deliver his words who ought in composing music to given words to properly without being thoroughly aware of the suit the lengths of his notes to the lengths of the nature of the used for to to which are and plans giving prominence syllables they given ; conversely special words and syllables. In the following brief it is important to any poet who adapts words to remarks, the result of long study, sufficient is given music. But it is not important to the singer, given to make an intelligent pupil understand the because the time in which he is to pronounce each principle on which he has to proceed, and con- syllable is strictly assigned by the notes before venient terms and notations are furnished, which him, from which he in general is not allowed to will enable him to think and write accurately upon deviate in the least degree. The singer has often a subject hitherto treated with great laxity and to pronounce a naturally very long syllable in an indistinctness. unnaturally short time, or a naturally very short Length of Spoken Sounds, and its Notation. syllable in an unnaturally long time, if the com- A syllable when formed may require more or less poser has so willed it. If the singer's words 104 LENGTH, PITCH, FORCE, ETC. Sec. X. ' ' ' consequently becomes difficult to catch by the known at once by his tune or accent,' as it is listener, it is not the fault of the singer but of the often wrongly called. In none of our four composer. The singer's business is to make the languages, however, is there any obligation for the most of the musical character of his vowels, to speaker always to raise or always to lower the take the utmost care of his glides, and make them pitch of his voice upon certain syllables, as there share the time at his disposal with his vowels, and was in classical Greece and Rome, and as there cut the buzzes and hisses down to the shortest still is in Norway and Sweden. The composer, intelligible duration. He will therefore have to therefore, is free to do as he likes, and the singer practise singing long syllables, as slee-ps, to rapid has merely to do as he is ordered by the composer. notes, and short syllables, as puot it bale, to very Hence it is needless to make any remarks for the long notes, bringing out the glide tightly at the use of singers on this very difficult subject. For end. That is to say, the singer is to act as if he the use of speakers, however, it is occasionally knew nothing of naturally long and short syllables, convenient to use the following notation An but to take the composer's and writer's orders on unmarked vowel, as aa, is to be spoken at a middle that and them. It is a misfortune such as is used in a point obey great pitch, ordinary speaking ; that both authors and composer's in general treat, detached acute accent mark, as aa', indicates a have treated as a and a detached accent as aa* and apparently always language higher, grave mark, , vehicle of music with such little regard to its indicates a low.er pitch than this middle one. This natural laws, as to lay themselves open to the was the meaning of the ancient Greek acute and imputation of ignorance. grave accents. The pitch in each case is supposed For the speaker it is convenient to have the to be sustained during the whole duration of the power of marking three lengths of vowels, as aa vowel. But aa'* will mean begin at a high and long, aa medial, aa short. And for English readers glide down to a middle pitch. This was the whenever short vowels are written by two letters original meaning of the Greek circumflex or ' in Glossic, or long vowels by one letter, it is con- down glide.' venient to use marks of long and short, although Force of and its Notation. the medial will not be required. Another way of Spoken Sounds, On to a marking these varieties of length in connection listening person speaking at so great a distance that his individual words cannot be dis- with force of utterance will be given hereafter. he will be felt to utter a un- But the singer as such has no interest in these tinguished, broken, connected series of loud or with distinctions, which are so important to the poet strong sounds, and orator. half heard soft or weaker ones, and silences between. A street orator or open-air preacher ia Pitch, of Spoken Sounds, and its Notation. In an excellent example for the purpose. This shews speaking we alter the pitch of the voice con- us that the speaker must have made a great tinually (although never using strictly musical difference in the loudness of his utterance, and we sounds), gliding up and down on the same vowel, feel that the apparent silences do not arise from and varying the intonation of our sentences actual cessation of tone, but only from weaker according to their meaning and the association of sound, which is not heard at a distance. We thus such melody with such meaning, which is gener- learn to distinguish different degrees of force in ally very different in different countries and the utterance of syllables, and to divide syllables different parts of each country. It is quite generally into "weak" and "strong," between different in London and Edinburgh, in Germany which lie many degrees, called collectively "mean." and Italy, and especially France. A foreigner is In English, German, and Italian the whole of Sec. X. LENGTH, PITCH, FORGE, ETC. 105 versification depends on the alternation of strong meaning and the intention of the speaker. It ia " " fixed." with either weak or mean syllables, and neither on therefore, free," and not Hence we " " and it has the length nor pitch of those syllables. In French term it the emphatic word, say the rhythm (founded on an extinct pronunciation) "emphasis," while the "mean" words have " " depends rather upon the number and nature of the secondary emphasis. When the strong word all of its are artificial (not natural) syllables in a line, and has has several syllables, syllables only a very remote relation to their force. In stronger than they would have been if the word several were or had mean force or else the English, German, and Italian, when weak, only ; of is syllables are invariably spoken together, in order strong syllable a strong word made remark- " to express a thought," forming a word, one is ably prominent (See "Teacher's Manual," art. 629). " " invariably strong in comparison with the rest, Hence we require a mark for the strong syllable and if the rest are more than two in number, one in a word of several syllables, and the strong word or more will generally be mean and the others in a phrase. In Glossic we write (), a turned " weak. When several words of one syllable are period, called the mark of accent," or more fully put together to form a phrase, the same rule for of "force accent," and place it after the long strong and weak applies to the phrase, with the vowel, or after the consonant or consonants follow- following difference. In a single word of many ing a short vowel, in a word of more than one syllables, the strong, mean, and weak syllables syllable. The mark thus serves to mark lengths always retain their relative positions wherever and as well as force, tlaua fee- liny, fel-iny. If there is a the is that the of in the it is not dis- whenever word used ; is, position mean syllable word, usually strength and weakness is "fixed." But in a phrase tinguished from the strong in Glossic writing, the strong syllable often varies when the same thus aa'ftunoo'n, circumspection ser'kumspek shun, phrase is used in different places under different insufferability imuf-ur'ubil'iti. If it is thought circumstances; that is, the position of strength necessary to distinguish medial length, without " " " letters like is and weakness is free." The fixed syllable, using accented aa, the (:) placed which is always strong in every word of more than before (instead of over) the vowel, as l:aa-ftu " one syllable, is said to be accented," or to have laughter, the () still marking the accent. If it is " the accent ;" and if there is also a mean syllable, desired to distinguish the secondary accent or " the strong is said to be primarily accented," or medium syllable, the mark (') may be placed after to the have the '.' primary accent," and the mean to be the long vowel, or consonant following a short " " m secondarily accented," or to have the secondary vowel, as aa''ftunoo n, insuf''ur'ubil'iti. For the 1 accent" fprei'mer'ili, sek' under ilij. The variable strong and mean words the marks () and (') are " syllable in a phrase which becomes strong is said prefixed to the whole word, as : Shall YOU ride to " " " to have emphasis (em-fusisj, or to be emphatic town to-day ? shul -eu -'reid tu town tudai' ? But (emfat-ikj . The difference between accent and if the word is of many syllables it retains its accent " emphasis as applied to syllables, then, may be mark as well as its emphasis mark, as : He is in- " briefly stated as accent is fixed, emphasis is free." sufferable, but NECESSARY" hee'z 'insuf-ur'ubl, but " " But on examining larger phrases or clauses nes-eser'i. In unemphatic words the position of which contain words of one or more than one the accent mark will shew the length of the vowel, syllable mixed together, we always find that at as in hee'z in the last sentence. Vowels unmarked least one whole word is more prominent than the are to be taken as short or at most medial in rest, and may be termed a strong word, and that length, and weak or at most mean in force. Else there are also other words of mean force. This the long, medial, or short marks are used over strength of the word, however depends on its them, as dog'roaz. 106 LENGTH, PITCH, FOECE, ETC. Sec. X The strong syllables are of the utmost importance fully is the work of years. The great mobility ic English, German, and Italian. If in a word of and lightness of the syllables, and utter freedom many syllables, the wrong syllable be made strong as regards force (and even length in the present in these languages, the word generally becomes pronunciation) gives a great peculiarity to the unintelligible. In all three of them the alterna- setting of French words to music. This is in- tion of strong and weak syllables regulates creased by the adoption of an older principle versification, although, of course, rhythm is whereby what are now very weak syllables in swayed by other considerations also. In English speaking are allowed in singing to have as much especially, the vowels in weak syllables are always strength as any of the others. This peculiarity much obscured (see Section XI., A. III.) although renders the adaptation of English words to French they recover a little in mean syllables. The music generally very difficult, and nothing can weak syllable immediately following a strong generally be worse suited for the intelligibility of syllable is most affected. To be intelligible, the the words. The effect is almost that of playing singer, although lengthening his vowels, must still variations written for a flute on a trombone. continue to give them this obscure character. In the matter of force, although a composer In German some syllables only are thus obscured. lays down the law with tolerable strictness, it is In Italian the weak syllables are as bright as not so binding and inevitable as the laws of length the strong ones. and pitch. True, the "barring" of music de- For French all this is different. There is no termines a certain alternation of strong, mean, and " " fixed either words of or and a liberal use of for crescendo and force, on one syllable, weak ; signs on words of many syllables, either as accent or diminuendo, from forte to fortissimo, and piano to emphasis. Strong syllables are throughout free pianissimo, with sforzando, staccato, legato, and the with this exception that only a very small set of like, convey tolerably strict orders to the singer, " syllables (those containing so-called mute e," or which he ought to obey. Yet he is frequently left " muto-guttural e") are weak, and in speaking such to his own resources to bring out the effect by syllables are very weak indeed, while the rest bear alterations of force. Is he to do so by the same to the first the relation of mean to strong. But use of accent and emphasis which he would employ the actual syllable to which predominance is given in reading the passage to, a public audience, with in a word varies according to the construction of the best declamation he can command, or learn the sentence, and it appears to me, after long and from books ? He cannot do so without sacrificing attentive examination continued for many years, the musical effect which obliges him to take that any positive laws laid down respecting isolated another view of the words. The only cases in French words are misleading. The foreigner had which he has a chance are those of chanting and better endeavour to pronounce each French syllable recitative. In both of these the singing voice, that is not weak with about equal force and length, so utterly different from the speaking voice, bars and to hurry over the weak syllables as fast and the way. In chanting, the monotone of the reciting lightly as he can. The pitch of the voice in note is entirely opposed to the habits of speaking. speaking seems frequently to rise at the end of The recitative has indeed variety, indeed so great clauses, and to be monotonous throughout a clause. a variety of pitch, that no speaking voice would The whole effect is like a necklace of beads strung naturally produce it. The singer, therefore, has together by an invisible thread, and the want of in every case to sacrifice the effect of accent and " " fixed force occasions great difficulty to a emphasis to the need of music, or to learn the " " foreigner in grouping the syllables into words. difficult art of musical elocution as distinct " " To appreciate French enunciation and declamation from spoken elocution. It would be useless tc Sec. X. LENGTH, PITCH, FORCE, ETC. 107 enter into such a subject here. Each particular Weight of Spoken Sounds. In speaking and in song requires its own study. No rules have yet singing, there is something different from length, been laid down, but musical elocutionists exist, pitch, force, or quality of tone, by which the whose business it is to teach the singer how to speaker or singer conveys the sense of importance, bring out either the feeling of the composer and although each of these elements, and combinations poet, or at any rate their own views of it. Those of two or more of them, are of course constantly who cannot have access to them, and whose own employed for the purpose of giving this expres- teachers have not the power to teach musical sion of importance, varying under different elocution, must trust to their own musical feeling circumstances. This effect may be called weight, and musical sense. But the ordinary rules for and words and syllables may be distinguished in spoken declamation would utterly fail. We may this respect as heavy, moderate, and light. The endure and even admire a tragedy when sung as effect may be described on the whole as mental, an opera, but a player that imitated the singer depending upon the conceptions conveyed, rather would be deservedly hissed off the stage. than the means of conveying them. Sometimes the most important and heaviest v/ord, the utter- of Tone in and it Quality Spoken Sounds, why ance of which conveys an -electrical shock to an is not furnished with a Notation. Force how- is, audience, or which seems to give the whole ever not the free or free at only tolerably weapon meaning to all that preceded, is uttered in a weak, the command of the singer. There is another and even toneless voice at low, short, ; though and much more and powerful weapon original other times again in a voice of thunder. These emotional of tone. The to quality power give are, however, extreme cases of rhetorical effect. different of tone to the totally original qualities But generally in English the substantive is heavier notes of the same and to the same pitch, sung than its qualifying adjective, though the latter vowel as we know modifies the (which merely may be much stronger and even longer, while it is of tone the quality originally produced) gives frequently higher. Again the verb is almost natural human voice its wonderful superiority over always heavier than either its subject or object, artificial instrument. The violin can do every although it is very frequently weaker. These much in this the force and of way by place differences scarcely affect the singer, except in the bowing, taking the same notes on different by rendering of verse, which in English depends or as and so on. But all its strings, harmonics, much on weight for its actual rhythm. power is as' nothing compared to the human voice. The consideration of this subject, however, be- Silence as an Element of Speech, and its Nota- longs, not to a treatise on pronunciation, but to tion. The interval between two audible sounds the highest walks of the singer's art It is enough has a most important influence on their mental to mention that the form given to expression by effect. We are all familiar with this in instru- quality of tone varies greatly from nation to mental and vocal music, and in all kinds of that nation, and what speaks to the heart in one declamation. Silence may be great, medium, or style of music, and to one kind of audience, falls small, in respect to duration, and it may be dead to another. And that absolute finally, whatever or merly apparent in respect to quality. makes himself into a singer mere musical instru- For absolute silence, no vocal effort is made, but ment his by disguising words, must utterly fail the respiration may go on quietly, or even in touching or delighting anyone. For the soul respiration may be suspended, so that the attention and if the words speaks by words, are unheard, the of the listener is directed towards the forthcoming soul is dumb. sound, which may come with a burst, or the slightest 108 LENGTH, PITCH, FOECE, ETC. Sec. X. possible indication of voice. In apparent silence, the writer very inadequately represents them by there is really no suspension of vocal utterance, punctuation. This may be roughly improved by diminution of force a a turned mark of but merely a great length- adding ( ), degrees, for a small, slur. The difference to the or for a and for ened speaker singer ( 00 ) medium, ( 000 ) a great silence. " is of course great, because after absolute silence Mr. Curwen, in the Teacher's Manual," arts. there must be an entire re -adjustment of the vocal 637 661, has endeavoured to indicate silences by j which are in action the musical subdivisions. This is well chords, kept during I very adapted silence. As an element of and for simultaneous where apparent rhythm | chanting, an exact indica- considered as tion of the duration of silences singing, silence may be always i is indispensable, absolute and in singing should therefore begin but not for such rhythmical even in I utterance, with a clear and end with a clear attack. as is usual release, j verse, among public speakers and In singing, the composer always sufficiently indi- readers at the present day, when exact rhythmical | cates the silences and their lengths. In speaking, cadence is carefully avoided. KAGLISll RXF.RCTSES WITT? \RTIFrCT4L WORDS. 109 XI. EXEECISES Introductory Remarks. The object of these A pupil is supposed to be already able to speak Exercises is to suggest rather than to give a and read his own language. But he will prottably complete method of practising the pupil in all the have errors or difficulties of pronunciation to sur- points explained in the previous Sections. The mount, and he will always have to be led to a teacher must know all that precedes, in order to knowledge of how to make language intelligible as correct any error, and to direct the process of sung. The first care of every teacher must, there- study. But the pupil will learn the details inci- fore, be first to ascertain what are the points in which dentally. The teacher and the advanced student the pupil needs assistance, and then to exercise who make use of this book, should carefully go him especially in those, leaving the other points, through the whole exercises themselves, not on which he needs little or no assistance, to be but for it is ascertain- treated The first exercises are mentally actually ; only by incidentally. ing the effect of such practice on their own vocal therefore directed to the discovery of these weak organs that they can properly direct the pupil and places. But the exercises range over all such insist upon the necessary repetition. possibilities. The teacher will therefore have to The Exercises have been separated from the rest select those which are necessary in any particular of the work, because it would have been almost case. impossible, and certainly inexpedient, to have made The first exercises are general, and relate to all distinct exercises for each point discussed as it the sounds occurring in English strong syllables, arose, avoiding all others. The pupil does not and especially in the glides, by means of artificial need such an analytical treatment of the subject. combinations, which have no meaning as words in He is used to regard sounds as a whole, and he actual use. Then follow a series of exercises, in must be led to analyse them for himself. The which actual words are employed, arranged princi- presentation of the details in a strictly systematic pally to bring out the differences of vowel and order would confuse him. Such an order is, in consonant sounds. In the G-lossic Index in the fact, of no importance at all to the pupil, who can next Section real words are given, shewing the begin anywhere. Hence a very few examples have actually existing glides of every vowel and been given in the course of the exposition, and diphthongal sound in strong syllables on to any even for those it was frequently necessary to following consonant, and of every consonant on to anticipate what followed, and in order to make them every other consonant and vowel at the beginning intelligible a short key to Glossic had to be pre- of words. This Index consequently forms a fixed but or of to this of the exercises. It will ; any key system writing necessarily supplement part involves a more or less complete analysis of speech also refer the teacher in every case to the page sounds. where the sounds on which he is exercising the WOEDS. Sec. A. I. 110 ENGLISH KXEEC1SES WITH ABTIFICIAL XI, pupil are fully described. Hence it has not been thought necessary to add a crowd of such re- ferences to every example. The next series relates to weak syllables, which have to be differently treated in singing and in speech, and these also exercise on the slurs, and on the alternation of strong and weak syllables. After this general treatment of English sounds, those who wish to proceed to a study of German, Italian, and French sounds, will find a few special exercises on their additional or peculiar sounds, especially on those points in which they differ from English. It is intended that these exercises should all be " " " either pointed from certain charts, or pat- terned" by the teacher. Such a book as the present is, of course, unfitted for the young pupil. The teacher will himself supply the needful ex- planations, to the extent required for each Exercise and no more. In this way the apparent difficulties will dwindle to nothing, and attention will be directed solely to surmounting the real difficulties. A. ENGLISH EXERCISES. I. ARTIFICIAL STRONG SYLLABLES. General Tables of English Sounds. The follow- ing lines should be boldly printed on a chart, large enough for a whole class to see, and for the teacher his to point to any letters, or slide pointer from one letter to another, to indicate glides, without the chance of confusion by the pupil. Sec XI, A. I. ENGLISH EXEKOiSES WITH ARTIFICIAL WORDS. Ill 112 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec XT, A. I. -sps EXERCISES WITH ARTIFICIAL WORDS. 113 Sec XI, A. I. ENGLISH teet keek teet keek keen: teet I is And | peep final vocal | pcsp the vowel or the lengthened. || peep line observe teet keek in the last reerr\ r'airr', r'oarr', r'oorr\ || | peep r' and vocal r are both whether trilled properly : keet : teek teek keep || || peet keep peet | peek and the vowels modified. out duly : brought : teekeet : ) peekeep | teepeek " || peeteek keepeet Then the whole seven lines may be sung to God : keeteep || save the Queen," for which they are specially : tee : ee || || pee peet | peetee peettee adapted. But as the words are all monosyllables, kee : ee : || || pee peek | peekee peekkee and have no signification, they may be sung to any : ee : kee || on as as || | keeppee air, beginning anywhere, and going long pee keep keepee and there is much in alter- : teek ee teekee : teekkee tee kee || is advantage || necessary, | the air and at least the order of the lines or ee ee || ing || | keeppee peet keep | peetee keepee peettee in order that the different vowels may be words, : teek : keet || || peet keep peek teep | keep peek sung to different pitches. This Exercise is entirely for the use of the master, to give him the completest information Ex. 3. The Vowel [ai] and Mixed Glides for respecting the vicious habits of the pupil. Mutes. The vowel ai must have no ? vanish. It must continue to be the The following Exercises can all be worked from same sound from begin- to end in these Exercises. It must never this one Chart by judicious pointing, but are better ning the sound of ei. Other observations as sung from separate copies of the Exercises. approach before. Ex. 2. The Vowel [ee] and Mixed Glides for ai ai || | pai | aip | pai aip | paip || Mutes. Objects : to get ee pure (and hence an ai tai ai ait tai II ait tait appropriate pitch must be chosen and set by | | | | || ai kai ai aik kai aik kaik clear without throat || j | | || to the attack | teacher) ; get any or and with the release ; to ai ai tai tai kai kai glide, tongue glide, pure || | pai pai j | || make and feel the difference between this effect, ai ai ait ait aik aik || | aip aip | | || the initial and final and between glide pee, glide eep, tai kai ai ai ai kai tai ai ai || || ai pai | pai | || take flatus both the latter and peep ; to care that no kai tai kai tai tai kai tai kai || pai | pai | pai | pai || is after mute. Similar for k. The heard any , tai kai tait kaik ait aik || pai | paip | aip || pattern must be set by the teacher and at first tai kai : tai kai kai : || tai tai kai taken up by the pupils one after the other in a sort pai pai | pai pai || of the between t-vo tait kaik tait kaik kaik tait running fire, taking passage || paip | paip | paip | beaits double bars (||). The teacher time, tait kaik | paip || ee : ee |j taik : taik kait | | eep | eep | | || pee pee peep i| pait kaip pait paik kaip ee tee ee eet tee eet teet || : taikait : : | | j j || paitaik kaipait ] paikaip | taipaik ee kee ee eek kee eek keek || : | | | | kaitaip || ee tee tee kee ee kee : | pee pee | | || tai : ai j| pai pait | paitai paittai || ee ee eet eet eek eek || : | eep eep | | kai ai || || pai paik | paikai paikkai tee kee ee ee ee kee tee || ee ee ee : ai : pee j pee | || kai || pai kaip [ kaipai kaippai || kee tee kee tee tee kee || tee kee : | taikai taikkai | : pee pee pee [ pee || tai kai taik ai | || || tee kee teet keek || eet eek pee | peep | eop || ai ai || || pait kaip | paitai kaipai | paittai kaippai tee kee : tee kee kee : || tee tee kee : pee pee | pee pee || : taik kait |l || pait kaip paik taip | kaip paik 114 ENGLISH EXB.HCISES WITH ARTIFICIAL WORDS. Sec XI, A. I. Ex. 4. The Vowel and Mixed Glides for taut kauk taut kauk kauk [aa] | tautj paup paup | paup Mutes. No after sound of #, r, r'. taut kauk | paup || aa aa || || | paa | aap | paa aap | paap tauk : tauk kaut : || paut kaup paut | pauk kaup aa taa aa aat taa aat taat || | | | | : taukaut : : pautauk kaupaut | paukaup | taupauk aa kaa aa aak kaa aak kaak || | | | | : kautaup || aa aa taa taa kaa kaa : || tau : | au | paa paa | pau paut | pautau pauttau || aat aat aak aak aa aa || kau : au : | aap aap | | pau pauk | paukau paukkau || taa kaa aa aa aa kaa taa aa aa aa : || | || kau : paa | paa au pau kaup | kaupau kauppau || taa taa kaa kaa taa kaa | : | tau kau tauk : paa | paa paa au taukau taukkau | || taa kaa || au au | paa || paut kaup | pautau kaupau | kaa taat kaak aat aak taa || | | aap paa paap | pauttau kauppau || : taa kaa : taa kaa kaa taa : paa paa | paa || tauk : kaut paut kaup pauk taup | kaup pauk [| : taa kaa paa || taat kaak taat kaak kaak taat || paap | | paap paap j Ex. 6. The Vowel [oa] and Mixed Glides for taat kaak || | paap Mutes. The vowel oa must have no oo vanish. It taak : taak kaat : must continue to be the same sound || paat kaap paat | paak kaap || from beginning to end. It must : taakaat : : never the sound of ou. || paataak kaapaat | paakaap | taapaak approach oa oa || : | poa | | kaataap || oap poa oap | poap || oa toa || oa oat toa oat toat : aa : | | taa || | | || || paa paat | paataa paattaa oa koa I oa : || oak koa oak koak kaa : aa | | || | || paa paak | paakaa paakkaa || oa : || oa toa toa koa koa kaa : aa | poa poa | || || | || paa kaap | kaapaa kaappaa oa oa : || oat oat oak oak : taak aa taakaa taakkaa | | taa kaa oap oap | || || | || toa koa || oa oa oa koa toa oa oa oa aa aa poa | || || poa | paat kaap j paataa kaapaa | paattaa kaappaa || || : taak : kaat || paat kaap paak taap | kaap paak || toa koa || toat koak oat oak poa | poap | oap || toa koa : toa koa 5. The and Glides for || koa toa : Ex. Vowel [au] Mixed poa poa | poa Mutes. after sound of r\ : toa koa No w, r, poa || au au toat koak toat koak || koak || toat || | | [ pau aup | paup poap | | pau aup poap poap | au tau au aut tau aut taut toat koak || || | | | | | poap || au kau au auk kau auk kauk toak : toak koat : || || | | | | || poat koap poat | poak koap || au au tau tau kau kau : toakoat : || : )| | | | || koapoat | pau pau poatoak poakoap | toapoak aut aut auk auk : au au j || | aup aup | koatoap || tau kau au au au kau tau au au au toa : oa : pau | |' pau | || poa poat j poatoa poattoa || kau tau kau tau tau kau koa : oa : pau | pau | pau j poa poak | poakoa poakkoa || tau kau koa : oa : || | pau poa koap | koapoa koappoa || tau kau taut kauk aut auk toa koa : toak oa toakoa : toakkoa pau | paup | aup || | || tau kau : tau kau kau tau : oa oa | pau pau | pau poat koap poatoa koapoa j poattoa koappoa || : tau kau : toak : || koat pau poat koap poak toap | koap poak jj Sec. XI, A. I. ENGLISH EXERCISES WITH ARTIFICIAL WORDS. 115 Ex. 7. The Vowel [oo] and Mixed Glides for II pee tee kee tai | pai kai taa Mutes. To obtain a | paa kaa pure oo the pitch must not be | pau tau kau toa Be careful | poa koa too koo high. that the | poo || mouth is properly from llpaiteek kaa ee arranged the so | first, that there is no lin paitkaa | kaup oattoo | glide. | taakkaappaa |l oo || oo | poo | oop | poo oop I poop I) Ex. 9. The Vowels oo too [ee, ai, aa, au, oa, oo] and || oo oot I I too oot I toot I || Mixed Glides for Sonants. This Exercise consist? oo || koo oo ook of J koo I ook I kook Exercises 2 to | || 8, with sonants substituted for oo oo mutes. || | poo too too poo | koo koo I || oo oo || oot oot | oop oop | ook ook Ex. 90. I || too ee || koo oo oo II bee ee eeb poo I oo koo | | bee eeb || too | beeb poo oo oo oo | || I || koo too ee dee H koo too too f| | ee eed dee poo j | eed koo | deed poo | too | j koo || poo poo || too koo ee || poo toot II | ee I kook gee | poop oot eeg | gee | ook eeg | oop || geeg || ee || too koo : ee bee poo too koo || | bee dee dee koo : | poo | poo too | gee gee || : ee ee too koo || | eeb eeb eed poo || | eed | eeg eeg || toot bee dee || poop kook toot kook H ee ee ee bee | kook gee | || dee ee ee poop | toot gee | ee poop | || toot kook || dee bee | poop |J gee | gee bee dee dee | gee bee dee bee | gee || took : bee dee || poot II beeb koop poot took koot : gee | deed eeb | geeg | eed pook koop || eeg || : bee dee : || pootook tookoot : || gee dee bee koopoot | gee | bee dee : pookoop | toopook: gee : : bee dee kootoop || gee || || too : beeb deed poo oo oo : || deed poot | poot geeg| beeb poottoo || geeg | geeg beeb deed | I koo : beeb deed poo oo : | pook | pookoo geeg || pookkoo || koo : beed || I : poo oo : deeg beed : koop | koopoo geeb | deeg geed kooppoo || beeg geeb || too : || koo took oo tookoo : | tookkoo || oo || poot koop oo|pootoo koopoo | poottoo kooppoo || : bee II poot dee beed ee beedee koop pook : | beeddee toop | koop took koot pook || ee beeg | beegee beeggee Ex. 8. bee Miscellaneous | gee ee Vowels [ee, ai, aa, au geeb | geebee geebbee oa oo] and Mixed Glides for at dee gee ee Mutes, differed deeg | deegee deeggeeoe _ -Sing each division between beed ee || and to beedee || geeb ee| geebee beeddee rte, but the | geebbee change note with each division beed || : geeb deeb : beeg | geeb and deeg geed || mng up down a whole octave. beeg tai Ex. 9*. II pee kaa | pau toa koo || peep tait kaak| ai bai ai aib | | bai aib baib | | || | paup toat kook || ai dai | ai aid dai | | aid daid U pee pai paa | || | pau poa poo | eep aip aap ai ai | gai | aig | gai aig | gaig || J aup oap oop || ai ai | bai bai | | dai dai ee | tai taa tau toa gai gai i| | too eet ait | aat aut oat | oot ai || ai aib aib aid | aid kni kaa kau | | aig aig || | koa koo eek aik I | aak bai dai | ai ai ai bai gai | || dai ai ai auk gai | ai J oak ook || |i || dai bai gai | bai dai gai ! dai gai bai dai bai | gai |j 116 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec X*, A. 1 aib Ex. 9d. bai dai baib daid aid || || gai | gaig j aig an bau au aub bau aub baub || : dai : bai dai | | | || dai bai bai | bai dai || || gai gai | gai gai au dau au aud dau and daud || baib daid daid baib baib daid | | | | l| l| gaig | gaig | gaig | au au || || baib daid gau | aug | gau aug | gaug || | gaig au au bau bau dau dau : || : baid | | | gau gau || baid || J| daig- gaib | daig gaid baig gaib au au aub aub aud aud : : || || : | | | aug aug || baidaig gaibaid | daigaid baigaib | daibaig bau dau au au au bau dau au au au ! || || : gau | gau | gaidaib || dau ban bau dau dau bau : || bai dai : baid ai baidai baiddai gau | gau | gau | || || | dau bau bai : ai : | gau || | baiggai || || gai baig baigai bau dau baub daud aub aud : || bai : ai gau | gaug | aug || || gai gaib | gaibai gaibbai || bau dau : dau bau bau dau dai : ai : || gau gau | gau || || gai daig | daigai daiggai : bau dau baid ai ai baidai baiddai gau || || gaib | gaibai | gaibbai || : baub daud daud baub baub daud : || daib daib gaug | gaug | baid || gaug || gaib baig | gaib gaid baig baub daud | gaug || Ex. 9c. baud : baud : || daug gaub | daug gaud baug gaud aa baa aa aab baa aab baab : : | I || | | | | || || baudaug gaubaud daugaud baugaub daubaug aa daa aa aad daa aad daad : || || | | | | gaudaub || aa aa bau dau : baud au baudau : bauddau || || | gaa | aag | gaa aag | gaag || | |[ aa aa baa baa daa daa bau : au : || || || | | | gaa gaa gau baug | baugau bauggau || aa aa aab aab aad aad bau : au : | || || || | | aag aag gau gaub | gaubau gaubbau |j baa daa aa aa aa baa daa aa aa aa dau : au : || [| || || gaa | gaa | gau daug | daugau dauggau || daa baa baa daa daa baa baud au au baudau || gaa | gaa | gaa | || gaub | gaubau | daa baa I bauddau || | gaa gaubbau || baa daa baab daad aab aad baud : daub : || gaa | gaag | aag || || gaub baug | gaub daug gaud baug baa daa : daa baa baa daa : (I gaa gaa | gaa Ex. 9*. baa daa oa boa oa oab boa oab boab gaa || || | | | | || baab daad daad baab baab daad oa doa oa oad doa oad doad || || gaag | gaag | gaag | | | | | || baab daad oa oa | gaag || i| | goa | oag | goa oag | goag || baad : baad : oa oa boa boa doa doa || || || daag gaab | daag gaad baag gaab | | | goa goa || : : : oa oa oab oab oad oad || || baadaag gaabaad | daagaad baagaab [ daabaag | | | oag oag || ; boa doa oa oa oa boa doa oa oa || || || oa gaadaab goa | goa | baa daa : baad aa baadaa : baaddaa doa boa boa doa doa boa || || | || goa | goa | goa baa : aa : doa boa || || gaa baag | baagaa baaggaa || | goa baa : aa : boa doa boab doad oab || oad || gaa gaab | gaabaa gaabbaa || goa ] goag | oag || daa : aa : doa : doa || boa boa boa doa || gaa daag | daagaa daaggaa || goa goa { goa baad aa aa baadaa : boa doa || gaab | gaabaa | goa || baaddaa boab doad doad boab || boab doad | gaabbaa || goag | goag | goag baad : daab : boab doad || gaab baag | gaab daag gaad baag || | goag || Sec. XI, A. I. ENGLISH EXEECISES WITH ARTIFICIAL WORDS. 117 : boad : teeb : : boad || || beet keed keeb || doag goab \ doag goad boag goab peed deep | teeg peeg || : : deeb : beed teek : || | || boadoag goaboad | doagoad boagoab peet teep | geed keep beeg || : bai : tai dai kai : bai | doaboag goadoab || || pai | gai pai || : : : boa doa boad oa boadoa boaddoa || aib ait aid aik : aib | j || aip | aig aip || boa : oa : taib : bait : || || kaid kaib || goa boag | boagoa boaggoa paid daip | taig paig || boa : oa : daib : baid : || || taik || goa goab | goaboa goabboa pait taip | gaid kaip baig || doa : oa : baa : taa daa : || kaa || baa || goa doag | doagoa doaggoa paa | gaa paa || boad oa oa boadoa aab : aat aad aak : aab || | goaboa | || ft goab aap | aag aap boaddoa : || taab baat kaad : kaab | goabboa || paad daap | taag paag || : : boad doab daab : taak : || baad ') goab boag | goab doag goad baog || paat taap | gaad kaap baag || bau : tau dau kau : bau || pau | gau pau || Ex. 9/. aub : aut aud auk : || aub aup | aug aup || oo boo oo oob boo oob boob || | | | | || taub : baut kaud : kaub || paud daup | taug paug || oo doo I oo ood doo ood dood || | | | || daub : baud tauk : || paut taup | gaud kaup baug || oo oo | || || | goo | oog goo oog | goog boa : toa doa koa : boa || poa | goa poa || oo boo boo doo doo oo || j| I | | goo goo oab : oat oad oak : oab || oap | oag cap || oo oo oob oob ood ood || | | oog || | oog toab : boat koad : koab || poad doap | toag poag || boo doo oo oo oo boo doo oo oo oo || goo | || goo | || doab : boad toak : || poat toap | goad koap boag || doo boo boo doo doo boo || goo | goo | goo | boo : too doo koo : boo || poo | goo poo || doo boo || | goo oob : oot ood ook : oob || oop | oog oop || boob dood oob ood boo doo || || goo | goog | oog toob : boot kood : koob || pood doop | toog poog || boo doo : doo boo boo doo : |j goo goo | goo doob : bood took : || poot toop | good koop boog || : boo doo goo || boob dood dood boob boob Great care is in or such || goog | goog | goog dood| required speaking singing boob dood combinations as peed teeb, peet deeb. |j | goog bood : bood : || || doog goob | doog good boog goob : : || and boodoog -goobood j doogood boogoob | Ex. 11. On the Effect of both Pitch Glide : on each Vowel. each of the | dooboog goodoob || Long Sing following lines on each of the different notes of the descend- boo doo : bood oo boodoo : booddoo | | || scale, ending on the octave below the first. boo : oo : ing | goo boog | boogoo booggoo || Sing first at the rate of one word and then at the boo : oo : | goo goob | gooboo goobboo || rate of three words to a second. Vary the d to doo : oo : | goo doog | doogoo dooggoo || embrace the extreme tones of the voice. bood oo j| oo boodoo booddoo goob j gooboo | goobboo || deed On d' to d.. teet keek beeb || | geeg || peep ll bood : doob : | goob boog goob doog good boog || daid tait kaik baib gaig || || paip | daad taat kaak baab || 10. | gaag Ex. Mixed Glides for Mutes and Sonants || paap daud kauk baub || ompared. taut | gaug || paup bee : tee dee kee : bee toat koak boab doad || pee | goag | gee pee || || poap : dood eeb eet eed eek : eeb toot kook boob goog || eep | eeg eep || || poop | 118 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec. XI, A. I ke : e Ex. 12. On the Short Vowels, lengthened in || pe pek | peke pekke || Exercises 2 to 10 and in them ke : e : singing. Take || pe kep | kepe keppe || oo substitute for ee, ai, aa, au, oa, te ke : tek e teke : tekke i, e, a, o, u, uo, || | | respectively. e e fo j| pet kep | pete kepe | pette keppe 12. Ex. : tek : ket |j || pet kep pek tep | kep pek i i || | | | pip || | pi ip pi ip Ex. 12c. i ti i it ti it tit || || | | | | a a || || | pa | ap | pa ap | pap ki ik kik ki i ik |! i | || | | | a ta a at ta at tat || || j | | | ki ki i i ti ti || || | pi pi | | ka a ak ka ak kak a || || | | | | ik ik i i it it || | || | ip ip | a a ta ta ka ka || || | pa pa | | i i i ki ti I i i i ti ki || || || pi | pi a a at at ak ak || || | ap ap | | ki ti ti ki ti ki ki ti | | pi || || pi | pi pi ta ka a a a ka ta a a a || || || pa | pa | tit kik it ik ti ki || || | | ip ta ka ta ka pi pip ka ta ka ta [| II pa | pa | pa | pa : ki ki ti : ti ki ti ki ti || I) pi pi | pi pi tat kak at ak ta ka || || pa | pap | ap tit kik tit kik tit kik kik tit || | | pip (I pip | pip pip ta ka : ta ka ka ka ta : ta ka || pa | pa pa || tik : tik kit : || pit kip pit | pik kip || tat kak tat kak kak tat | | || pap | pap pap : : : tikit || y pitik kipit | pikip | tipik kitip tat kak pap || : i : ti || || pi pit | piti pitti tak : tak kat : || pat kap pat | pak kap || ki : i : | J| || pi pik piki pikki : takat : : || || patak kapat | pakap | tapak katap ki : i : || || pi kip | kipi kippi ta : a : || || pa pat | pata patta ti ki : tik i tiki : tikki || H | ka : a : [| pa pak | paka pakka l| i i || || pit kip | piti kipi | pitti kippi ka : a : || pa kap | kapa kappa j| : : tik kit || || pit kip pik tip | kip pik ta ka : tak a taka : takka || | || Ex. 12i. a a || pat kap | pata kapa | patta kappa || e : tak : kat e || || || | pe | ep | pe ep | pep pat kap pak tap | kap pak |f e te e et te et tet || || | | Ex. 12rf. | | e ke e ek ke ek kek o o || || | | | | || | po | op | po op | pop || e te te ke ke o to o ot to ot tot e || || J J | pe pe I | | j j || e e et et ek ek o ko o ok ko ok kok || H | ep ep | | || | | | i || te ke e e e ke te e e e o o to to ko ko || || pe | pe | || || | po po | | || ke te ke te te ke te ke o o ot ot ok ok | | || || pe | pe pe pe || | op op | | || te ke tet kek et ek to ko o o o ko to o o o || pe | pep | ep || || po | || po | |1 te ke : te ke ke te : te ke ko to ko to to ko to ko || l| pe pe | pe pe || po | po | po | po j| tet kek tet kek kek tet to ko tot kok ot | ok l| pep | pep | pep || po | pop | op || tet kek : to ko ko to : to ko to ko || | pep || || po po | po po tek : tek ket : tot kok tot kok kok tot |, | pet kep pet | pek kep || pop | pop | pop | : teket : : tot kok || | pekep | tepek ketep || || petek kepet | pop II te : e : tok : tok kot : pe pet | pete pette || pot kop pot | pok kop || Sec. XI, A. I. ENGLISH EXEECISES WITH ARTIFICIAL WORDS. 119 : tokot : : tuo kuo tuot kuok uot uok || \ || || potok kopot pokop | topok kotop puo | puop | uop || to : o : : tuo kuo : tuo kuo kuo : || tuo I) po pot | poto potto puo puo | puo ko : o : : tuo kuo || po pok | poko pokko || puo || ko : o : tuot kuok tuot kuok || || tuot po kop | kopo koppo || puop | puop | kuop puop | to ko : tok o toko : tokko tuot kuok || || | | puop || o o tuok : tuok kuot : || || pot kop | poto kopo | potto koppo || puot kuop puot | puok kuop || : tok tok : kot : tuokuot ; | || || pot kop pok kop pok || puotuok kuopuot | puokuop | : | tuopuok kuotuop || Ex. 12*. tuo : uo : || puo puot | puotuo puottuo || u u || | pu | up | pu up | pup kuo : uo || puo puok | puokuo puokkuo || u tu u ut tu ut tut I I I I || kuo : uo : || puo kuop | kuopuo kuoppuo || u ku u uk ku uk kuk I I I I || tuo kuo : tuok uo tuokuo : tuokkuo || | || u u tu tu ku ku || | pu pu | | uo uo || puot kuop | puotuo kuopuo | u u ut ut uk uk | up up | | || || | puottuo kuoppuo tu ku u u u ku tu u u u pu | || pu | || : tuok : kuot || puot kuop puok tuop | kuop puok || tu ku tu tu ku tu ku ku | || pu | pu | pu pu tu ku tut kuk ut uk Ex. I2ff. || pu j pup | up te ka tu kuo tet kak tut kuok || pi | |J pip | pop || tu ku : tu ku ku tu tu ku po || pu pu | pu | pu || | tut kuk tut kuk kuk tut || pi pe pa | po pu puo | ip ep ap op up uop || || pup | pup | pup | ti te ta to tu tuo it et at ot ut uot || tut kuk |j | | | | pup || ki ke ka ko ku kuo ik ek ak ok uk uok tuk : tuk kut : [| | | | || put kup put | puk kup || ti ki te ke ta ka tu ku : tukut : : || pi | pe | pa | pu | putuk kuput | pukup | tupuk kutup || tuo kuo tu : u | puo || pu put | putu puttu || ka e utuo U | || ku : u petik | petka kop | takkappa pu puk | puku pukku |' ku : u || Ex. 12A. pu kup | kupu kuppu tu ku : tuk u tuku : tukku bib || i bi i ib bi ib | || || | | | | u u id did || i di i id di || put kup | putu kupu | puttu | | kuppu || | | : tuk : kut i || | || i I II put kup puk tup kup puk I ig I I gi &S II gi ig di di i i bi bi l| || | | | gi gi id Ex. i i ib ib id || | | ig ig 12/. || | uo uo bi di i i i bi di i i i || || || i puo I uop I puo uop I puop || || gi | gi | uo tuo uo uot tuo uot tuot di bi bi di di bi di bi | || || I I I I || || gi | gi gi | gi uo kuo uo uok kuo uok kuok bi di bib did ib id || || I || | | ig I I | || gi gig uo uo tuo tuo kuo kuo bi di : di bi bi di : bi di || | || | gi || puo puo I I || gi gi gi II uo uo uot uot uok uok bib did did bib bib did | | uop uop I I |j || gig | gig | gig || tuo kuo uo uo uo kuo tuo uo uo uo bib did || || puo | puo | || | gig kuo tuo kuo tuo bid : bid : || tuo kuo puo | puo | puo | || dig gib | dig gid big gib || : : : tuo kuo |j 1 puo || |j bidig gibid | digid bigib | dibig gidib 120 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec. XI, A. I bi di : bid i bidi : biddi dad || bab dad bab bab dad || || | gag | gag | gag : || bi i : bab dad gi big | bigi biggi || | gag| bi : i : bad : bad : || || gi gib | gibi gibbi || dag gab | dag gad bag gab || di i : : : : (I || || gi dig | digi diggi badag gabad | dagad bagab | dabag gadab |] bid i i bidi biddi ba da : bad a bada : badda || gib | gibi | gibbi || || | || bid : dib : ba : a : || || (I gib big | gib dig gid big ga bag | baga bagga || ba : a : || j| ga gab | gaba gabba da : a : || || Ex. 12*. ga dag | daga dagga bad a a bada badda || e be e eb be eb beb gab | gaba | gabba || || | | | | || bad : dab : || e de e ed de ed ded gab bag | gab dag gad bag || |i | | | | || e e Ex. 12k. || | ge | eg | ge eg | geg || o bo o ob bo ob bob e e be be de de || | | | | || || || | i i ge ge o do o od do od dod || e e eb eb ed | | | | || || ed | | | eg eg || o o || de e e e be de e e e | go | og | go og | gog || || ge ge | || ge | || o o bo bo do do de be be de de be de be | | | go go || || ge | ge | ge | ge || o o ob ob od od be de beb ded eb ed | | | og og || || ge | geg j eg || bo do o o o bo do o o o || de : de be : go | || go | || be be de be de ge ge | ge ge |) do bo bo do do bo do bo feeb ded ded beb beb ded go | go | go | go j| || geg | geg | geg bo do bob dod ob od beb ded go | gog | og [| | geg || bo do : do bo bo do : bo do bed : keb bed : go go | go go || || deg | deg ged beg geb || bob dod dod bob bob dod : : : gog | gog | gog || bedeg gebed | deged begeb | debeg gedeb |j bob dod || be de : bed e bede : bedde | gog || | || bod : bod : || be : e dog gob | dog. god bog gob |j || || ge beg | bege begge : : : be : e : || bodog gobod | dogod bogob | dobog godob || ge geb | gebe gebbe || bo do : bod o bodo : boddo || || de : e : | || ge deg | dege degge || bo : o : bed e e bede bedde || go bog | bogo boggo || || geb | gebe | gebbe || bo : o : || bed : deb deb : || go gob | gobo gobbo || geb beg | geb ged beg || do : o : || go dog | dogo doggo || bod o o bodo boddo Ex. 12;. || gob | gobo | gobbo || a ba a ab ba ab bab bod : dob : || | || | || dog || | | | gob bog gob god bog a da a ad da ad dad | | | | || Ex. 12^. a a u bu u ub bu ub bub || | | | ga | || | | | || ga ag ag gag | a a ba ba da da u du u ud du nd dud || | | | ga || | | | || ga | a a ab ab ad ad u u | | || | || ag ag gu | ug | gu ug | gug || ba da a a a ba da a a a u u bu bu du du | || || || ga ga | | | | gu gu || da ba ba da da ba da ba u u ub ub ud ud | | ga ga ga | || || | || ga | | ug ug ba da bab dad ab ad bu du u u u bu du u u u ga | | || || || || gag ag gu | gu | ba da : da ba ba da : ba da du bu bu du du bu du bu U ga | || || ga ga ga gu | gu | gu | gu XT, A. I. ENGLISH EXERCISES WITH ARTIFICIAL WORDS. 121 bub dud ub ud Ex. 12. du || bu | | gug ug || gu : du bu bu du : bu du bi : ti di ki : bi du || || H | gi pi bu | gu gu pi || gu gu dud dud bub bub dud I ib : it id ik : bub || | ib'|| | ip j| gug | gug gug ig ip dud tib : bit kid : kib bub || || pid dip | tig pig || | gug : : : bud : dib bid tik |j || || bud | gud bug gub pit tip | gid kip big || dug gub dug : : : be : te de ke : be j || || | || | bugub dubug gudub pe ge pe || budug gubud dugud : bud u budu : buddu eb : et ed ek : eb du || bu || | || | ep eg ep || : teb : bet ked : keb : u |j bu || || | | teg || gu bug bugu buggu ped dep peg : : bed : : u deb tek bu || || || | tep | beg || gu gub gubu gubbu pet ged kep : : : u ba : ta da ka ba du || || | || | dugu duggu pa ga pa i| gu dug u budu buddu ab : at ad ak : ab u || || bud | || | gubu gubbu ap | ag ap l| gub : dub : tab : bat kad : kab bud || || | gub gud bug || dap | tag pag || gub bug dug pad dab : dad tak : || pat tap | gad kap bag || bo : to do ko : bo || || po | go po Ex. 12m. ob : ot od ok : ob || op | og op || uo buo uo uob buo uob buob | | || || | | : : tob bot I kod kob || pod dop tog pog || uod duo uod duod uo duo uo || | | j| I | dob : bod tok : || || pot top | god kop bog uo uo || I I I guo I guog || uog uog guo bu : tu du ku : bu H pu j gu pu || buo buo duo duo uo uo || | | guo I guo || ub : ut ud uk : ub || up | ug up || uo uo uob uob uod uod || | | uog uog || | tub : but kud : kub || pud dup | tug pug || duo uo uo uo buo duo I uo uo uo buo || || j| guo | guo dub : bud tuk : || put tup | gud kup bug || duo buo buo duo duo buo || | guo | guo | guo buo : tuo duo kuo : buo || puo | guo puo || duo buo || I guo uob : uot uod uok : uob || uop | uog uop || duo buob duod uob uod buo || || guo | guog | uog tuob : buot kuod : kuob || puod duop | tuog puog || buo duo : duo buo buo duo : )| guo guo | guo duob : buod tuok : || puot tuop | guod kuop buog || : buo duo guo || Ex. 13. On the Hisses. Care has to be taken buob duod duod buob buob duod || guog | guog | guog | to make the Hisses short and distinct, and the buob duod || | guog Glides tight. The following are mere specimens buod : buod : || duog guob | duog guod buog guob || of what can be formed from the Chart. : : U | buoduog guobuod duoguod buoguob | fai faa fau foa foo eef aif aaf auf oaf oof fee | |J || | | : || fu fuo if ef af of uf uof | duobuog guoduob f i fe fa fo | || || | | buo duo : buod uo buoduo : buodduo thee thai thaa thau thoa thoo eeth aith aath | || | || || | | auth oath ooth : uo : || buo | || guo buog | buoguo buogguo || saa sau soa soo ees ais aas aus oas oos see sai | | l| buo : uo : || | || guo guob | guobuo guobbuo || is es as os us uos si se sa so su suo || | | || | duo : uo : || guo duog | duoguo duogguo || shee shai shaa shau shoa shoo eesh aish aash bnod uo uo buoduo || | | | || guob | guobuo | oosh aush oash || | buodduo j guobbuo || whee whai whaa whau whoa whoo I || | buod : duob : whe wha who whu whuo || whi || guob buog | guob duog guod buog l| 122 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec. XI, A. I. whif tait sea kaak shash whof wishi || woshi whithi whothi vifi vofi : peep | \ | paup | || | toat sus kook shuof fidhi fodhi | | || || i il wheefai whaif whot aatli dhizi dhoa ... : thasi thau ... safi : pauth | poth | eep | || sathi | shaa zadhi zavi | paisee || || || shees seesh sis thauf thoath sooth dhaazhai thaishaa : shaizhaa dhaazai | | || || faash saash shaas : || shithi shiththi zidhi zidhdhi : || sozaa sozzaa | | : shozhaa shozhzhaa favoa favvoa : vafoa vaffoa | || Ex. 14. On the Buzzes as contrasted with bee whee wee fee vee bai whai wai fai vai || pee | pai [ Hisses, Mutes, and Sonants. Care must be taken baa whaa waa faa vaa bau whau paa | pau to make the Buzzes distinct, not to begin with wau fau vau boa whoa woa foa voa | poa | flatus, as szee, and especially not to end with flatus, boo whoo woo foo voo eezs. || as Great difficulty will be felt in this respect | poo when Buzzes follow as in iz or when tee see thee : dee zee dhee tai sai thai : dai zai dhai || Hisses, shee, | | Hisses as ees zee. precede Buzzes, When any taa saa thaa : daa zaa dhaa tau sau thau : | | Buzzes end one group and begin the next, as in : dau zau dhau toa soa thoa : doa zoa dhoa I [ zuz zhuozh, rapid utterance becomes even more too soo thoo : doo zoo dhoo | || difficult than for Hisses as sus shuosh, or Sonants as ' kee shee zhee : kai shai zhai || gee gai bub guoff, or Mutes as pup kuok. Hence the neces- kaa shaa zhaa : kau shau zhau sity for constant repetition. The Exercise which | gaa gau | as it koa shoa zhoa : koo shoo zhoo no more than | follows, long may appear, gives goa goo || a hint of what is bib fif viv beb fef vev bab faf vav required. || | pip | pep pap | wee wai waa vee vai vaa wau woa woo || || bob fof vov bub fuf | vuv | pop | pup | vau voa voo | || buob fuof vuov |j j puop whee wee : fee vee whai : fai vai || wai tit sis thith : did ziz dhidh tet ses : | theth | || | whau wau : fau vau || : zez dhedh tat sas : dad zaz | ded thath dhadh | | see sai saa : sau soa soo zee zai : || zaa zau zoa zoo : sus : | || tot sos thoth dod zoz dhodh tut thuth | | see zee zee see : zai sai sai zai see zee : I) zau sau : tuot suos : | dud zuz dhudh thuoth | : soa soa zoa zoa zoo see zee soo : | : duod zuoz dhuodh || : zaa zaa saa zaa || kik shish zhizh : kek shesh zhezh || gig geg | is zi dhoa : dhi?: is aaz whee fee thee : || | kak shash zhazh : kok shosh zhozh | gag gog | : wai vai dhai || kuk shush zhuzh: kuok shuo | gug guog shzhuozh|| iz ez az : oz uz uoz izh ezh azh : ozh uzh uozh || | || Endless examples of this kind can be constructed ith ef adh ov : idh ev ath of ith if iv : || idh of the | from the first three lines Chart, by taking : ish is izh iz vowel the first || the same throughout lines, omitting thith theth thath thauth final and then initial consonant, and || thoath thooth transposing | | the order. The is to contrast Glides, Hisses, I dhidh dhedh dhadh dhaudh dhoadh dhoodh object | || Buzzes, Mutes, and Sonants, and to bring any thith dheedh : theth dhaidh : || thath dhaadh | one next to any other, that all may be taken : thauth dhaudh thoath dhoadh : thooth dhoodh | || easily at all pitches, and that no more flatus, hiss or sheesh zhizh : shaish zhezh shaash zhazh : | buzz, be allowed to escape than is necessary for : shaush zhozh shoash zhuzh : shoosh zhuozh the differences of the sounds. | || understanding Sec XI, A. I. ENGLISH EXERCISES WITH ARTIFICIAL WORDS. 123 15. On the on eit eik : eib eid and Ex. | , Diphthongs [ei, oi, euj. &c., | eip eig lastly try The is to see that these are teit keik : beib deid and so on. Thus object diphthongs i peip geig | and Take care pronounced sung correctly. that, tei t kei t bei b | || pei | p | | | | | | in ei never becomes broader than aay, and speaking, deid | I d|gei|-g|| try to keep it to a'y or uy, with the first element whei f sei s shei sh wei v I very short, and the glide distinct and tight, and || | | | | | | | z zhei zh in | | || the last element prolonged if necessary. But |zei | the element must be and fei f thei th vei v dhei dh II | | | || singing, first lengthened j | | | the effect shewn the at dipiithongal by tight glide tei kei : bei dei whei sei shei : || pei gei | the end, the last element i and short. being always : wei zei zhei fei fei thei : vei vei dhei | || The singer may use ah, aa, or a' for his first eit eik : eib eid eif eis eish :.eiv eiz || eip eig | eizhj element, and even vary them during singing, as may eif eith eith : eiv eidh eidh || be convenient for the pitch. The last element may | teit keik : beib deid wheif seis sheish : also be i or ee, as may be convenient for the pitch. |j peip geig | The ou in should never be : weiv zeiz zheizh feif theith theith : diphthong speaking | : to it to a'w or uw. broader than aaw endeavour keep : veiv dheidh dheidh || element should be and the Thefirst short, glide tight, toi t koi _ t boi b || poi | p | | | | | | | last element and if In uo, long required. singing, doi d || 1 | | | goi | g use ah, aa, a for first and uo or oo for last element, whoi f soi s shoi sh woi || | | | | | | | V| as convenience of pitch may require. But never zoi z zhoi zh (i use oa, ao, au, or even uu, and still less ai, e, ae, a, for | | | | foi f thoi th voi v dhoi dh the first element. The first element is to be treated || | | | | | | | |] as that oi ei. toi koi: boi doi whoi soi shoi: woi zoi || poi goi | zhoi| The oi be as diphthong may always sung auy. foi foi thoi : voi voi dhoi | || The first element is often inordinately lengthened oit oik : oib oid oif ois oish : oiv oiz || oip oig j oizh| in music. But care must be taken to make the oif oith oith : oiv oidh oidh J glide tight at the end, so as to avoid any appear- | toit koik : boib doid whoif sois shoish : ance of two that || poip goig | syllables ; is, sing rijau-is (rejoice) with the au as as but not : woiv zoiz zhoizh foif thoith thoith : long you please, rifau'-is | without the which will be said if : voiv dhoidh dhoidh glide, assuredly || is is. breath taken j ust at t tou t kou bou b 1 || pou | p | | | | | | The eu has to be and as diphthong spoken sung dou d || | | | gou | g a real diphthong wo or luo after consonants, and is whou f sou s shou sh wou v better so sung at the beginning of words, but it is || | | | | | j | | I zou z zhou zh || then spoken as yoo, yuo, and sometimes ywo, yiuo. | | | to all these fou f thou th vou v dhou dh Attend | points. || | | | | { | || the first lines of Sing three the Chart with ei, oi, tou kou : bou dou whou sou shou : || pou gou | in of the vowels and ou, eu, I place written, practise : wou zou zhou fou fou thou : vou vou dhou || very slow and very fast. Thus out ouk : oub oud ouf ous oush : || oup oug | tei t kei t &c. || pei | p | | | | || : ouv ouz ouzh ouf outh outh : ouv oudh oudh as or or with | || sung | paa | ip | | pa' | ip | &c., tout kouk : boub doud whouf soua from low to : aa || poup goug | pitch rising very high | pah | : shoush : wouv zouz zhouzh fouf thouth thouth and for the rest. | ja, Tp | &c., similarly Then as tei kei : bei del : dhoudh sing very quickly |pei gei| vouv dhoudh || 124 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec. XI, A. L teu t keu t beu b should never be used in actual words. || peu | p | | | | | | | They singing deu d The singer may take e, ao for ai, oa, not only for | | | geu ] g |j convenience of but as a wheu f seu s sheu ah wen v pitch safeguard against || | | | | | \ \ | the vanishes. Take the three first lines of the zeu z zheu zh || | | | | Chart, and substitute alternately ai, ai-y, and then f v dh feu theu th veu dheu || H | | | | | | alternately oa-, oa-w for the vowels, first omitting teu keu : beu deu wheu seu sheu : || peu geu | and then retaining the final or initial consonants, : weu zeu zheu feu feu theu : veu veu dheu and then as ] || taking both, eut euk : eub eud euf eus eush : tar I kar bar || || eup eug | par pai-y | tary kary | bary | : euth : euv dai- euv euz euzh euf euth eudh eudh | whar shar || | | gar dai-y gai-y | whary | shary | teut keuk : beub deud wheuf seus war zai zhar far || peup geug | | wary | zai'y | zhary | fary j sheush : weuv zeuz zheuzh feuf theuth theuth : thai' var dhar | | thai-y | vary | dhary || g : veuv dheudh dheudh ai art ark arb || || p ai-yp | aryt | aryk | ai'yb | ai'f ar& |ai'd ai-yd | ai'g ai-yg | ai-yf | ai-ys | Ex. 16. On the Aspirate. Use the jerked clear ai'zh attack in in either the (ai'sh ai-yshjai'v ai'yv (ai'z ai'yz | aryzh | only singing ; speaking ai-th ai'dh | jerked clear or jerked gradual attack may be used. | ai-yth arydh. and the first three lines of the Chart tart kai'k Speak sing || pai'p paryp | taryt | kai'yk | (except the last word) with the aspirate substituted barb dai'd | bai'yb | daryd | gai-g gai'yg | for the initial and first with the final con- consonant, wharf sai-s shai'sh j whai-yf | sai'ys | shai-ysh | sonant omitted, and secondly with it added. The whai'v zai'z zhai'zh | whaiyv | zai'yz | zhai'yzh j rate may be always rapid, as the effect of the jerk thai'th varv is almost instantaneous. Thus |fai'f faryf | thai'yth | vai-yv | hee hai haa : hau hoa hoo hi he ha : ho hu huo |dhardhdhai-ydh|| || | | 4 hei hoi hou : hei hoi hou toa- toa'w koa' koa'w boa boa*w || | || poa' poa'w | | | | hait haak : haub hoad hood hif hes hash : || heep | doa*w whoa' whoa'w |doa- | goa' goa'w | | : huv huz huozh heif hoith houth : - | shoa'w woa woa*w zoa- zoa*w |shoa' | | | : heiv hoidh houdh || - zhoa'w foa* foa-w thoa* thoa'w |zhoa | | | The aspirate before eu is easy when eu is taken voa'w dhoa* dhoa'w || Kioo but if eu is taken as |voa' | as wo, thus ; yoo, ywo, oa - oa't oa-wt oa-koa'wk oa - b oa*wb | then the aspiration generates the hiss yh. And || p oa'wp | [ | this or must be oa-wd oa-f oa-wf oa's oa-ws yheu, meaning yhoo yJiioo, practised |oa'd | oa'g oa*wg | j I with all the consonants following, as oa'wsh oa'v oa-wv oa-z oa'wz |oa*sh | | | I || yheup yheut yheuk | yheub yheud yheug oa-wzh oa'th oa-wth oa'dh oa-wdh |oa-zh | | || [yheuf yheus yheush | yheuv yheuz yheuzh || toa-t toa'wt ! koa'k koa'wk || poa-p poa-wp | | Ex. On the Vanishes The - b boa-wb doa'd doa'wd 17. | [ai-y, oa-w]. |boa | goa'g goa'wg | is to contrast these with the vowels whoa'f whoa- wf soa's soa - ws shoa sh shoa-wsh pure | object | | | there ai, oa. In taking the pure vowels ai, oa, whoa'v whoa' wv zoa*zzoa'wz zhoa'zhzhoa-wzh | | | j should be no to end with * or and in tendency uo, foa-wf thoa'th thoa'wth voa-v voa'wv jfoa'f | \ | the vanishes oa'w, there should be no taking ai-y, dhoa-wdh dhoa-dh || | tendency to fall into diphthongs like ei, ou, either over the first four lines in speaking or singing. This exercise is intended Conclude by singing of the various airs. to guard the singer against taking the vanishes. Chart many times to 125 Sec. XI. A. I. ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Buzzes Ex. 18. On the Compound Hisses and bong bung buong || ting teng tang These are easily. c generally pronounced tong tung tuong | ding deng dang j- h, j. ]_ The difficulties arise from rapidity, and the only dong dung duong || king keng kang final hiss or buzz in necessity of shortening the kong kung kuong | ging geng gang first three lines of the Chart use singing. In the gong gung guong || fing feng fang first ch and then.;' in place of the initial, and then first and fong fung fuong | ving veng vang in place of the final consonant, omitting || sang then inserting the other consonant. Thus vong vung vuong sing seng song sung suong | zing zeng zang : chau choa choo chi che cha : chee chai chaa } || zong zung zuong |] shing sheng shang choi chou : cheu cheu cheu : cho chu chuo chei || | shong shung shuong | zhing zheng zhang eech aich aach : auch oach ooch ich ech ach : | || zhong zhung zhuong || thing theng thang oich ouch : euch euch euch och uch uoch | eich || thong thunf thuong | dhing dheng dhang chait chaak : chaub choad || cheep choog | || | || dhong dhung dhuong ping j tang | kong sung ches chash : chov chuz chuozh cheif (chif | with chouv : cheudh cheudh cheudh The same Exercise then be taken choith || may m or n in of and then with the substi- taich kaach : bauch doach I, place ng ; || peech gooch | uo tution of ee, ai, aa, au, oa, oo, for i, e, a, o, u, ; which sech shach : woch zuch zhuoch | | and then with the substitution of I, m or n for the f thoich vouch : dheuch dheuch dheuch eich || | initial consonants. This gives the following series : : || jee jai jaa jau joa joo | ji je ja jo ju juo | of Exercises : : || | jei joi jou jeu jeu jeu il el al : ol ul uol : || || pil pel pal pol pul puol [ : : || eej aij aaj auj oaj ooj | ij ej aj oj uj uoj | bil bel bal : bol bul buol til tel tal : tol tul tuol || | | : |eij oij ouj euj euj euj || del dal : dol dul duol kil kel kal : |dil || : : || jait jaak jaub joad joog | jif jes jeep jash : : kol kul kuol || | gil gel gal gol gul guol : : jov juz juozh | jeif joith jouv jeudh jeudh fel fal : fol ful fuol vil vel val : ||fil | jeudh || : vul vuol sil sel sal : sol sul suol vol || | : : || peej taij kaaj bauj doaj gooj | whij sej shaj : zul zuol shil shel shal : zil zel zal zol || | : : woj zuj 'zhuoj | feij thoij vouj dheuj dheuj : zhul zhuol : shol shul shuol zhil zhel zhal zhol || | dheuj || thil thel thai : thol thul thuol dhil dhel dhal : || | Sing over the first five lines of the Chart to various : dhul tal kol sul dhuol | dhol || || pil | | airs. eel ail aal : aul oal ool : || || peel pail paal : beel bail baal : haul boal bool ||, paul poal pool j 19. Ex. On the Vocals [1, m, n, ng.] As ng teel tail taal : taul toal tool deel dail daal : || | is only used final, and only after short vowels (in : daul doal dool keel kail kaal : kaul koal kool English and German), it may be taken separately || | : feel fail faal : and first. care that or in gaal goal gool || Take no g k creeps after | geel gail gaul and that veel vail vaal : vaul voal vool the nasal sound itself is never : faul foal fool || ng, pro- | longed. seel sail saal : saul soal sool zeel zail zaal r || | : sheel shail shaal : shaul shoal shool || : :zaul zoal zool ing eng ang ong ung uong || ping peng pang j| | : : zheel zhail zhaal : zhaul zhoal zhool $ pong pung puong | bing beng bang | 126 ENGLISH EXERCISES WITH ARTIFICIAL WORDS. Sec. XI, A. I. theel thail thaal : thaul || ARTIFICIAL WORDS. 127 Sec. XI, A. I. ENGLISH EXERCISES WITH bload vibrations must not be very fast, and must not bleep blait blaak blaub bloog last a long time. The effect is to be a ripple rather br'if br'es br'ash br'ov br'uz br'uozh than a beat. The trilled r' at the end of words or bweif bwoith bwouv bweudh before consonants is almost an impossibility to dr'ei dr'oi dr'ou dr'eu dr'ai'y dr'oa'w many speakers in the South of England, especially dweech dwaich dwaach dwauj dwoaj dwooj when following a short vowel. It need not be vowel fling fleng flang flul flom fluon practised after a short vowel, when no other fr'oorr' follows, for English, but it is absolutely necessary fr'eerr' fr'airr' fr'oarr' do so for and French. The to German, Italian, Then begin each line with the second of these trill after a vocal r is allowable. It final always initial combinations, and end with the last com- must be and then the can after- practised, singer bination, making the new order, br'-, bw-, dr\ dw, wards take it or not at pleasure. First as an initial, fl-,fr'-, bl-, thus br'eep br'ait, &c., bivifbwait, &c., take the three first lines of the Chart with initial dr'eifdr'oith, &c., dwei dwoi, &c., fleech Jlaich, &c., and first without and then with the consonant, r', fr'ingfr'eng, &c., bleerr' blairr', &c. thus Then begin with the third and end with the r'ee r'ai r'aa : r'au r'oa r'oo r'i r'e r'a : so seven different of | and modes || second, on, making : r'ou r'eu singing. : r'o r'u r'uo r'ei r'oi || | Then take another set of seven initial combina- r'ait r'aak : r'aub r'oad r'ood r'if r'es r'ash: (| r'eep | tions in the same way, till all are exhausted. This r'eif : r'ouv r'eudh : r'ov r'uz r'uozh r'oith || | Exercise may, of course, be materially abridged if no difficulty is felt. Some of the combinations, Then sing the last line of the Chart carefully, first as I or r' uo'u with- however, create difficulties, when w, singing ecr, air, oar, oor as i'u, e'u, ao'ii, as in br'eudh. In r' first precedes eu, bweudh, bleudh, out the trilled r', and then adding before received pronunciation no such combinations occur. only, then after only, and then before and after : Hence they need not be dwelled on. oar oor r'eer r'air r'oar r'oor eer air || || | || | oarr' oorr' Ex. 22. On Final Combinations of Consonants. eerr' airr' || || | From the Table of Final Combinations, select r'airr' r'oarr' r'oorr' r'eerr' || y | any seven, and use them in place of the final con- Then increase .the rapidity. sonants of the Chart. Thus selecting the first and Finally sing over the whole Chart many times seven, -bd, -bz, -cht, -dth, -dths, -dz, -dhd, them on the to various airs and at very different rates. writing blackboard, sing peebd taibd kaabd baubd doabd goobd whibz sebz shabz wobz zubz zhuobz Ex. 21. On Initial Combinations of Consonants. feicht thoicht voucht dheucht From the Table of Initial Combinations select heidth hoidth houdth yheudth harydth hoa'wdth any seven, one for each line of the Chart, and cheedths chaidths chaadths joadths joodths substitute one for the initial consonant in that jaudths lidz medz nadz ludz modz nuodz line, and thus sing the whole Chart. Thus taking r'eedhd r'aidhd r'oadhd r'oodhd the first seven, bl-, br'-, bw-, dr'-, dw-,fl,fr, sing '' to God save the Queen" or any air. The initial Then take another set of seven in the same way, combinations to be used should be written on a till the list is exhausted. Where difficulties are blackboard. felt, repeat the combination frequently. 128 ENGLISH: EXERCISES WITH ACTUAL WORDS. XI, A. II. Ex. 23. On both Initial and Final Combina- be greatly varied. Some of these combination! tions of Consonants at once. Select any seven will be found excessively difficult to produce wit] compound initials and any seven compound finals, accuracy, lightness, and rapidity^ at which practio and write them on the blackboard thus should aim. j thr' ql Ib, Jew If, skr md, sp nd, nj, sn kl sk ts, II. ACTUAL WORDS. Then fill up the blank space by the vowels and Ex. 24. Contrast of and To be sai< diphthongs in the three first lines of the Chart for [ee i]. with the hand the action of the throat. T< each, and sing them. There will be no occasion to feeling be at different write the vowels. The result is sung pitches to contrast the singinj effect of the two, and shew the advantage of no gleelb glailb glaalb glaulb gloalb gloolb distinguishing them in singing. In the first word glulb gluolb glilb glelb glalb glolb the final syllable in i is naturally very short am gleilb gloilb gloulb gleulb weak, it must be here uttered as if it were lonj and The words are in both th kweelf kwailf kwaalf kwaulf kwoalf kwoolf strong. spellings, Glossic being in italics. The consonants glidin kwilf kwelf kwalf kwolf kwulf kwuolf on to and off from the vowels are the same in th kweilf kwoilf kwoulf kweulf contrasted cases. akr'eemd skr'aimd skr'aamd skr'aumd skr'oamd a. On open ee and i. skr'oomd A shabby bee A shab-i bee skr'imd skr'emd skr'amd skr'omd skr'umd Let baby be Let bai'bi bee skr'uomd A palfry free A pau'lfr'ifree With Widh skr'eimd skr'aimd skr'oumd skr'eumd ugly glee ug'li glee A tiny knee A tei'ni nee speend spaind spaand spaund spoand spoond The glassy sea Dili glaa-si see spind spend spand spond spund spuond Thy mercy see Dhei met" si see Make worthy thee Mai'k wet"dhi dhee speind spoind spound speund A wintry tree A win'tr'i tr'ee thr'eenj thr'ainj thr'aanj thr'aunj thr'oanj Thy enemy me Dhei en'emi mee thr'oonj An ashy she An ash-i shee Best tea Best sit'i tee thr' an thr' on city thr' inj thr' enj j j thr'unj thr'uonj Of a verity 'tis very tea Ov (i ver'-iti tiz ver'"i tee thr'einj thr'oinj thr'ounj thr'eunj Cried flee gruffly Kr'eid gruf'lijftee snaits snauts snoats snoots A bulky key A bul'ki kt-e A trusty trustee tr'us-ti snits snets snats snots snuts snuots A tr'ustee' sneits snoits snouts sneuts b. On closed ee and i. kleesk klaisk klaask klausk kloask kloosk ee is Although always long and i always short i the klisk klesk klask kiosk klusk kluosk speech, singer must practise making both lonj and both short. Hence the length is not marke< kleisk kloisk klousk kleusk But part of the length and shortness of the vow* and so on for another set of seven. The rate of must be marked the by looseness and tightness ( singing should be varied, and the airs should also the glides. Sec. XI, A. II. ENGLISH EXERCISES WITH ACTUAL WOEDS. 129 eel, ill eel, il 130 ENGLISH EXERCISES WITH ACTUAL WORDS. Sec. XI, A. II. ai e a, ai e a Sec. XI, A. II. ENGLISH EXEKCISES WITH ACTUAL WORDS. 131 oa is taken short, there is a risk of confusing it 132 ENGLISH EXERCISES WITH ACTUAL WORDS. Sec. XI, A. II. eu. In all the provinces there is a habit of using soon, soo-n (not suon, as often incorrectly said) a sound approaching eu, where the sound is written cool, koo-l wool, wuol 'u' after r These errors should be carefully cooed, koo'd could, kuod (not koo'ld] avoided wooed, woo'd would, wuod (not woo'ld] boot boo't cruel kr'oo-el book, buok (not boo-k, nor book) booth boo-dh brute br'oo-t brook, br'uok (not br'oo'k, nor br'ook] ^woA; koo'k. nor coop koo'p drupe dr'oo'p cook, (not 7coo^) kr'uok nor droop dr'oo-p ruin r'oo'in crook, (not kr'oo-k, krook) Mo# nor goose goo's true tr'oo hook, (not Aoo-A;, 7ioo/c) WMO& nor hoof hoo-f fruit fr'oo-t nook, (not ?>oo-^, nook] hoot hoo't recruit rikr'oo't good, ywod hood, huod wuod nor nor hoop hoo-p rule r'oo'J wood, (not wwc?, uod, oo'rf) poop jt?00'j9 scruple skr'oo'pl foot,fuot (notfut) shuod nor roof roo'/ truth fr'oo-^ should, (not *Aw^, shoo'ld) oo- shoot shoo't truce tr'oo-s wool, wwo? (not 1, nor -oo) sooth so0-A shrewd shr'oo'd cushion, kuosh'en (not kush-in) soothe soo'dh rheum r'oo'm push, puosh (not push) rue r'oo PUSS, J9W0S soup soo'p rude r'oo^d put, J9W02 (notjow^) bull, *o? bul] yOUth 2/00'^ ^M^ Generally. Occasionally. (not buol-et *wo/- do doo fluke floo'k flewk bullet, buUy, two 00 flute floo't flewt pull, ^?M0/ (not J3M?) move moo'V lute /oo - lewt pulpit, puol-pit (not pul'pit) lose ?o0* lieu /oo leu bulwark, buol'werk loose /oo' illumine illoo^min illeu'min bulk, *wM; (not s when as After , ^, w, and keep ew, indicated, tune teu'n tulip teu'lip Ex. 33. On long [u] or vocal [er]. Mr. tunic teu-nik Teutonic Teutorrik Melville Bell distinguishes the vowel sounds in multitude mul'titeud rfewjo each of the as r and dupe following pairs having e\ t uuj rf^ws durable dewrr'ubl deuce respectively. I recommend both vowels in each neuter neu'ter dew deu pair to be pronounced with u long, when strong, 1 neutral neu'tr'el new neu (not woo) and u or u short when weak. In the first set uu newt neu't neucleus neu'klius which uu- r differs almost long (from tf imperceptibly) nuisance neu'sens would be disagreeable, in the second set it is nor u sounds well in both sets. supreme seupr'ee-m (not soo, shoo) endurable ; but long suit sewt (not *oo', nor shoo-t) The context will always prevent ambiguity. In sue *ew *oo, nor uu r are used. (not *Aoo) some provinces aer\ uur\ ae^r, t f Susan Seu-zen (that is, Sioo zu'n, not See'dozu'n, both as that is nor Soo'zu'n) kernel colonel kernel ku-nu'l Ex. 32. Contrast of [oo, uo, u]. pearl purl perl pu'l pool, poo-l pull, puo'l (not pool, which is Fr. poule) pertinence purtenance per-tinens pwtinu'ns fool, foo'l full, fuo'l (not fool, which is Fr. foule) pervade purveyed pervai-d pu'vai'd ser-kl su'kl room, r'00-m (not r'uom, as often incorrectly said) circle surcle Sec. XI, A. II. ENGLISH EXERCISES WITH ACT DAL WORDS. kerb 134 ENGLISH EXEKC1SES WITH ACTUAL WORDS. Sec. XI. A. II. ai ei ai ei Sec. XI, A. II. ENuLISH EXERCISES WITH ACTUAL WORDS. 135 uuw (more or less general in the provinces). Of course, avoid the provincialisms of long aa, long a, long oo in place of ou. Avoid using the ou diph- thong in place of the simple vowels au, oa. Provincial oo is frequent in down doun, town toun, crown kroun, tower tour, now nou, trowsers trou'zerz, how hou, flower flour, power pour, drown drown, cow koo, a sow a sou, to how too bou. plough plou, round round, sound sound, mound mound, hound hound, doubt dout, thou dhou, ahout abou-t, count kount, out out, a house a hous^ to house too houz, sour sour, flour flour, our our, found found, hound bound, ground gr'ound. Provincial ou is frequent in f brought brau't, sought sau t, fought fau-t, hought bau-t, ought au~t. nought nau't, soul soa'l, four focrr, pour poa-r. old oa-ld, cold koa'ld, sold soa-ld, told toa'ld, fold foa'ld, stroll stroa'l, toll tocfl, roll rocrl. Ex. 38. Contrast of [oa] and [ou]. Londoners constantly pervert the vanish oa'w into a diphthong of the oaw class, as oaw, uuw. This occasions no confusion to the speakers as they also use ew for ou. Hence the necessity of correcting hoth errors at once. The vowel in the oa column helow is to he called oa without any vanish, and even ao rather than oa-w. The ou column is to he pure uw, a'w, or uuw, aaw, without a shadow of rounding of the first element, and without a trace of the ew, aew sounds. oa 136 ENGLISH EXERCISES WITH ACTUAL WORDS. Sec. XI, A. II. the 4. Err with er as in accordance with previous explanations. , No. 2. Throughout the examples strong er is meant for preferring priferr'ing, conferring konferr'ing, u', with permission to insert r' after it, and weak referring riferr'ing, erring err' ing, deterring er is u or u, with the same permission to insert r. diter'r'ing. The combinations eer, air, oar, oor stand as usual These words have occasionally only er' as priferring, for i-u, e'u, ao-u, uo-u, with permission to add r'. konferring, riferring, er'-ing. This pronunciation In the case of aar, aur, the r indicates either u or is general in errant er''ent, errand er'-end, deterrent ur\ but may be, and frequently is, entirely omitted, diter' -ent. is aa m awur' or even that is, aar, aur, u, aa'ur'; awu, , aw This is aa-, simply orthography, therefore, f 5. Ee'r, that is, i u, or rur' with light r. No designedly as ambiguous as the received customs Englishman says ee-r', no foreigner says eer. of pronunciation, which is still in a transitional near beer bee m state. The only important point to remember is nee-r, r, here hee~r, we're wee-r, that r' is not usually inserted except before a vowel, pier peer. and, when pronounced, is very light in the extent, 6. Ee'rr', that is, i-ur . No duration, and rapidity of vibration. Englishman says err', which is a Scotch and American and foreign no ee-rr'. usage ; foreigner says eyry ee'rr'i, era ee'rr'u, weary wee'rr'i, peeress 1. which be uur ; that is, w, which may m Er, may pee rr'es. Never ee'r'i, ee'r'u, wee-r'i, pee'r'es. be uw. r' word werd, journey jerni, furnish fernish, spurn 7. Ai-r, that is, e'ii or e'ur* with light the pro- spern. nunciation ai'u is provincial or vulgar, foreigners use e'r' not e'ur'. There is a tendency to pronounce these words with or for This should be aa, as spaa'n spaa-un spern. care kai'r, pair pai'r, air ai'r, prayer prai-r, there avoided. their dhai'r, bear bai'r, mare mayor, vnai'r (not mai'r', mai'er). be e'r but not uur that 2. Er which may ; is, m w which may be e' but not uw. 8. Ai'rr' that is, e-ur ; never ai'r', which is pro- vincial or in but is heard in myrrh met; guerdon gerdn. vulgar England, Scotland and America both ai'r' ; foreigners say The tendency to use aa or aa-u for er in these words and e'r', never e'ur'. is not so strong as for No. 1, but should be avoided except in a few words, where it is received, as canary kunai'rr'i, fairy fai'rr'i, therein dhai'rr'in, clerk klaa-k, Derby Daa'bi. bearing bai-rr'ing. 3. with er as in No. 1. ao'u ao'ur' with r to Err', 9. Oa'r, that is, or light ; sa> oa-u is or to oa-er is a recurring riker-r'ing, spurring sperr'ing, purring provincial antiquated ; say mistake to au is but au-u is perr'ing, blurring bler-r'ing, slurring slerr'ing, (Ex. 28) ; say bad, demurring Aimer- r' ing. sometimes used; oar', aor' is foreign. These words have occasionally only ur', as rikur'-ing, boar boa'r, o'er oa'r, door doa-r, floor jloa-r, borne spurring, purging, blur'-ing, slurping, dimur''ing. boa'rn (but born is bawrn or bawn], torn toa-rn, This pronunciation is general in current kur''ent, sore soa-r, corps koa~r, pour poa'r, towards recurrent rikur'-ent, occurrent okur''ent. toa-rdz (also to^-wawdz). Sec. XI, A. II. ENGLISH EXERCISES WITH ACTUAL WORDS. 137 10. Oa-rr' that is, ao-ur' ; never say oa~r\ ao-r' 17. ^iwr, that is, permissively au-u or au-ur\ m or no but and au r' which is Scotch, American, foreign ; more generally w, very rarely ; 1 foreigner uses oa-rr' ; avoid awr\ never awr', or, dor ; before a vowel, r' is com- older glory gloa-rr'i (not gloa-r'i, much used by pulsory. " " and war wau wau-r but the "War Office dhi clergymen ministers), soaring soa-rr'ing, (or ; 1 wau'd swaim pouring poa-rring. Wawr Of-is}, ward (or wawrd}, swau-m dwarf 1 (or swau-rm), dwau-f (or ^M r/^/, uo'ii uo-ur" r never 11. Oo-r, that is, or with light ; extraordinary ekstraw diner* i (or ekstraw rdiner' i], oo'ur is or oo'u or ', which provincial, antiquated, G-eorge /awy ior Jau-rjJ, order au-der (or no uo'ur* hut oo'r'. vulgar ; foreigner says , only auTder), born iww (or bawrn, not boa-rn. See poor poo- r, moor MOOT, tour foo'r, sure shoo'r (or No. 9.) shewr], lure foo'r (or lewr], allure afoo-r (or alewr). 18. Au'rr' that but. , is, permissively wwr', 12. Oo'rr', that is, wo-eV ; never ooV, which is generally awr'. Scotch or American. warring wau'r'ing (or wau'rring, some say poorer poo'rr'er, surer shoo'rr'er (or sheu'rr'er), wording], abhorring ab-hau'r 'ing ^or ab-hau-rr'ing^ assuring ashoo-rring (or ashewrr'ing), tourist many say ab-hor'iny, all say ab-hor'-enf). too'rr'ist. 19. that ^zw or (?iw/ with r' never .Sir, is, light ; 13. ^wr, that is, when following consonants iuo-u which is avoid ei'er. or with faint r' and when initial 0ir', foreign ; twur', ; yuo-u, 1 one not 'ei'er in two yuo-ur'', yiuo'u, or yiuo'ur' ; never WOT', which is Grefeir (in syllable, J syllables), foreign. lyre lelr (not lever, which is "liar"), quire, choir kweir the cure kewr, pure pewr, endure endewr, immure (not kwei'er, pronunciations kawyer, koa'er, koi'er, are modern and ortho- immewr, your ewr (ywu), ewer ewr (yiuo'u in chorister kor^'ister used to be one syllable). graphical; quir- ister kwir''ister], hire heir (but higher hever). 14. Ewrr' , that is, after consonants 'iuo'ur', never ewr'. 20. Ei m that ei-ur' or erwr' never rr', is, ', ; eV, iwcyfewrr'i, purer peu-rr'er, enduring endetrrr'ing, which is Scotch or American. immuring immeu'rr' ing. wiry, wiery werrr'i, vxwei'ur'i (not wei'r'i), fiery 15. that aa-u or aa'ur' with Aa-r, is, permissively fei-rr'i, orfei'ur'i (not /err' i). light r\ but more generally 16. Aa-rr\ that is, permissively ea-^r' with light r', but more generally aa-r, never aar', which is 22. Owrr' that is, owur', or owu ; never owr\ or foreign provincial. dowry dowrr'i (not dowur'i nor dowr'i), flowery starry staa-r'i (or staa'rr'i), tarry (covered with flowrr'i (or flowur'i, not flowr'i], showery tar) taa-ri (or taa'rr'i, the verb tarry is tar'-i}. showrr'i (or sAowwr'i, 138 ENGLISH EXERCISES WITH ACTUAL WORDS. Sec. XI, A. III. Weak ' and a Syllables. consonant, there is a tendency first to speak it with the vowel or 23. that u or with r long diphthong as a murmur J2r, is, ', an only when a or and then to vowel r' diphthong triphthong, omit it follows ; to use an in other cases has a thus kwei-et or effect even in the altogether, quiet becomes kwei'ut and pedantic foreign ; provinces then kweit, and real ree-el becomes ree-ul when r' is used it is indeed in and then very light ; but 1 ree-L The following contrasts should be studied. place of u or u some speakers use aa, especially ' when the writing is ar.' When this is not dyad dei'ed died deid orthographical (and therefore pedantic) it is dryad dr'ei'ed dried dr'eid to very vulgar ; any attempt discriminate the triad tr 'ei'ed tried tr'eid vowels the according to orthography is contrary Dyak Dei'ek dyke deik to the present stage of development of the Troad Tr'oa-ed trowed tr'oa-d those language, who do so, ought to trill their r' dial dei'el crocodile krok-oadeil final and make a new pronunciation altogether. vial vei'el vile veil paper pai-per, circuitous serkeu-itus, answer aa'nser, denial dinei'el the Nile dhi Neil martyr maa-ter, altar, alter awlter, grammar trial tr'ei'el rile r'eil gram'er, particular pdatik-euler (pertik'euler, real r'ee'el reel r'ee'l are r'ee-eli pertik'ler both vulgar), peculiar pikeu'lier ; really reeling See' ling spectator spektai'ter, tailor tavler, razor rai'zer, diet dei'et indict indei-t orator or''uter ; azure azh'er (or ai-zher, azh-eur, quiet kwei-et quite kweit fissure riot r'ei'et ai'zheur), Jish'er (or Jish'eur, Jis-eur), rite r'eit bias bei'es measure mez'her, nature nqi'teur (or nai'cher, fbevus) bice beis nai'cheur, but not nai'ter, which, formerlv correct, diamond dei-umend (not dei-meri) dime deim is now vulgar), feature fee-teur (or fee'cher, Ex. 42. On the fee'cheur, notfee'ter'), stature stat'eur (or stach'er, Mixed and Consonant Glides. This Exercise is to stach'eur, not stat-er), figure fig'er (oijig-eur). be formed from the G-lossic Index, Section XII. Every English vowel is there 24. eur, that is, iuoii or twowr', rarely used. See found in connection with every English consonant last Examples to No. 23. which glides to or from. it. Examples of all the consonant are also in the 25. aa, written "ar," has entirely lost the r' in glides given preceding lists of Initial and Final Combinations. weak syllables, but has not sunk to er when pre- ceding the strong syllable. III. WEAK SYLLABLES. barbarian baabai'rr'ien, particular paatifreuler The following Exercises 43 to 46 are taken partake paatai'k, marquee maakee-. from the examples on pp. 11611167 of my " 26. au, written or," has entirely lost the r' in "Early English Pronunciation," where I have weak syllables, but has not sunk to er when pre- entered on the subject at greater length than is ceding the strong syllable. here necessary. ornate ordain aunai-t, audai'n, organic augan'ik Ex. 43. On Terminations involving E, L, M, orthography authog-rufi, orthoepy authoa'ipi. N. What is the precise vowel really uttered io the indistinct weak syllables el, em, en, er, has not Ex. 41. On words of Two to be been Syllables apt satisfactorily determined. But u, u', e' may Pronounced as words of One a Syllable. When long be used, and as w is now the strong sound of er, it is followed short vowel or diphthong by a weak or is most convenient for the singer to take w, which Sec. XI, A. III. ENGLISH EXERCISER WITH ACTUAL WORDS. 139 these must only slur, that is glide loosely, not tightly, on in words may be pedantic, but the singer to the following consonant. This is expressed in chooses u'l in all cases. English Glossic by writing the sound with e. If a -el. Camel kam-el, pannel pan-el (or pan-el-}, real e sound is distinctly heard, there will he a apparel apar'-el (or apar'-el-}. slight strengthening, which will be written by am. Madam mad-em (mad-am- is coming into use putting () after the following consonant. When among shop assistants), quondam kwon-dem, any other vowel is written (as u) it is supposed to Clapham Klap-em. glide on tightly to the following consonant. Hence Om. Freedom free-dem (emphatically yr^'^ww or if men-shun (mention) were written, the shun would free'dom], seldom sel'dem, fathom fadh-em, venom be as distinct as in men shun (men shun), but ven-em. wen'shen would have the indistinct sound. an. Suburban suber-ben, logician loajish-en, his- -and. Husband huz-bend, brigand brig-end, head- torian histoa-rr'ien, Christian Kris-tyen (or land hed'lend, midland mid- lend. Kris-chen\ metropolitan met-roapol'iten, woman -end. Dividend dividend (or dividend], legend wuom-en (never wuom-an, see -en), watchman lej-end (or lee"jendj. woch-men (or woch-man, watchmen is often, not -Ond. Diamond dei-umend, almond aa'mend. always, wotch'men-}, countryman kun-trimen lind. Rubicund roo-bikund, jocund jok-und. (sometimes -man, and sometimes plural kun'tri- -aid. Haggard hag-erd, niggard nig-erd, sluggard men-}. slug-erd, renard ren'erd, leopard lep-erd, or more -en. Garden gaa'dn, children chil'drin, linen nearly hag-ed (not hayed-), &c., never hag-ard, &c. lin-in, woollen wuol-in, women wim-in or wim-en ; -erd. Halberd hal-berd, shepherd shep-erd (not great variety of usage in this termination, or are not readers use n shep-herd], more nearly hal'bed, shep-ed. speakers who only ; singers ance. Guidance gei'dens, dependance dipen'dens, should use u'n except when in is imperative. abundance abun-dens, clearance klee'rr'ens, tem- -On. Deacon dee-kn, pardon paa-dn, fashion/s^-ew, perance tem-pur'ens, ignorance ig-nur'ens (we minion min'yen, occasion okai'zhen, passion might write tem-perr'ens, ig-nerr'ens, meaning the pash-en, vocation voakai-shen, question kwest-yen same), resistance rizis'tens ; never use ans. (kwes-chen, not kwes-shen, kwesh-enj, felon fel-un. ence. Licence lei-sens, confidence kon-fidens, -ern. Eastern ee-stern, cavern kavern; no r', not dependence dipen'dens, patience pai-shens ; never different from ee-sten, kaven. use ins. -ar. Vicar vik-er, cedar see'der, vinegar vin'iger, -SOme. Meddlesome med'lsem, irksome erksem, scholar skol-er, secular sek-euler. quarrelsome kwor'-elsem ; sum is sometimes used. er. Robber rob-er, chamber chai-mber, member Slire. Pleasure plezh'er, measure mezh-er, leisure mem'ber, render ren'der. lezh'er, (or lee-zherj, closure kloa'zher, fissure Or. Splendor splen-der, superior seupee-rr'ier, fish-er (mfish-eur,jis-eur}. See p. 138, No. 23. tenor ten-er, error er'-er, actor ak-ter, victor tlire. Creature kree'teur (or kree-cher), vulture vik'ter. vul-teur (orvul-cher), venture ven-teur (orven-cher, OUr. Labour lai'ber, neighbour nai'ber, colour not ven-ter], furniture fer-niteur (or fer-nicher, kul-er, favour/rv^r. not verdure ver-deur and Pendant infant fer'niter) , verger ver-jer -ant. pen-dent, in'fent, quadrant are usually both ver-jer. kwod-rent, truant troo-ent. radical Innocent in-oasent in-usent al. Cymbal sim-bel, radi'kel, logical loj-ikel, ent. (not in-ersent, , cynical sin'ikel, metrical met-rikel, poetical quiescent kweies-^nt, president prez'ident. medial lineal poaet-ikel, mee-diel, lin-iel, victuals -ancy. Infancy in-fensi, tenancy ten'ensi, con- vifelz I (or vit'lz] ; the distinction between el and stancy kowstensi. 140 ENGLISH EXEECISES WITH ACTUAL \VORD8. Sec. XI. A. when the accent is not on the ency. Decency dee-sensi, currency kur'-ensi, verbs, principal tendency ten'densi. next preceding syllable, as demonstrate dew- illustrate il-ustrait those who -ary. Beggary beg-ur'i, summary sumur'i, gran- enstrait, ; place lit'ur'er'i the accent on the next ary gran-ur'i, notary noa-turi, literary principal preceding ilus-tret custom is un- (or lit'ur'ur'i); we might write beg-err'i, &c., syllable say dimon-stret, ; fixed the latter is to meaning the same. ; beginning prevail. brei'bur'i, or -ery Robbery rob-ur'i, bribery gunnery -age. Village vil-ej (or vil-ij), image im-ej ( we as before write rob-err'i, gun-uri ; might im'ij], manage man-ej (or man'ijj , cabbage kab.ej meaning the same. (or kab-ifj, marriage mar'-ij, carriage kar'-ij. Priory prei' ur' i (prei'oari and prei'ori are Ory. -Cge. Privilege privilij (not privulijj, college the cursory ker-suri, pedantic, especially last), kol'ij. victory vik'tur'i (vik'toar'i is very pedantic), -ain, -in. Certain sertin (some say sertri), Latin his-tu'ri arid his- tori are inven- history (his-toar'i Lat'in (some say Ijat'n), captain kap'tin^ (kap'tent tions), oratory or'-utur'i (or or'-utor'i], prepara- not kap'n, kap'ting}. tory pripar'-utur'i (or -tori). Singing sing- ing (not sing-gingg), being Usury eu-zhur'i, luxury luk-shur'i (luk-seur'i -ing. -ury. use of or or bee'ing (not bee'ingg} ; any -ir>, -ing;/, is more heard than ett'feur'i), -ingk, is provincial or vulgar now. Ual. Usual eu-zheuel, manual man'euel (sometimes -fill. Mouthful mou-thfuol, sorrowful sor''oafuol ?, man'i/elj. (not -fel], cheerful chee-rfuol (often cherfel). Ex. 44. On other Weak civilize Endings. -fy. -ize Terrify ter'-ifei, signify sig-nifei -a. Sofa soa-fa, idea eidee-a, sirrah sir' -a. Here sivileiz, baptize baptei-z ; the ei is quite clear. in -er is rabbit -a is written English Grlossic, although -it, -id, -ive, -ish. Pulpit puol-pit, rab'it, commonly said, because no subsequent r' is at all rabid rab'id, restive res'liv, parish par'- is h; the permissible, and because the pronunciation a' is i is quite clear. not only permissible, but not unfrequent, as -il. Evil ee-vl, devil dew I ; the pronunciation soa-fa', eidee'a', sir' 'a', and esteemed elegant, but ee-vil, devil is orthographical, and contrary to not pedantic. See p. 54. general modern and ancient usage. Hero stucco -OW -OUgh.. hee'rr'oa, stuk'oa, y, ~ly, -ty, Mercy m^r'K, truly tr'oo-li, pity pit'i; tobacco widow the i is and not i' in Tpot&koepoatai-toa, tubak-oa, wid'oa, unobscured, general speech ; yellow yeloa, fellow /'el- oa, sorrow soroa, sparrow tr'oo-lei should be avoided. most mat-ri- apar'-oa, borough bur'-oa, (or commonly -mony. Harmony haa-muni, matrimony bur'-uj ; in the other words -er or -u is inadmis- muni (or -moani, -moni], testimony tes-titmtni (or sible, and -err before vowels is extremely vulgar. -moani, -moni). Value val-eu neveu Hindmost utmost -lie, -6W. (not val'i), nephew -most. hei'ndmust, tit-must^ foremost in con- not (nevi~). bettermost bet-umu*t, foa-rmust ; bannock haddock scious utterance -moast is often used. -iff, -OCk. Sheriff sher''if, ban-uk, had-uk, paddock pad'uk; never -M, as in Scotland. -ness. Sweetness swee-tnes, rather than swee'tnis, -ach -ac- Stomach stum'ukj lilach lei'luk (lai'luk the * generally saves the vowel. are is old), maniac mai-niak. -teous. Righteous, piteous, plenteous, pro- nounced me but acy, icy. Prelacy prel-usi, policy pol'isi (not by rei'tyus, pit'yus, plen-tyus, ob'stinesi, this is and I hear pol'usij , obstinacy perhaps pedantic, generally or -ate. (1) In nouns. Laureate lau-r'iet, frigate rerchus,pich-us orpich-ius, plen-chus plen-chius. frig-et (often frig-it), figurate Jig-euret (2) In -ioilS. Precious presh'us, prodigious proadij-us. Sec. XI, A. III. "ENGLISH EXERCISES WITH ACTUAL WORDS. 141 Official as ial, -ialty, -iality. ofish-el, partial consonant, despair despai-r, respond respon'd , paa-shel, partiality paa'shial'iti, special spesh'el eclipse eklip's, or i-klip-s. (not spee'sheT), specialty spesh-elti, speciality bi-. bei- or bi-, usage varies in the same word, spesh-ial'iti. All the -ial- are orthograpical. all such words being classical, bicycle bei-seikl, Forward werd backward bis-ikl. -Ward. faw (not for' -ud) , bak'werd awkward au'kwerd not (not bak'udj, di-. dei- or di-, usage varies in the same word, downward au-kudj, upward up- werd, dou'nwerd, as direct deirek't, direk't, divide divei'd always, froward toward towards toa'rdz froa-erd, toa'erd, diversity deiver-siti, diversiti. The dei is always (or toowau'dz). orthographical. wise. Likewise lei-kweiz, sidewise sei'dweiz. 0-. pro-, &o. Oblige, obliged oablei'j, oablei'jd Midwife mid- housewife e Wife . if, huz'if, goodwif (oablee-j, oablee'cht are old), occasion okai'zhen, guod'i ; mid'weif, hou'sweif, guod'weif are ortho- oppose opoa-z, promote proamoa't produce (v.) huz-i is also used for a needlecase or graphical ; proadeu's, propose proapoa'z, but use varies in slattern. construction. -wich. Greenwich Grin- if, Woolwich Wuol'ij, to-. To-morrow toomor''oa (or tu-mor''oa, not Norwich Nor' -if, Ipswich Ip-sij (locally, Ip-swich termor'-erj, together toogedh'er. . orthographically ) for-, fore-. Forbid faubid', forgive faugiv, forego eth. Speaketh spii'keth ; this termination being foar'goa, foretell foartel', but the two last have obsolete, the pronunciation is orthographical. also frequently fau-. ed, -ied. Pitted pit-ed, pitied pit' id, added ad-ed ; -ed, -id, -i'd are all heard. Ex. 46. On Weak Words. The order is that of CS, -*S, -S. Princes, prince's prin'sez (or -iz, -i'z), the frequency of the commonest English words cher'chez churches, church's (or -iz, -i'z}, paths given in Mr. D. Nasmith's "Practical Linguist, paa-dhz, path's paa'dhs, cloth's, cloths Moths, English," 1871. The clear sound is given first and clothes Jcloa'dhz (as a verb), kloa-z (generally, as the obscure ones afterwards, u being used for the a obscure vowel a dash the two. substantive) ; ( ) separates The Ex. 45. On Weak Beginnings. indistinctness of our weak monosyllables is not a-. (1) When two pronounced consonants follow, confined to colloquial pronunciations. It pervades accept aksep't, advance advaa'ns, admire admei'r, the most solemn declamations of the pulpit, and is alcove alkoa'v ; a clear a. (2) When only one as a rule most conspicuous where the strong pronounced consonant follows, generally very in- syllables are most forcible. But for the mere distinct u or as alas this is of u'-, among u-mung", u-laa-s^ singer no consequence. He has to sing adapt u-dap-t ; but great variety of pronuncia- the words in their clear pronunciation, or the usual tion prevails, a, a, being also used as amung-, singing substitutes for it. In ordinary Glossic alaa's, adap-t, the following consonant being only the clear pronunciation is written. The ' often taken as medial hence in Grlossic ' ' ' ; English Examples under to and that will shew the a is used ai must never be said. effect of indistinct ; writing monosyllables, as is 6-, be-, de~, re-, when only one pronounced always necessary where it is wished to convey a consonant is ee follows, generally i, rarely ; conception of the actual treatment of sentences by decent dee' sent, descent disen't or deesewt, dissent a speaker, as for example, in writing dialects. The disen't or dissen't ; emerge imer'j or eemer-j clear pronunciation is a literary artificiality, which immerge imer-j or immer'j; elope iloa'p or eeloa-p, the reader has to learn how to overcome, but which event iven't or eeven-t ; the initial e, de, re, be is conveys the sense better when the words are taken either i or not s ee, e, except before and another separately (as in a baby's lesson book), and hence 142 ENGLISH EXERCISES WITH ACTUAL WORB8. Sec. XI, A. III. is better suited to the wants of the singer, who should. Shuod slid. cannot possibly join his words together as a speaker Or. Au, aur, or' au, aur', u, ur', the r' only does. before a vowel, the au most frequent Similarly ' and. And und, un, n, nh, scarcely heard at all. for nor.' the. Dheedhl, dhi', dhy-, dh-, dhe, dhu. In for. Fau, faur', for' fatt, faur', fu, fur, the r' singing, use dhi before a vowel, and either dhi only before a vowel. or dhu before a consonant. that. JDhat dhut, dht ; the demontrative pro- I. El does not change, but becomes extremely noun is always distinct, the conjunction and short. relative almost always obscure, as : I know that, Yoo d it often that that that that man said is not that that that yOU. yoo, yuo, yu ; following t, changes them more or less completely into ch,j. one told me, El-noa- that, dht -that- dht-dhat man'' he. See hee, hi, ee, i ; the aspirate is constantly sed iz'nt 'dhat dht-dhat' wun toa'ld-mi. ' lost when ' he is enclitic. On. On always clear. hee sh. she. 8 shee, shi, do. D doo, duo, uo. It does not it. vary. which. Which, wlch ivhch, wch ; in London, We. Wee wee, wi, the w is never lost. wich wch are most common, but which whch tkey. Dhal'y dJiai, dhe, but not dhu. are considered more ' correct.' have. Sav huv, uv, v. who. Hoo hoo, huo, uo. I. Will. Wilwul, wl, by. Bei generally kept pure, but becomes very Shall. Shalshl, shlh. short. wun the form un is CUB. Wun obscure, common, them. JDhem dhm ; also m or em from the old but not received. ' ' ' hem,' but thought inelegant by those who are too, in ' to. Too too, tuo, tu; never (as often unacquainted with hem.' I two to two America) ; Ex., gave things men; me. Mee mee, ml, mu, but mu is perhaps an and he to 'El -too gave two, too, two, too, gai'v Irishism, as in, to me, from me, with me, too'mu, thlngz tu-too' men, un 'hee gai'v too' too''tu-too' from'mu, wldh-mu. a accent. too-', where (') represents secondary Were. Wal-r, wai-rr', wer' wer, wu. Bee bu. be. bee, bi, with. Wldh, with wl, generally kept pure, with Dhai'r before vowels there. dhu, and dhai'rr', is heard from older speakers. dfierr' dhur'. , dher', into. In' too, intoo' in' too, In'tu. u. a vowel a. Ai'y Hi, a", u, generally Before Can. Kan kn. un. h a an Before beginning weak syllable an, cannot. Kan-ot, kaa-nt not changed. as a history, an historical account, an harangue, from. Fromfrum. u an'htstor' 'ikel in his'tur'i, akou'nt, an'hur'ang, as. Azs, az uz, z. which case be very careful not to omit the h. US. Us us. Mel ml. my, sir. Sersu. frig. Sizs, hiz hiz, iz. \ madam. Mad-am mam, mem, mlm, mum, m--?n, On this is OTir. r unchanged. m. Here m-^-m is a slur, m being continued with ' your. Yoo ryu, yer, yerr' . a slight reduction of force, as noa-m--m,yes'm-~m. her. Her u, er. their. 2)hair dhu, before vowels dhai'rr', dherr\ Ex. 47. On Alternations of Strong and Weak dher', dhur'. Syllables. This is properly rather for the speaker of. Ov uv,u, some old speakers use of. than the singer, who is at the mercy of the com- WOUld. Wuod wd, d. poser. This Exercise is confined to the 28 typical Sec. XI, A. III. ENGLISH EXERCISES W1TTT ACTUAL WORDS. 143 words of rnore than one syllable in Mr. Melville inveterately invetu-^-r'etli 17131 " Bell's New Elucidation of tlie Principles of sometimes 37131 31711 Speech," 1849, p. 227, a work full of most useful anatomical dnu-^-tomi-^-kel or Exercises, but they are treated in a somewhat subordination subdudl-^-ndishen 15171, 17150 1 1 or 7 1 1 5 1 different way. The laws of force accent, the or 3 3 1 7 1, or 3 7 1, better change of position of the strong syllable in course never su-^-bdu, sub-^-du. or of time, the differences between the English and epigrammatic epi-^-grvr^-mat'ik 51173, 71153 foreign systems of accentuation are not considered. or, ept~(jfram-~atik 71353 are written in The words common English Glossic, 6 syllables in a word, of the are the lengths of the vowels (not syllables) unnecessarily unneseser 1-^- 3733 distinguished by the long, medial, and short marks. or 7 5 3 3 but the accent-marks are The slurs are written, disingenuously dtsin-~feneu-$~iisPi 5373 omitted. After the word is placed a series of or 7 3 5 3 of the numbers, giving the relative force syllables superabundantly seupu-~r'u~bundentli 5117 how- according to a scale of nine grades, of which, extemporaneous ekstempoa-^-r'dinius 3537 ever, only five are retained, which may be named or 7 3 3 5 with musical terms thus : and compared personification pu-^-soni-^-fi-^-kdishen 15117 1117 13579 or, p\ mean violent faint weak strong antipestilential anti-^-pest1-~lenshel 51517 P f ff pp mf 7 syllables in a word, In several cases different varieties of force are inconsiderableness ? given, showing different modes of reading. 5371113 mkon-r- 6571113 2 syllables in a word. or, mvali-r-teudi-i-ner'i 3517131 wayward wdiwerd 7 3 invalitudinary or 3 5 1 7 1 1 1 1, or 5 1 1 7 1 1 1 away u~wdi 3 7 impracticability tmpr-akti-^-ku-^-bili-^-ti 3511711 3 in a word. syllables or 5 5 1 1 7 1 1 tempu--r'et 715 temperate indestructibility mdestrukti+bin+ti 5351711 remember 171 r'l-^nembu intercolumniation \ntu-^-ki^-lumni^-dishen recommend r'ekw-$-mend 517 5115171 or, r'ekommend 757 8 syllables in a word, in a word. 4 syllables incommunicability * J temporary tempH^~r er^ 7151 51511711 or, tempu-7-r'ii-r*'i 7111 or, inkommeu 53511711 contemporal kontempu-^el 3711 incomprehensibility tn-j-kompi or, kiintempu-^-rel 1711 55151711 or, kontempoa-^-r'el 3731 9 syllables in a word, kontempldishen 3171 or 3371 contemplation intercommunicability misunderstand misundu-^-stdnd 3317 511511711 or with mis 7315 or 7317 emphatic It is thus seen that long words are practically 5137 or 7135 superintend seupti+r'tntend divided into several short words by subordinate it is rare to have 5 syllables in a word. degrees of force, and that very necessariness neseseri-r-nes 73313 more than two faint or pp syllables together. 144 GERMAN EXEECISES. Sec. XI, B. B. GERMAN EXERCISES. Ex. 48. On the Elementary German Speech- SHORT VOWELS. sounds. The following words contain all the ie. Ich eeky'h, mit meet, bitte beet'u, sitz zeets. German sounds, excluding the implodents, which are This is often pronounced i in the North of a and the considered provincialism, post-aspirated aa Germany, and hence Englishmen may use i, forms of the mutes, which are not acknowledged. more convenient to their organs. The learner should hear the following words e. Halten haal-ten, schaufel shaawfel. Occurs only frequently by Germans, and then pronounced in such syllables, and even there is frequently endeavour to imitate their pronunciation with lost, or spoken as u\ as which it should be sung. the assistance of the explanations already given. ae. Netz naets, senf zdet/f, bellen bdel-en, wasche v&esh'u, hemd hdemt, strenge sh'traeng-u. This LONG YOWELS. may, however, always be pronounced e without 1 ee. Lieb lee'p, ihn ee-n, mir mee'r (not mee-rr'), danger of ambiguity and without offence. No lilie lee-lee-u, hin hee-n. sueh distinction as di, ae is now made. da. Kalt flachs mann di. Ewig ai'v'eeky'h, gegen gai'gy'hen (or gai'geri], Malt, fldaTcs, mdan, f&ssfdas, anfall or This is often dem dai-m. No trace of any vanish ai'y. da'nfdal aa-nfdal. pro- nounced dh, but da is the theoretical pronuncia- ae. Seele zae-lu, wer v'ae'r', thrane trae-nu, leben and easiest for lae-ben. In the middle of Germany all these tion, Englishmen. do. Holtz, hdolts, voUfdol, von fdon, kopf /cdo^f, words are pronounced with ai', and the English schloss shldos In the North of Germany the speaker is advised not to attempt to use ae' long vowel is o, which be always used by in any word, but before r' he may use his may visual e\ Englishmen. ii. Hiite hwtu, alles dal-us, wasser v'das-ur', and da. Wahr v'aa'r', sah zaa', schaf shaa'f, hahn all similar unaccented final syllables, but some haa'n, name naa'mu. This vowel is very com- Germans use pure di or e. monly pronounced ah', but as aa- is theoretically uo. Und uont, hund huont, jung yuong, nuss nuos, assumed and always admissible, it may be busch buosh. Some Germans say oo. exclusively used by Englishmen. ue. Fiille fuel-u, kiisse kues-u, hiitte huet'u, riicken da. Schoos shoa's, ohne oa'nu, sog zoa'gh, rose ruek'en, miinz muents. In many parts of roa-zu. No trace of vanish oa'w must be any Germany this sound is confused with ee or i. heard, and even ao- be used for oa. may oe. Bocke boek-u, holle hoel'u, rockchen roek-ky'hen, do. Schuh fuss nur noo'r' noo' shoo-, foo's, (not rr'), kopfe koepf-u, In many parts of Germany this ruthe roo-tu, muth moo't, thun too'n, gut goo-t. sound is confused with ae or e. ue. Miihe mueu, luge lue-gy'hu (or lue-gu], siihne DIPHTHONGS. zue-nu, giite gue-tu, triibe tr'-ue-bu. Often vulgarly pronounced as ee\ aay. Eile aaylu, eis aays, weise v'aayzu, hain In some of to. Goethe Geo'tu, ohl eo'l, hofe heo'fu, hohe heo'u, haayn, klein klaayn. parts Germany is and "ei" is hohnen heo'nen, hoflich heo-fieeky''h. Often a distinction made, pronounced " " vulgarly pronounced as ai'. aey, or ey, but ai is pronounced aay ; Sec. XI, B. GERMAN EXERCISES. 145 but this is not usual. The theoretical pronuncia- common in middle Germany for both t and d, tion is always aay, which should be used, but ahy should not be imitated. is common the be used. ch. Deutsch very ; English uy, a'y may doych, puntzsch puonch, patzsche klatschen Jcl&ach'en ; and oy. Eule oylu, freund froynd, leute loytu. This pdach'u, uncommon, seldom used at the end of words does is the pronunciation of many parts of Germany, except ; j not occur. and the one generally used on the stage, but one k. kase kai'ztt kehren theoretical sound is aaue, which I cannot re- Kamm Jcaam, (or kwzit), kai-r'en knabe collect to have heard, and another aoue, which (not Jcai'rr'en}, klappen kldap-en, knie knee difficult has equally escaped my notice. The greater knaa'bu, knopf knaopf, (a initial combination for to be care- number of German speakers, however (all those Englishmen, the common form who use ai, ee for oe, ue], say ahy, which is not fully studied) ; post-aspirated before vowels should be avoided. recommended . Jc-hj g. Gonnen goen-en, geben gai'ben (or gae-ben} y aaw. Aue aawu, grausam graawzdam, haus haaws, gnaden gnaa'den (a common word,, in which the for which sound the English uw, a'w (but not difficult initial combination requires careful daw, uuw, and never ew, aew) may be used; the is not used. study) ; implodent g many Germans say ahw. f (This only occurs in the combination pf which " " ASPIRATE. is now often pronounced pf; the letter v is sometimes pronounced /' but the general custom h. Hand hdant, is always the jerked gradual is to call it/), pfropf jo/V'oj5/",tapfer taapf'ur\ glottid or hi, and is never omitted even by the v\ Wie v'ee, weh v'ai, was v'aas, wollen v'aol'tn, commonest speakers. wulst tfuolst; in the North of Germany it is CONSONANTS. said to become v, but I have never heard it. Englishmen may, however, use v, and must never Pack p. paak, pacht paakht, papst paa-pst. use w or vw. Almost all German words beginning with p are f. Fein&faaynt, f&nLfaawl, fest faest; very com- of foreign origin, the proper initial is ^a pf mon, but v is unknown. descendant of p-fy, still said, as p-hjdak}, or b. *. Nichts neeky'hts, reissen raaysen, fliisse flws'u b. Band bdant, bald b&alt, bild beelt. For this and schmutz shmuots ; fluss or flusz fluos ; only used for in middle the b is p Germany implodent at the end of words, or in the middle (when used no should imitate this error. ; Englishman written ss or never at the sz) , beginning. t rather f need trouble (or , but not Englishmen z. Sie zee, sass zaa-s, sieben zee-ben, weise v'aay'ze ; themselves to make the as no difference, only used at the beginning of words, where it is can arise from t), tadel taa-del, ambiguity using frequently changed to sz, and in the middle" of tand thier tdant, taugeu taawghen (or taawgeri], words, where it remains pure. tee-r' theil theuer (not tee-rr"), taayl, toyr' (not sh. Schiessen shee'sen, scherzen shder'-tsen, schale toyrr'J, thor toa'r' trotz trdots ; the (not toa-rr*}, shaa-lu, schwimm. shtfeem, schluss shluos, custom of which should not be imi- using t-hj, schmausen shmaawzen, schnee shna'f, schroff has ts rather fs* but the tated, generated (or , shr'aof; the voiced form zh is unknown. difference is which is a unimportant) very sh' (which need not be anxiously separated from frequent initial, as zu tsoo, ziel zaun tsaawn, tsee'l, sh], stab stitaa'b, stoss sh'toa-s, spiel s/t'pee'l, zorn tsaor'n. 1 spass sh'paa-s, spur sh'poo-r ; in the North of t rather see (or a", ), du doo, die dee, ding deeng, Germany st-, sp- used to be said, but not on the durch durst the and now full duor'ky'h, diior'st; implodent d, stage ; sht-, shp- are used in con- 146 GERMAN EXERCISES. Sec. XI, B. in final -sh't -slit versation even Hanover; the or betrog betroa'kh, betrogen betroa-ghen. In as in ist furst is considered very vulgar, eesh't, North Germany g is used initially and medially, fuer' sh't, and must be carefully avoided. and k finally. y. Ja yaa, jagd yaakht, je yai, just yuost, jiingst I. Lamm laarn, lasst laest, elle ael'u. yuengst ; in ja yaa, the y often changed uncon- m. Marz maer'ts, menge maeng-u, kamme kdem-u. sciously to yh, as yhaa- or yhyaa-. n. Nun noo-n, niemand nee-maant, henne hden'u. ky'h. Mich meeky'h^ fechten faeky'frten, machte maeJcy^h'tu, mochte moeky'h-tu, kirche keer'-ky'hu, ng. Singer zeeng-ur\ finger feeng-ur' ; some Ger- milch manch maanky'h. used meelky'h, Only mans say ngg and others ngk at the end of words r' in final after ee, ae, oe, aay, oy, I, m, n, and the from which u has not been elided, as lang Idangg -chen -ky'hen, as madchen mai'dky'hen, mai't- or laangk, but lang' (for lange) Idang ; the ky'hen. Englishman is recommended to use his easy ng gy'h. Tilge ieefrgy'hu, folge faol-gy'hu, betriigen always. betrue-gy'hen ; and. according to some writers, in r\ Reise schier shee'r' ' r'aayzu, (not shee-rr"), the prefix ge,' a,agerecln.tffy'he-raeky'ht', ge-ehrt 1 schaar shaa'r (not r'rh but I heard used in that shaa'rr") commonly gy'he-avr't, generally g ( when final, and very r initial and in 'aener' commonly position ; general gyti 'aa-l, regierung l l medial, and r rh final, none of which it is used or not at usages r'egy'hee-r'uong, &c., pleasure ; need be imitated. The vocal English r does not g may always be said, as it is still in North occur, or, at least, is not acknowledged. Germany, at the beginning and in the middle of words. The Examples in the Alphabetical Key to Ger- Jch. Ach macht focht ; and aa'kh, maakht, fdoJcht man Pronunciation in Section XIV, and the after ao, oa; also according to generally aa, German songs, of which the pronunciation is given most after where I hear writers, 00, uo, aaw, in Glossic, in Section XV, will form sufficient addi as buch boo-Jcw'h, bucht buokw'ht, auch kw'h, tional exercises for the purpose of learning to sing but this need not be attended to, so aawkw'h, German well enough to be intelligible, and not to that the aawkh be simple boo'Jch, buokht, may be annoying to educated ears. To speak or read used. German properly requires much time and attention, gh. Tage taa-ghu, gezogen ge-tsoa'ghen ; only used many teachers, and, if possible, residence in the between vowels, replaced by kh when final, as country. Sec. XI, C ITALIAN EXERCISES. 147 C. ITALIAN EXERCISES. real Ex. 49. On the Elementary Italian Speech- geloso jailoa-soa, filatojo feelaatoa-yoa ; the sounds. The following words contain all the Italian sound is somewhat more like 00, having Italian sounds, and the learner should hear them probably the same position of tongue as oa, but often pronounced by Italians, if possible, from the lips in the position of oo ; but Englishmen from Tuscany or Rome. The Alphabetical Key may be quite satisfied with oa. to Italian Pronunciation in Section and the XIV, oo. Cura koo-r'aa, scudo skoo-doa, ignudo eeny'oo'- Italian written in Glossic in Section XV will songs doa ; tutto too'toa, giunchi joong'kee ; the oo suffice for additional exercises to acquire the power does not become uo when shortened, but no of Italian, with sufficient pronouncing correctness ambiguity will arise from using uo. not to be offensive in singing. For accurate pro- DIPHTHONGS. nunciation much study is required. There are no diphthongs with tight glides as in VOWELS. English and German, but only properly speaking The Italian vowels when long are not so long as with slurs ; whenever two vowels come together the and when short not so English, short, they the Italians are apt to reckon and feel them as one are medial. But properly always Englishmen may syllable when the second vowel has not the stress. treat them as when a long ending strong syllable, Examples of all cases in which the first vowel is and as short otherwise. The accent marks in the strong are here given according to Valentini. Examples are placed in accordance with this Short marks will be used to indicate the weak convention. vowel in the slurred combination. 1 ee. I lirico lee-r ; fisso ee, 'eekoa, spiri spee-ree aaai. Traere traa'air'ai, aere aa'aXr'ai, sufficiently ninfa dimmi deem-mee. fees'soa, neen'faa, written traa'air'na^ aa'air'ai. ai. E ai, fede fai'dai, sete sai'tai, avere aaee. Daino daa-eenoa, musaico moozaa'eekoa, aavai'r'ai ; alimento aalewnain'toa, burlesco sufficiently written daaynoa, moozaa'eekoa. boor'lais-koa, capretto kaapr' ait'toa ; this sound aaoa. Paolo Paa-oaloa, sufficiently writtenPacroaloa. is and without the least of a quite pure, vestige aaoo. Laura JLaa'oor'aa, fraude fr'aa'oodai, pausa ee or vanish. following paa-oozaa, sufficiently written Laawr'aa,fr \uw- ae. E ae, regola r'ae-goalaa, predica prae'deekaa, dai, paawzaa. straniere sfr' aanee-ae'rai ; bella bael'laa, dente aeaa. Beano bae-aanoa, oceano oachae-aanoa, suffi- daen-tai ; Englishmen may use e, e, but the ciently written bae'aanoa, oachae-aanoa. sound in Italian is very much broader and more aeoa. Eolo Ae-oaloa, laureola laaoor 'ae-oaloa, suffi- marked. ciently written Ae'oaloa, laawr'ae'oaloa. aeee. Teseide Eneide aa. Fato faa-toa, raro r'aa'r'oa, bavaro baa-vaa- Taisae-eedai, Ainae-eedai, written Ainae-eedai. r'oa; fatto faat-toa, cassa kaas-saa, tanto taan-toa, sufficiently Taisae-eedai, fiamma fyaam-maa. aeoo. Neutro nae'ootr'oa, feudo fae-oodoa, suffi- written ao. Oro ao'r'oa, poco pao-koa, cosa kao'zaa, dopo ciently naewtroa^faewdoa. 1 aoaa. Oasi dao-poa ; sciolto shaol'toa gloria glao-r ee-aa, ao'aasee, Roano JRao'aanoa, sufficiently written Roa'aanoa. biscotto beeskaot'toa, torto taor'-toa ; Englishmen ao'aasee, use o for may au, this sound without danger of aoee. Eroico air' ao-eekoa, loico lao-eekoa, sufficiently ambiguity. written air'oo-eekoa, lao-eekoa. oz. Amore aamoa-r'ai (this oa-r', not oa-rr', nor aoaa. Induano eendoo-aanoa, sufficiently written. wr' must be noticed eendoo-aanoa. especially by Englishmen) ; 148 ITALIAN EXERCISES. Sec. XI, C. 000?. Influere eenfloo'ai'rai, puero poo-airoa, suffi- k-hoanfr'-hoan-t-hoa, Livorno Leev-haor'-noa^ ciently written eenjloo'air'ai, poo'air'oa. whence possibly the sailor's name Leghorn in other even the Tuscan ooee. Fluido floo-eedoa, Druido Dr'oo-eedoa, suffi- Leg-hau-n ; respects, which is the ciently written jloo-eedoa, Dr'oo-eedoa. peasant speaks pure Tuscan, literary dialect of Italian}. coda. Influono eenfloo-oanoa, suo soo-oa, sufficiently Gara written eenjloo'aanoa, soo'oa. g. gaa-r'aa, angusto anggoo-stoa, piaghe eedd. Maniaco maanee-adkoa, diaci dee-ddchee, suffi- pyaa-gai. ciently written maanee'aakoa, dee'aachee. w (as a real consonant -this does not exist in the eeai,. Dieno see-dmoa it dee-amoa, sieno, y sufficiently language, but Englishmen may use for 00, written dee-ainoa, see-ainoa. as uovo ooao'voa or wao'voa), hence uomo eeoa. Periodo pair' ee-oddoa, sufficiently written wao-moa, quale kwaa-lai, quindi kweewdee, guida pair'ee'oadoa. gwee'daa. The second method of best conveys the writing f. Fasti faas-tee, differire deef-fair'ee-r'ai. effect of the sounds to English ears, with perhaps v. Vasti vaas'tee^ vece vai'chai, avvi aavvee. the of for which exception naewtr'oa, faewdoa, m s. Sano saa-no, scala skaa'laa, verso vaer' soa, nae-ootr'oa, fae'oodoa might be better, because of curioso kooT'ee-oa-soa (not koo'rr'ee-oa-soa). the looseness of the connecting glide. z. Sbaglio zbaa-ly'oa, smorto zmaor'-toa, esatto CONSONANTS. aizaat'toa, esito ae'zeetoa. p. Parto paar'-toa, -paiH&paal-laa, lampo laam'poa. ts (or t's' or even *', but ts suffices). Zio tsee-oa, b. Bardo ballo bruno br'oo-noa. baar''doa, baal-loa, balza baal'tsaa, Venezia Yainae'tsee-aa, bellezza t rather but the distinction (or t\ may be neglected). baillaet-tsaa, pozzo poat'tsoa. Tirato tanto tutore tootoa-rai teer'aa'toa, taan-toa, dz (or d'z' or even z', but dz suffices). Zero dzae-r'oa, (not tootao'rr'ai or tootawr'ai). zona dzoa'naa, zanzara dzaan~dzaa-r'aa, mezzo d (or rather d', but the distinction may be neglected) . maed'dzoa, gazza gaad'dzaa. Detto dait'toa, debito dai'beetoa, addicere aaddee-- sh. Scemo shai-moa, fasci faash-ee, pesci paish-ee, chairai. cresciuto kraishoo'toa, sciolto shaol'toa. real consonant is not in the eh (this is the English sound, which may always y (as a language, but it for as eeai'ree be used, but sA', not sA, is also used in Italian, as Englishmen may use ~ee, jeri or in face faa-sh'ai, facce faty'-sh'ai, which may be yai'ree, hence) ajo aa-eeyoa, sufficiently written pronounced as:) Face faa'chai, facce faat-chai; aa'yyoa, piano pyaa'noa, fioco fyao'koa, piti pyoo. bucce boot-chai bracia 1. La altro aal'tr'oa. duce doo-chai, ; braa'chaa, laa, augelli aaoojael-lee, braccia braat'chaa. ly\ Gli h/ee, &g\iefee'ly'ai, scogli skoa-ly'ee. j (this is the English sound, which is perhaps n. Niuno nyoo'noa, no nao, non noan, mensa always used, although z h' may occur). Gesto maen'saa, anno aan'noa. f jaes'toa, giudice joo deechai, gia jaa, Giacomo ntf' Ognuno oany'oo-noa, segni sainy'ee, ghigno Jaa'koamoa. gee'ny'oa, bisogno beezao'ny'oa. k. Caro kaa-roo, cheto kai'toa, chiave kyaa-vai. ng. Lungo loong-goa, vengo vaing-goa, anco aang'koa. (In Tuscany there is a habit of using h in r\ Karo r'aa-r'oa, terra taer'r'aa, carne kaar'-nai ; in place of k, before the letter a, as haa-roa, the trill of the tip of the tongue is always very haa'mairaa, hao'za for kaa'roa, kaa'tneraa, strong, the extent of vibration being considerable, cosa this fault the and duration of vibration kao-zaa, caro, camera, ; must and rapidity more than in it is be carefully avoided; Tuscans are also apt to being also much English ; introduce h before every o, as confronto never omitted, and never made by the uvula. Sec. XI, D. FRENCH EXERCISE?. 149 D. FRENCH EXERCISES. Ex. 50. On the Elementary French Speech- NASAL VOWELS, LONG. sounds. The from aeri . taimwaerf fin following words, chiefly Theriat, pin, pain paeri', temoin , faim, who is responsible for the marks of over the timbre dessein daisaen' length faen', taen'breo, , bientot vowels, contain all the elementary sounds in the byaen'toa; Englishmen may use an'. French language. They must be heard very often, ahn'. dans dahn', tampon tahn'poan', Jean Zhahn', and to be well understood. After- practised much, trembleur trahn' bloer' encre , ahri'kr'eo; English- wards the in the examples Alphabetical Key, men may use on'. Section and the French which are XIV, songs oan'. non noan', long loan', nom noan', compte given below, will serve as exercises. But it will umble oan' bled Jcoan't, (Feline gives oen'bleo) be always difficult for any Englishman to sing a lumbago loan'baagao ; the English reader must be French song in a way which would be even very careful not to confuse oan with ahn', as it tolerable to French ears. There is no force accent is a common English fault to make them both on'. in French. oen'. brun a aazhoen' br'oen', jeun , parfum paar'- VOWELS, LONG AND SHORT. foen', humble oen'bleo (also pronounced with oan\ ee. titre teetreo, partie paartee, il prie eel pree, see un'. * above) ; Englishmen may use epitre aipeetreo, synonyme seenaoneem. DIPHTHONGS. ai. ete aitai, pays pai-ee, aiguille aigueee, je sais aaee (these diphthongs arise only from the conver- zheo sai, esprit aispree. sion of into ee or ty' eey, or from medial ee}, ae. -procespraosde, complete koon'plaet, reve rdevai, gouvernail goovaer'naaee, faillir faaeeyeer' (or ils aimaient eelzaimde, meme mdem, peche pdeth, faayyeer', y being doubled), medaille maidaaee, reine rden. Versailles Vaer'saaee. aa. fat aeee. reveil papa paapaa, faat, femme faam; this r'aivaeee, reveiller raivaeeeyai (or sound is now more generally called a' in Paris. raivaeyyai, taking y as double), Marseilles ah. gras grdh, pas pah, casser kdhsai ; some Maar'saeee. ortheopists, as Theriat, consider that there is oeee. oeil oeee, recueil reokoeee, accueillir aakoeeeyeer' only one aa sound, and that the difference is (or akoeyyeer' with double y}. merely one of length, so that they would write ueee. lui lueee, ruisseau r'ueeesoa, ennui ahn'nueee, grda, pda, Masai. y>\\n.Q plueee, appuyer aapueeeyai, tuyau tueeeyoa. See 49i. ao. motif maoteef, hotte aot ; some ortheopists, as p. ueaen'. Juin kueaen'- Theriat, do not distinguish ao and oa except in Zhueaen', quinquagesime kwaazhaizeem. length. CONSONANTS. oa. mots maux moa, beau boa, agneau aany'oa, hote oat. p. papa paapaa, cap kaap, nappe naap, appareil dapaar'aeee ; English p; instead of the recoil eo. fou/oo, toute toot, bou boo, voute voot. p-h, the French often use^o. ue. muse muez, vous eutes voozuet, hutte uet. b. baton bdhtoan', lobe laob, bombe boan'b ; Eng- eo. deux neveu neoveo. je zheo, deo, ienfeo, lish b, the recoil is bed. oe. peur poer, seul soel, neuf noef, peuple poepleo, t' (always dental, but the English may use theii oeuf boeuf not dis- usual t without titre the tai oef, boef. Some orthoepists do hesitation), teetreo, t eo tinguish oe, and many assign oe ioj'e, me, le, &c. un grand home oen' g^ahn't aom. 150 FRENCH EXERCISES. Sec. XI. D. d' (always dental, but Englishmen may use their z. zele zdel, rose r'aoz, il vous aime eel vooz dem, d without hesitation), donner daonai, raide raed, sixieme seezyaem, deux enfants deoz ahn'faJin'. reddition raeddeeseeoan' (or raedeesyoan'). sh. cheval sheovaal, chercher shaer'shai, achat schisme sheezmeo. ktf (some French writers, but not all, recognise aashaa, ue zh. this sound before the sounds of ii, ai, eo, oe, ; je zheo, jardin zhaar'daen', jujube zhuezhueb, as qui ky'ee. queue ky'eo, but Englishmen are not recommended to try it). y (properly ee forming an initial ee diphthong with the diable ciel gtf (those who admit ky' also admit gy' in similar following vowel) , dyaableo, syael, reliure nous situations, as gueux gy'eo, but Englishmen are pitie peetyai, r'eolyuer', agreions nooz vous aidier vooz nous not recommended to try it.) aagr" aiyyoan' , aidyai, priions noo pree'eeyoan', que vous priiez keo voo k. carte kaar't, crainte kr'aen't, un rang eminent ai'eux pree-eeyai ; aayyeo (or aaeeyeo), pai'en oen' rahn'k aimeenahn', quatre tcaatr'eo, coq kaok, les laez paayyaen' (or paaeeyaen') ; yeux yeo, etiquette aiteekaet, quoique kwaak. rayon raiyyoan', payer paiyyai, nous payons ft. soan' second noa nous noo garqon gaar' , gueule goel, seogoan', paiyyoan', payions paiyyeeoarf nous exister nooz nous Eclogue aiglaog, aigzeestai. appuyons appueeeyyoan' , appuyions nooz appueeeyeeoan' . w (properly oo forming an initial oo diphthong with I. le eleve ft. the moelle leo, ailaev, feel, syllabe seellaab. following vowel) , joaillier zhwaayyai, tn. me meme ame mwdal, poelier pwdalyai, coeffer kwaafai, soie tneo, maem, dam, pomme paom. swaa, bois bwaa, voir vwaar" ; ouais woe, fouet n. ne neo, navet naavae, annote aannaotai, inne foene il eel ennemi aenmee. fwde, fwaen, temoigne taimwaeny' ; eennai, oui embabouiner an' baabweenai 1 wee, ; employer ny . agneau atny'oa, ignoble eenyaobleo, vigne Bedouin ihn'plwaayyai, royaume rwaayyoam. veeny'', Boulogne Boolaony'. Baidwaen', soin swaen\ point pwaen' . f i . or aor\ notre naotreo, le notre leo noatreo, amer carafe boeuf art dar* aar'ahn'zhai. /. kaar'aaf, boef, phrase fraaz. aamder', , arranger The greater number of Frenchmen in the North v. vivre veevree, veuve neuf ecus noev aikue. voev, " that use the grasseyent" fgr"'asaeeej , is, uvular l i. son abces r in of the trilled r'. -This is soan\ aabsae, i&qon faasoan' , ambition place not allowed Chn' soixante swaasahn't. the should be beesyoan' , on stage, and carefully avoided. QL08SIC INDEX. XII, GLOSSIC INDEX, Explanation of the Arrangement. The inten- For the consonants, they are first given as tion of this index is to refer to every sound initials, and as parts of initial combinations, in the explained and described in the preceding pages, to order of the Table on p. 110, before all the vowels shew in which of the four languages it occurs, and and diphthongs with which they are found, and to give specimens of all the glides with which it then some (not all) cases of the medial and double, is found in English. For German, Italian, and and one or two final combinations are given. Final French, examples are given in Exs. 48, 49, and 50 combinations proper are found in abundance with of Section XI. (pp. 144-150), and the incidental the vowels. sounds were illustrated when first described. The Glossic spelling of the English words agrees For the vowels and the are diphthongs examples with that in the Short Key, Section III., pp. 12 arranged in the alphabetical order of the Glossic and 13. spelling from the vowel or diphthong forwards, so that all the final combinations are found in the The letters e. g. t. /. after an initial Glossic the introduction order of the table on p. Ill, with letter or combination, shew that it occurs in the of the consonants. one or two ex- single Only English, German, Italian, and French languages are of each final combination. This amples given respectively, and the absence of any of these letters list of will form a series of words complete key shews that it does not occur in the corresponding words for and also a series of English, complete language. exercises on the glides from vowels to consonants. should them as The singer practise such, singing The initial combination is in thick capital letters, them at first to long and then to very short notes, when it is one of the sounds recognised in the repeating the same word many times in succession, Short Key, when it is incidental it is printed in and the distinct, if making glides quite any Italic capitals, but any letters with marks of is the word must be dissected and difficulty felt, length over them are printed small. practised in part, thus chainjd, ai, ain, ainj, ainjd, After the number of a a means and chainjd ; ai, chai, ain t chain, ainj, chainj, ainjd, page first, LETTERS AND COMBINATIONS IN ALPHABETICAL ORDER. 32a its rounded 325 ; aft a! shafts A, e, pp. 315, ; form, p. kwa'ft kwaaft ; ft aaft ; sha'fts shaafts, and short: ass as may be sung as a', p. 340. Strong crafts kr'a'fts kr'aafts ; aas, pass pa's paas, a'sk abb ab, scab skab, slab stab; scabbed skabd, grass gr'a's gr'aas, mass ma's maas ; ask aask, crabs ma'sks blabbed 5/050*, stabbed stabd ; dabs dabz, bask ba'sk baask, casks ka'sks kaasks, masks kr'abz ; hatch, hack, match mack ; snatched snacht, maasks ; rasp r'a'sp raasp, grasps gr'a'sps gr'aasps ; scratched skr'acht ; add ad, plaid plad, sh&d.shad; passed pa'st paast, mast ma'st maast ; path pa'th lads ladz, dad's dadz ; baffle bafl, snaffle snaf-l ; paath, bath ba'th baath, wrath r'a'th raath ; path's halve ka'v bag bag, fag ; wagged wagd, lagged lagd ; brags pa'ths paaths, paths pa'dhz paadhz ; calves br'agz, swags swagz ; badge baj, Madge Maj ; haav, calve ka'v kaav ; halved ha'vd haavd ; badged bajd ; crack krak, whack whak ; axe aks, ka'vz kaavz; command koma'n-d komaan'd, plant wax waks, whacks whaks, thwacks thwaks, waxed pla'ntplaant (sometimes plant}, haunt ha'nt haant wakst, act akt, fact fakt, whacked whakt, cracked (and haunt}. facts e. of d-\ is a krakt; shall shal ; acts akts, fakts, pacts A' i, spoken form ei, p. 440, good 445. pakts ; Alp Alp ; Alps Alps ; am am, jam jam, singing form, p. cram kr'am; shammed shamd, rammed ramd ; A'uo, a good form of ou, p. 47. lamp lamp, cramp kr'amp ; cramps kr'amps ; A'y, a form of a't, p. 46a. an cramped kr'ampt ; shams shamz, flams Jlamz ; ' f. 360. be used for an, plan plan, tan tan ; hand hand, planned pland, AA, e. g. i., p. 335, May tanned tand ; lands landz, strands str'andz ; manse or ah, p. 39a. Strong and long : ah ! aa ! paths mans; banter ban'ter, cant kant ; cants kants, paa-dhz, half haa'f, laugh laa'f, calm kaa~m, palm recants rikan-ts ; man's manz, fans fanz; hang paa-m, balm baa-m; calmed kaa-md ; jaunts hang, sprang spr'ang, sang sang ; hanged hangd ; j'aa'nts, haunts haa-nts; haunch haa'nch; command sank hank hanks thanked demand dimaa'nd demands dimaa-ndz sangk, hangk ; hangks ; komaa'nd, ; ; ; arrow can't thangkt pangs pangz ; map w0ji?, taps taps, chance chaa-ns, prance pr'aa'ns, plant plaa'nt, 0r'-o0, carry &0r'i, narrow nar'-oa ; gas ^0s, wassail kaa'nt, sha'nt shaa-nt ; plants plaa'nts, ass aa's, was-el ; asp 0sp ; ash ash, crash kr'ash, clash klash, class klaa's, grass gr'aa-s; cask kaa'sk, bask baa'sk; smashed smasht, thrashed thr'asht ; pat j?0, that casks kaa-sks, hasp haa'sp (often hasp], clasps dhat, sprat spr'at ; rats r0te, cats &ffs ; hath A0A ; klaa'sps ; mast maa-st, cast kaa-st ; masts maa^sts ; f have A0v, has 70z. Weak and short in open path paa-th, bath baa th, wrath raa'th ; path's* so written in Grlossic to shew either u or halved calves kaa'vz. syllables, paa'ths ; halve haa'v, haa'vd, a final may be used at pleasure, p. 535 and 540, In all these cases the vowel is scarcely more than pica pei-ka, idea eidee'a, area ai-rr'ia, sofa soa-fa, medial, and may be taken short, or a' (which see) acacia akai'shia, drama draa-ma. Long and strong, may be used long or short, and some speakers use provincial, p. 320. Ex. pp. 1180, 1195, 1295. a long and short. If we include those cases in A\ e. i. f. Pp. 320, 335, 340, 360; may be used which aar (which see) is pronounced as aa simply, for a, p. 31a. Often used long or short in the the list would be much increased. Strong and following and similar words, where also aa long or short aa does not occur except as a variety in the short may be used, and where a long and short above words. Weak and medial rather than short should not be 340 be used in before these or as a reduc- used, p. ; may always aa, occurs only letters, singing for a. Chaff cha'f chaaf, half ha'f haaf, tion of aar in weak syllables, as steadfast sted-faast, calf '&0'/ kaaf, laugh la'f laaf, laughed la'ft laaft, partake paatai'k, particular paatik'euler, Carthusian craft kr'a'ft kr'aaft, shaft sha'ft, shaaft quaffed Kaatheu-zhien. Ex. pp. 1140, 116. Sec. XII. GLOSSIC INDEX. 153 AA, flatus driven through the position for aa, AA-u, e. murmur diphthong, p. 505, used for 560. 00r sometimes aa with a to be p. (\vhich see) ; vanish, AA, slightly nasalised 00, as in America and avoided as it is mistaken for aar' . of ' eu ' South Germany, p. 440. AAue, g., theoretical pronunciation g. AAai or AA-ai, i. slurred diphthong, pp. 450, in eule aaue'lu (generally oi'lu), pp. 445 and 455, 147*. AAuo, e. form of ou, p. 470. i. for MAO, a lip glide, p. 555. AAW, e. g. f. common representative AAee, g. i. f., a form of ei, p. 445, 450 and 5, or either 0000, 00^0, as forms of ou, p. 475. slurred in 450 aa-ee- i. even of 00-00 or 00^0 as forms aa-ee, Italian, p. ; AA-W, representative diphthong, p. 450. of OM, p. 475. AAee, g. nasalised form of ei, p. 440. AA Y, e. g. f. i. common representative for as is AAl, g. and also an e. form of ei, just admissible either aaee or 002 as forms of ei, p. 460, 00'^ in speech, p. 440, 00-* is the proper form for of aa-ee or aa'i. 445. Not to be tolerated for 455. nasalised form of -= aaee or singers, p. oi, p. ,AAY, AAY, t e. nasal form of ei. Not to be 5. AAi, tolerated, 4 00T, p. 440, aa-ee aa-i as p. 440. AA-Y, representative of or forma AAod, i. slurred diphthong, pp. 450, 1475. of ei, p. 460. AAoo, i. slurred diphthong, pp. 475, 1475. admissible e. of e. f. its rounded 325. AAuo, general g., form ou, AE, g. i., p. 320 ; form, p. p. 470, 5. In e. only in strong syllables, where e is more AA-R, e. murmur diphthong aa-u, with a per- general in the South of England. See e for ex- 1 missive trill r the u and trill r' are in be as 390 ; generally amples English. May sung e, pp. r omitted, and the simple vowel aa used, so that 1470. aar signifies the permission to say aa, aa-u, or AEaa, i. slurred diphthong, p. 1475. aa-ur* the first most 505. e. form of ei i. slurred , being common, p. AEee, faulty ; diph- and Are f . loss of Always long strong. 00T, garb gaa-rb, thong, pp. 465, 1475 ; generated by barbs baa-rbz, arch aa-rch, starch staa'rch, starched ly\ p. 465. staa'rcht, bard, barred baa-rd, guards aaa-rdz, scarf AEi, e. faulty form of ai-y, meaning ai', p. 460. slcaa-rf, scarf's sJcaa'rfs, large laa'rj, enlarged enlaa'rjd, stark staa-rk, arks aa'rJcs, marl maa-rl, AEN', f. nasal, not eng or ang, but the last is snarls snaa-rlz, barm baa'rm (when the ur' are not intelligible, pp. 400, 1495. pronounced, barm, balm are both baa-m), charms AEoo, e. faulty form of ou, p. 475; i. slurred chaa-rmz, barn baa-rn, tarns taa-rnz, sharp shaa-rp, diphthong, p. 1475. carps Jeaa-rps, sparse spaa-rs, swarth swaa-rth, AEuo, e. faulty form of ou, p. 475. (some say swau-rth], starve staa'rv, scarves skaa-rvz, AE-uo, e. faulty form of ou, p. 475. bars baa-rz. When a word beginning with a vowel AEW, e. representative of either 0000 or aeuo, follows, aa-rr' ar aa-r' is always used. See aa-rr\ p. 475. AA-RR', e, p. 1370. This may be either 00V or AEY, i. and f., p. 465. 1 aa-ur and is most 00V it occurs in , usually ; only and before a vowel. f . and used for 360 strong syllables Barring AH, g. Scotch, aa, pp. 335, ; hn-a-rr" be as 00 in f . ing , starry staa'rr'i, sparring spaa'rr'ing. may sung a word with a of 445 with "When beginning vowel follows 00r, AHee, g. common form ei, p. ; ah-ee, r' is inserted don't it doa-nt ah a common German always ; jar jaa-rr'-it, long and conspicuous glide, far off/00-n-'-o/. Hence numerous errors p. 515. form of oi, p. 445. 154 GLOSSIC INDEX. Sec. XII ANt, e. faulty form of ei, p. 440, also a g. form, Al-aa, i., evenly balanced, unaccented diph- p. 44*. thong, p. 450. AHN', f. nasal, resembles ong, which is intel- AI, e. faulty form of ai'y, meaning ai, p. 460. ligible, pp. 400, *, 1496. A't, e., a common form of ei, p. 440. AHoo, g. form of ou, p. 47*. APee, e. form of the vanish ai-y, p. 460. AHuo, e. faulty form of ou, p. 47*. aiJEO, lip glide, p. 55*. AH-uo, e. faulty form of ou, p. 47*. An, e. faulty form of ai-y, p. 460. AHW, representative of either ahoo or ahuo, AI'i, e. form of the vanish ai'y, p. 460. p. 47*. Am, e. murmur diphthong, with or without r', of either ah'oo or 50* a form e-u or e-ur at AH' W, representative ah'uo, p. ; representing pleasure; in p. 47*. generally e-u, the mouths of some speakers ae-u AHY, representative of either ahee or ahl, or even a'u; the r' is generally omitted. Strong p. 460 and 480. and long : air, ere, e'er, heir ai'r, bare, bear bai-r, AH'Y, representative of either ah'ee or ah'i, chair chai'r, there dhai'r, fare, fairy0rr, hare, hair shai'r p. 460. hai'r, ne'er nai'r, share ; pared pai'rd, scarce see AI, e. g. f. i., p. 300, without vanish, ai'y, skai'rs, scares skai'rz. When a word beginning with r' p. 460, for vanish. Not to be confounded with a vowel follows air, is always inserted, see ey, ay, aay, &c., p. 30*. Used for eo by many ai'rr'. as 390. Germans, p. 31*. May be sung e, p. AI-EE', e., representing e-ur', and only used Strong and long : eh, ai, bay bai', obey oabai', day before a vowel, pp. 1300, 136*. Strong and long : dai', they rfAar, hay hai', may war, say *0r, way wary wai'rr'i, sharing shai'rr'ing, fairy fai-rr'i, wai', whey whai' ; babe *0r*, babes bai'bz ; aitch we'll share it wee-l shai-rr'-it, to pare an apple too 1 0i-cA ; aid #i'^, aids 0ro'z / swathe swai'dh, pai'rr' un ap-l, a pair of shoes u pai'rr uv shoo'z. swathed swai'dhd, bathes bai'dhz ; safe sai'f ; ALu, e. faulty murmur diphthong, for e-u, see waifs wai'fs, chafed chai'ft, vouchsafes vouchsai'fs ; air, p. 50*. plagae plai'a, plagued plai'ad, plagues plai'gz ; A'tu, e. murmur triphthong, form of ei'u, see age ai'j, engage engai-j ; enraged enrai'jd; ache eir, p. 520. ai'k, sake sai'k, rakes rai'ks, baked bai'kt ; ale ai'l, AIuo, e. very faulty form of ou, p. 47*. pale, pail pai'l, railed r'ai'ld, failed fai'ld, ails AIWioT ai'uo, e. faulty form of ou, p. 47. ai'lz ; aim ai'm, game aai'm, lamed lai'md, games AIY, g. provincial ei for ai-ee, p. 46*. gai-mz; sane sai'n, plane, plain plai-n, planed AI'Y, e., or ai with a vanish, pp. 46 and 55*.- plai-nd, strange str'ai'nj, change chai-nj ; ranged Some speakers use ai-y for ai- on all occasions, saints before r or in weak this is most ravnjd; paint pai'nt, quaint kwai'nt, sai-nts, except syllables ; pains, panes pai-nz, tape ta-ip, grape gr'ai-p, shapes frequent when ai ends a word or phrase, when ai rate shai-ps; ace ai's, race rat'*; rai't, gates yai^s, comes before t, great varieties are found, from pure eighth avtth, eighths ai'tths; wraith rai'th, wraiths e- long, through pure ai' long, to ai'y, aiy, aey, ay, rai'ths; rave rai'v, saved sai-vd, graves grai-vz, and almost uy, a'y. The examples to ai should be graze grai'z, gazed gai'zd. Some speakers use ai'y read in both ways, with ai' and ai'y, but never in all these words, some even make the ai short, with the aey, ay forms, pp. 129*, 133*. and change it into e, ae, as ey, aey ; to be avoided, An', e. substitute for aen', p. 400. or e. f. be as pp. 460. 133*. Weak, and medial short, i., AO, e. g. i., p. 350, *, 360, may sung au, shamefaced sharmfaist, aorta aiau'rta. Exercises, p. 390. As the vowel never occurs in received pp. 113*, 115*, 129*, 133*. English except before r, it will be treated under AI< flatus through the position for ai p. 56 flatus the for 56a. or awr before a awr' AO, through position ao, p. (when strong, vowel, ; before AOee, a faulty form of oi, p. 456; ao-ee, the only a consonant, the same as awe 0w), nor nawr (when i. form, p. 460. strong, before a vowel, nawr' ; before a consonant, -40t, a faulty form of oi, p. 456. the same as gnaw waw), drawer drawr (a sliding AOoo, a faulty form of ou, p. 470. box, distinct from drawer, one who draws), orb AO-u, e. murmur diphthong, real form of oar, awr6 (generally rhymes to daub dawb], orbs 506. p. awrbz, orchard awrcherd, torch tawrch (or toa-rch], ' AOue, a theoretical form of g. eu,' as eule scorch skau'rch (or skoa-rch], scorched skawrcht mue'lu^ p. 446. (or skoa'rcht), lord lawrd (generally not disting- AOuo, a faulty form of ou, p. 470. uished from laud lawd], lords lawrdz, wharf AO'uR', the real form of o0rr', which see. whawrf, dwarf dwawrf, dwarfs dwawrfs, scorn AOW, a representative of 0000 or 0owo, p. 476. skawrn, born bawrn, horns hawrnz, horse hawrs, yfOr, f., p. 466. north nawrth, nok"ths nawrths. Some persons pro- ATI, e., p. 350, 360. May be used for o and ao, nounce all the words in or in this way, as tore p. 39. Strong and long : awe 0w, daw daw, jaw tawr, more mawr, pork pawk, important impawr- jau'j caw kaw, law 0w, maw maw, gnaw naw, tent, but oa-r is considered better. See oar for paw j90w, raw r'0w, saw saw, shaw shaw, taw taw, examples. Weak and long, ornate aurnai't, ordain thaw thaw ; daub dawb, awed 0wo', laud J0W0*, aurdai'n, orchestral aurkes-trel, organic aurgan'lk, lauds lawdz ; cough &aw/, hawk hawk, hawks orthography aurthog-rufi, orthoepy aurthoa'epi. In hawks ; hall, haul A0w, bald, balled, bawled such cases aur is seldom anything but au, Ex., bau'ld, fallen fau'ln, halt hawlt, salt sawlt, malt p. 1376. mau'lt, halts haw Its, all, awl 0w, crawls kr'awlz, A V-u, the murmur diphthong in aur, which see, awn 0ww, awns 0wwz, haunt hawnt (or haa'nt, p. 506. ha''nt) haunts hawnts, ought, aught 0w, caught A TTuo, faulty form of ou, p. 470. kawt, drought drawt, broth brawth (or broth}. AUW, representative of either auoo or auuo, Some persons use aw in off 0w/, coffee kawjfl, faulty forms of ou, p. 476. office awfis, often awfn, dog dawg, cross krau's, AUT'W, representative of either 0woo or awuo, and in America, even long lawny, but these faulty forms of ou, p. 476. and even cough, broth, are perhaps oftener pro- A UT, representative of either auee or aui, forms nounced with o, as of, kof-i, of'is, ofn, dog, kros, of oi, p. 460. long, kof, broth. When r is not pronounced, all ATJ'Y, representative of either awee or 0w?, examples under aur belong to this case, see aur. forms of oi, p. 460. Weak and long, august (adj.) augus't, austere A W, representative of either 000 or auo, faulty austee-r, augment (v.) augmen't. Exs., pp. 114a, e. forms of ou, p. 476. 1166, 1306, 1310. AT, representative of either aee or at, faulty A U, flatus through the position for au, p. 56a. forms of ei, p. 460. a'ee A Uee, g. form of oi, p. 456. A' T, representative of the or a'* forms of ei, AUi, e., a common form of oi, especially before p. 46a. z, p. 456, not to be tolerated as a form of ei, p. 44a. B., e. g. f. i., p. 636. Initial before vowels: A Uuo, e. very faulty form of ou, p. 47a. bat 6a, back bak, baa 6aa, bard baa-rd, bate, bait e a of bet Auo, , good form ou, p. 47a. bai't, bought bawt, bet, beet, beat bee-t, bite 1 ATJ-R, e. aur or Bute bit botch boat representing aw, awu, , awur', bei-t, Bewt, bit, boch, boa-t, boy at but most boot 600 bout but bull pleasure, generally 0w, and most rarely boi, , bout, but, buol. Initial 506. and abhawr before consonants : black blame wur', p. Strong long: abhor t 6Ja&, blai-m, bleat 156 GLOSSIC INDEX. Sec. XII. bliss blown blur shew blee-t, blight bleit, blis, bloa-n, bier, experimentally that the initial of ch is not t), 1 bran br an, braid br'ai-d, broad br'au'd, breadth that cheese dhat chee-z, that choice dhat chois, flat bre'dth, breed br'ee-d, bright br'ei't, Briton Br'it-n, cheese fiat chee-z, what charge whot chaa'rj, he hit broach br'oa-ch, brood br'oo'd, brow br'ou, buoy Charles hi hit Ohaa-rlz, a spoiled chop u spoilt chop- bwoi (or boo-1, booy, sometimes boi}. Medial be- Compare also abbotship, grab a chip ab'utship, tween vowels : dubbing dub-ing, blabber blab-er, grab-uchip, hat shop, that chop hat shop, that chop, webbing web'ing, fibber fib'er, sobbing sob'ing, it shews, it chose, it shoa-z, it choa'z. Ex. p. 1250. robber rob-er, snubbing snub-ing, baby bai-bi, gaby CH', a mute form of ch, p. 790. gai'bi, booby boo'bi, imbibing imbei-bing, bribery CH'SH', a possible form of ch, p. 795, 800. brei'bur'i. Final, ending words, after vowels : D, e. (the g. i. f. form is d'), p. 69*. Initial be- cab Jcab, babe bai-b, daub dau'b, dab dab, glebe fore vowels : dash dash, dart daa-rt, dame dai'm, glee-b, bribe brei b, tube teu-b, bib bib, Bob Bob, daughter dawter, debt det, deed dee-d, dight deit, robe roa'b, tub tub. In practising final b, guard duke deu-Jc, ditch dich, dot dot, dote doa-t, doit doit, against a very marked voice recoil b-h', or a doom doo-m, douse dous, Dutch Duch. Initial, be- marked flated recoil, as b-ph ; and if a recoil is fore consonants : dram dr'am, drain dr'ai-n, dredge necessary, 'use the click bp. Double, between drej, dream dr'ee-m, drive dr'ei-v, drip dr'ip, drop vowels: tub-bottom tub-bot-m, slob-bib slob-bib, dr'op, drone dr'oa-n, droop droo-p, dwell dwel, Bob beat him Bob bee-t him, a robe bought u roa-b dwarf dwau'rf, dwindle dwin'dl. Medial, between bau-t, where is the cab bound ? whai-r iz dki kab vowels : radical rad'ikel, madder mad er, sadder bound ? Between the two b's of a double b, no sad'er, aider ai'der, solder sawder recoil of any kind is admissible. (or soa'der), broader brau'der, wedding wed-ing, breeder breeder, B, g. implodent form of p or b, p. 64#. idol ei-del, bidding bid'ing, nodding nod-ing, boding e. form of m and with a cold in BM' , b, the head, boa'ding, crowding krotrding, rudder rud-er. Final, p. 670. after vowels : mad 1 mad, made, maid mai'd, Maude BR, g. voiced lip trill, with loose lips, p. 660. Maud, bed bed, bead bee-d, bide bei'd, bid bid, rod r'od, road r'oa'd, rude r'oo'd, vowed voud, CH, e. g. i., p. 790, not tsh, but probably a con- mud mud. In practising final d, guard against sonantal diphthong, ty'sft, p. 800. Initial, before a voiced d-h1 or a marked very marked recoil, , vowels : chat chat, charge chaa-rj, change chai'nj, flated recoil, as d-th; if a recoil is necessary, chess ches, cheese chee-z, chine chei-n, chin chin, use the click dt. Double, between vowels, . chop chop, choke choa-k, choice chois, choose choo-z, mad-doctor mad'dok-ter, head-dress hed'dres, a chouse chous, chump chump. Ch does not occur u loud he made drums hi initial before consonants. Medial between vowels loud drone droa-n, mai'd drumz, rammed down ramd doun. Between (it is rather ty\ which is medial, glided on from the two d'a of a double d no recoil is admissible. the preceding vowel, and gliding on to the follow- D, e. provincial implodent for t, p. 693. ing sA') : patching pach-ing, fetching fech-ing, a d made with the under part of the point of teacher tee'cher, richer rich'er, botching boch'ing, t D, the the 695. broaching br'oa'ching, slouching slowching, crouch- tongue against palate, p. f. i. form of d, with tongue against the ing krowching, clutching kluch'ing. Final, after D\ g. teeth of dh] for which Englishmen vowels : batch bach, fetch fech, stitch stich, botch (sonant may before r use d, used , p. 700. boch, roach r'oa-ch, vouch vouch, touch tuch. provincially Q D', g. implodent for f or d', p. 69*. Double, between vowels (ch does not occur in the true double form ty'ty'sh", because ty* does not so DH, e. voiced form of th, p. 685. Initial before occur, we have, therefore to take tch, which will vowels: that dhat, they dhai, there dhai-r, them Sec. XII OLOSSIC IND1 157 dhem, these dhee-z, those dhoa'z. Initial dh does sheU shel, yell yel, Elbe Elb, Welsh Welch, weld not occur before consonants. Medial dh between weld, held held, shelf shelf, pelf pelf, twelfth vowels: bather bavdher, bathing bai'dhing, weather, twelfth, twelfths twelfths, elk elk, elks elks, elm else wether wedh-er, together toogetfh-er, gather gadh-er, elm, whelm whelm, help help, helps helps, els, felt health wealth seething seedh-ing, writhing reidh'ing, whither melt melt, felt, helth, welth, elves sells whidh-er, thither Midh'er, bothered bodh-erd, healths helths, shelve shelve, elvz, selz, loathing loa'dhing, soothing soo-dhing, mouthing hem hem, hemmed hemd, hemp hemp, hemp's hemps, hems mou'dhing. Final, after vowels : swathe swai'dh, tempt tempt, tempts tempts, hemz, pen pen, breathe bree-dh, loathe loa-dh, clothe kloa-dh, soothe den oVw, hen Am, men men, then o'Am, blench wrenched end soo-dh, blithe bleidh. In these finals it is customary blen-ch, quenched kwencht, r'encht, at the end of clauses, to shorten the length of dh, end, friend fr'end, mends mendz, thousandth thousandths and glide into a final th, as swai-dhth, bree'dhth, thou-zendth, thou-zendths, revenge : hence kloa-dhth, soo-dhth, p. 935. Double, between vowels rwen-j, avenged avenyd, hens, pence pens, clothe them kloa-dh' dhem, soothe them soo'dh dhem, offence ofen-s, expense ekspen-s, went went, lent lent, I loathe those ei loa-dh dhoa-z. In this doubling rents r'ents, presents (v.)pr'izen-ts, tenth tewA,tenths the insertion of th is inadmissible. Ex., p. 122&. tenths, hens henz, pens^wz, step step, steps steps, D'H, a lisped form of z, p. 700. wept wept, crept krept, leaped fcp, adepts udep'ts, chess cress DHTH, e. final, as breathe br'ee-dhth, see p. 935. depth b'Z', i., for which Englishmen use dz, pp. 970, mat-res, egress ee'gr'es. Ex., pp. 1180, 120, 120o, 1483. 1295. f. i. ae is E' as in a form of 39#. E, e. g. (in and strong g. syllables ', e., e'r, er, p. 345, p. used, and also frequently in e. strong syllables; ED, e. final, weak, varies between ed and id, all the following strong e'a may be read as ae), may be Vd, p. 141, as wicked wik'ed, wik-id, for oe 315 used p. 305, used by many Germans, p. ; wik'Vd, dotted doted, dot-id, dot-id, compare pitted for ai in singing, p. 390. Never long in strong pit'edjjpit'id, and pitied pit-id only. syllables, except in murmur diphthongs written as e. i. 28a and I. 295. Used for ue air, which see. Short and strong: ebb eb, web EE, g. f., pp. 315. as web, ebbed ebd, webbed webd, ebbs ebz, webs webz, by many Germans, p. Sung i, p. 39. fetch fech, wretch rech, fetched fecht, head hed, Strong and long : glebe glee-b, glebes glee-bzt bleached wed wed, said sed, tread tred, breadth bredth, bleach blee-ch, reach r'ee-ch, blee-cht, weed need needs breathe breadths bredths, weds wedz, left left, bereft biref-t, wee-d, knead, nee'd, nee-dz, thief egg eg, beg beg, keg keg, leg leg, peg peg, begged br'ee-dh, breathed br'ee-dhd, breathes, br'ee'dhz, leaf beef briefs begd, begs begz, wedge wej, pledge plej, wedged thee-f, brief br'ee'f, lee'f, bee'f, br'ee-fs, wejd, neck nek, wreck r'ek, necks neks, wrecked league lee-g, leagued leeg-d, leagues lee-gz, siege ell bell fell leek lee~k r>ekt, sects sekts, el, bel, fel, knell nel, see'j, liege lee'j, besieged bisee'jd, leak, t 158 GLOSSIC INDEX. Sec. XII. 1 meek mee-k, seek see-k, teak tee-k, week wee-k, pleasure, generally i-u, never eer\ and ee'u, ee-ur speak spee-k, reek, wreak r'ee-k, weeks wee-ks, are archaic or provincial. Always long and strong. reeked ree-kt, eel ee-l, heal, heel hee-l, steal, steel Ear ee'r, beer, bier bee-r, cheer chee-r, dear, deer tee- stee-l, meal mee-l, peal, peel j5^-^, teal 1, veal dee-r, feaxfee-r, sphere sfee-r, gear gee- r, here, hear wee- leer blear ?/, weal wee- 1, wheel whee-l, wield Id, wheeled hee-r, lee-r, blee-r, mere mee'r, near nee-r, whee-ld, field fee-Id, fields fee-ldz, eels er/z, seals pier, peer pee-r, rear r'ee-r, seer, sere, sear, cere 8e7z, seamed, seemed see-md, creams kree-mz, ween, see-r, sheer shee-r, tear (s.) tee-r, veer vee-r, weir, - wean wee-n, lean lee-n, keen w, we're wee-r, year yee'r, cleared klee-rd, beards fierce fears weaned wee-nd, deans dee-nz, deep <&E, whispered ee, p. 56ft. speaker should avoid 00^, and whether he chooses eeAA, i. close diphthong, usually taken as yaa, uy, or a'y, always use it. Strong : I, eye ei (but pp. 450, 148ft. aye aay}, buy, by, bye, b'ye bei, die dei, fie fei, eeALee, i. triphthong, usually taken as yai'y, Guy Gei, high hei, sky skei, lie, lye lei, ftyjlei, sly p. 50a. slei, my mei, nigh nei, pie pei, rye, wry rei, dry EEoo, i. diphthong, and faulty e. form of eu, dr'ei, fry/rVi, cry kr'ei, pry pr'ei, sigh sei, shy shei, after consonants, p. 48ft. sty, stye stei, thigh thei, thy dhei, vie vei, Wye Wei, ide bide chide eeOO, e. form of eu after consonants, p. 480, why whei ; eid, ft#i0*, cheid, died, general i. form of eu, p. 48ft. dyed deid, guide geid, hide heid, skied skeid, lied leid, glide gleid, plied pleid, slide sleid, ride r'eid, EE-R, e., pp. 50ft, 136ft, murmur diphthong with bride breid, dried dr'eid, fried fr'eid, pride pr'eid, 1 r' a er without ; form representing i-u or i-ur at stride str'eid, sighed, side seid, shied sheid, tide, Sec. XII. GLOSSIC INDEX. 159 tied teid, vied veid, bides beidz, chides cheidz, vfiveweiv, hived hevod, shrived shr'eivd, wived weivd, slides fives hives rives drives guides geidz, hides heidz, glides gleidz, sleidz, feivz, heivz, r'eivz, dr'eivz, strives wives rides r'eidz, brides br'eidz, sides stficfc, tides teidk, streivz, thrives thr'eivz, weivz, eyes strife skies flies blithe bleidh, life fet/, knife wei/, rife reif, eiz, buys beiz, thighs theiz, skeiz, ^eiz, kuife's wife's dries fries shies str'eif, wife ww/, life's tei/s, w0i/s, pies peiz, dr'eiz, fr'eiz, pries pr'eiz, *Am. : idea civilise civili- weifs, dyke til'ij, vil-ij, dam-ij, im'ij, pil-grimij, man-ij}, spinage Whenever el is distinctly pronounced a certain (most and sometimes effort is indicated spin-ej commonly spin-if, necessary, by el-, as novel- for spin-ich}, courage kur'-ej (usually kur'-ijj, usage novel, the speaker emphasing the fact of his clear sos , This would ewzej (not eu-zich], sausage sos'ej (or ijj savage pronunciation. be the case in g. also, savej (or savijj, language lang'wej (lang-gwej, not in i. or f. In English, however, the change to il is then as lang-waij, lang-gwaij, lang-wij, lang-gwij, lang-wich, common, jewel j'eu-il, cruel kroo-il, lang-gwich are all to be heard), voyage voi'ej (often novel novil. voy'J , knowledge nol-ej, college kol-ej. EM, e. g., seep. 1395. Weak syllable, rather urn e. see 1390. EL, g., p. Weak syllable, obscurely or u'm than aem or am, never distinctly am or em ; pronounced, approaching ul or ul rather than ael, an indistinct glide on to m followed by an m. clear clear ol to is al, seldom el, never al, or ; be sung When em distinct, a kind of emphasis ia as ul or u'l, with a slur from u or u' to I ; corres- necessary in e. and g., shewn by an accent ponding to e. final unaccented -al, -el, -ol, but not (see el at end), thus poem poo,-em-, in which usually -il, and not heard in -ful. Cymbal, symbol case the change to im is sometimes heard, as sim-bel, radical rad-ikel, pedal ped-el, medal med-el, poa-im. Weak : madam mad-em (but mad-am is lineal lin'iel, real ree-el, regal ree-gel, frugal fr'oo-gel, heard in shops), quondam kwon-dem, buckram labial prodigal pr'od-igel, lai'biel, genial jee-niel, buk-rem, balsam bau'lsem (some say bal-sem], trial tr'e'vel, essential esen-shel, celestial siles-tiel, stratagem strat'ujem (some say strat-ujem-}, anthem vial vei-el, decimal des-imel, animal an'imel, dismal an-them, emblem em'blem, problem problem, poem diz-mel, ordinal au'rdinel, cardinal kaa'rdinel, final poa-em, item ei-tem (some say ei'tem-}, freedom liberal tem-- dukedom fei-nel, opal oa'pel, lib-ur'el, temporal free'dem, deu'kdem, kingdom king-dem y pur'el, rural r'oo'rr'el, nasal nai'zel, capital kap'itel, thraldom thrau'ldem, seldom sel'dem, random vestal ves'tel, usual eu'zheuel, oval oa-vel ; parcel r'an-dem, Christendom Kris-endem, wisdom wiz'dem, infidel satchel fathom axiom aks-iem paa-rsel, in-Jidel, angel ai-njel, fadh-em, (or ak'shiem^ sack- el, camel kam'el, trammel tr'am'el, pommel ak'shem), venom ven-em, modicum mod'ikem, petro- pum'el, flannel flan*el, channel channel, kennel leum pitroa-liem, memorandum mem-ur'an-dem, ken-el, funnel fun-el, tunnel tun-el, colonel, kernel museum meuzee-em (in America meu-ziem is at least Jcer-nel, chapel chap-el, gospel gos-pel, quarrel sometimes heard), medium mee-diem, odium oa-diem, Tcwor'-el, squirrel skwir'-el, weasel wee-zel, chisel opium oa-piem, delirium dilir' -iem, Elysium Ilish'- chiz'el, morsel mau-rsel, tassel tas-el (or taa-sel, iem, oakum oa'kem, alum al'em, pendulum peri*- tau-seT), gravel gr'avel, travel travel, duel deu-el, deulem (or pen-deulum-}, asylum asei'lem, laudanum level level, fuel feu-el, shrivel shrivel, hovel lod-nem, tympanum tim-punem, conundrum kunun'- huvel, shovel shuvel, novel novel, cruel kr'oo-el, dr'em, decorum dikoa-rrem, quorum kwoa'rr'em, vowel vowel, hazel hai-zel, pencil pen'sel (QY pen'sil), spectrum spek'tr'em, 'forum foa-rr'em (as a Latin council koun-sel (or kou-nsil, to distinguish from wordybaTr'ww), ultimatum ul'timai'tem, pomatum counsel kou-nsel), idol ei'del, carol kar'-el, pistol poamai'tem, stratum strai'tem (some say straa-tum'}, pis'tel. This final -el is not very distinct from quantum kwon'tem, factotum fak-toa-tem, vacuum final -I, forming a syllable, except after a vowel, vak-euem Most of these words occur also with z and after t, d; compare idle, idol ei'dl, ei'del, for after them, as kingdoms king-demz. The am is the first the point of the tongue remains on the often indistinct in diagram dei-ugr'am, anagram from d to in the palate I, second it is removed for an-ugr'am, epigram ep-igr'am, parallelogram par'- a very short period. The effect in each case is alel-oogram (often par-u-^-lel'u-^-grem among more of a to I than a fixed tele- glide up vowel, p. 74a. mathematicians), monogram mon-oagr'am) Sec. XII. GLOSSIC INDEX. 161 some raven gram tel-igr'am (the last word, though so new, is soften sof-en (or sof'n, say aau-fn), ileven el- or so common that it is fast becomming tel'igr'em). rai-ven, even ee'ven, eleven (or even, heaven heven The em is also often distinct in diadem dei-udem-, with final vri}, riven riven (or rivn], deacon requiem rek'wiem- (some say ree'kwiem'}, apothegm (or hevn), beacon bee-ken (or beek-n), dee-ken, ap' oathem\ The clearness of the final syllable pardon paa-rden (or more often paa-dn}, pigeon depends greatly on the unusualness of the word, pi-jen, luncheon lun-chen, flagon flag-e>i legion lion lei- battalion and upon the position of the previous accent. lee-Jen, religion rilij-en, en, bullion The servant's pronunciation of mem is always batal-yen, dandelion dan'dilei'en, buolyen, indistinct, yes-mem, noa'mem, not yes'm, noa'm, onion un-yen, union eu-nyen, occasion okai-zhen, division when the lips are separated for an instant, but adhesion ad-hee-zhen, decision disizh-en, man'- sometimes the mouth is not opened, and the m divizh-en, convulsion konvul'shen, mansion having produced its final effect, is quickly reduced shen, pension pen'shen, explosion eksploa'zhen, mission in force so as to become nearly inaudible, and version vcr-shen, session sesh'en, mish-en, then very rapidly touched again, thus y education ed'eukai-shen (some say ej-ookai-shen], election ilek-- -^-m, see slur, pp. 45, 1875. creation kriai-shen, action ak-shen, shen, junction jungk-shen, auction au'kshen, ambi- e. 1395. like EN, g., see p. Weak and final, more tion ambish-en, petition pitish-en, motion moa-- a on to n than vowel difficult to dis- glide any ; shen, inscription inskrip-shen, portion poa'rshen from vocal after tinguish n, except a vowel p, b, (some say pa.u'shen, rhyming with) caution t, d, k, g, where the vowel causes an opening of kau-shen, revolution revoaleu-shen, connexion the lips, or withdrawal of the tongue for an ktmek-shen, oblivion oablivyen, felon fel-en, colon instant. The singer always takes u'n, see p. 77#. koa'len, chaldron chaa-ldren (or chau-dr'en], environ in A very common pronunciation final -an, -en, envei-rr'en (iron ei-ern is often merely ei-en, com- -tion, -sion, -ance, -ence, &c., only a few instances pare Ion), venison ven'zen, (vewizen is orthographi- are given. Turban ter'ben, publican publi'ken, cal only), unison eu-nisen, poison poi'zen (or poi'zn], ocean Us- en oa-shen, European Eu-rr'oapee-en (not prison priz-en (or priz'n), lesson, lessen (or as sometimes in Jtoar' ei-zen Eu-^r' oa-pien, America), magician les-n], amazon am'uzen, horizon (not musician as vnujish m, meuzish'en, physician faish'en, hor''izen}. Most of these words add on z, ruffian seaman see'men el' guardian gaa'rdien, ruf'ien, missions mish'enz. Elegance iff ens, vengeance (seamen see-men-'}, foreman foa-rmen (foremen ven-jens, semblance semblens, nuisance nfu-sens, foa-rmen-'}, horseman hawrsmen (horsemen hau-rs- substance sub-stem, circumstance ser-kemstens (some churchman ser'kumstans-' or ser' distance dis'- men-'}, cher-chmen, yeoman yoa-men, say 'kumstans-} , woman wuom'en (women wim'in], German Jer'men, tens, license lei-sens, innocence in-oasens, cadence footman fuot-men (footmen fuot-men-') human kai-dens, impudence im-peudens, science sei-ens, yheu-men, layman lai-men (often lai'man-'), clergy- obedience oabee-dyens, experience ekspee'rr'iens, man kler'jimen, countryman kun'trimen, gentleman patience pai'shens, silence sei'lens, violence vei'oalens, jen'tlmen (gentlemen jen'tlmen''}, Satan Sai'ten vehemence vee'umens (some try to say vee'imens', (Sat- en, Sai-tn, Sat-n, satin sat-inj, veteran vee-emens"), influence in'flooens (often in'Jlooens, in vet-uren, puritan peu-rr'iten, deafen def-en (or two syllables), sequence see-kwens ^often see-kwens''}, stiffen def-n), stif-en (or stif-n], roughen ruf'en (or consequence kon-sikwens. ruf-n), heathen hee-dhen, lengthen lengk'then (or EO. g. f. see p. 310, in g. always long and alien sullen sul'en or in f . often &nd indistinct lengk-thn], ai'lien, (or sul-n, strong ; peculiarly short 1 stil-en-' }, specimen spes-imen, chosen choa-zen (or eo, p. 945; may be sung as oe, p. 39a. Ex. often choa-zn], open (or ofn, some say au-fn}, pp. 144, 149a. 162 GLOSSIC INDEX. Sec. XII. eOE, possible labial glide, beginning with lips (never ter'nt], yearned yernd (never yernt], learns wide open, and then gradually closing, p. 55b. lernz, churns chernz, chirp cher-p, chirps cher-ps, hearse her-s, curse ker-s, nurse ner's, terse ters, the EB, e., see p. 53. Strong and long by pro- verse ver's, worse wer-s, cursed kerst, nursed ner-st, longation of the vowel sound, either simply as worst wer-st, earth er'th, birth ber'th, dearth der'th, or less raised of her'th u-, e'-, or modified by a more point girth ger'th, hearth (much more generally as u' but with to mirth Perth the tongue, tlr, always permission haa-th), mer'th, Perth, worth wer'th, clear aor' births addr'. To pronounce er', , ur', uur',is berths, girths ger'ths, serve ser'v, served but is heard in Scotch and a serves servz. -u or quite un-English, ; servd, Weak, final, commonly r' is heard in the as very light form of provinces, -', without any trace of r', which, however, is sounds are also ae^r, uur. All these disagreeable always inserted before a following vowel, but in received speech. Sometimes an attempt is made should never be inserted when there was no or to distinguish "er, ur" as u-, uu-, u', e'-, written original 'r,' as is commonly done for ease of see 53a. It er, ur; this is not recommended, p. speech, pp. 53-4. When w-- occurs in speaking, must be remembered that er represents a real long weak er should not be written in Glossie, because vowel, with a permissive trill r' after it, and that when er is written it implies that -f-r' may be ' ' this trill is quite inadmissible where no r' said. Hence again must not be written ergai'n, originally existed. Err er, burr ber, fir, fur fer, although if r' were not sounded simply ^t-^-(/a^n her her', cur her-, blur bier", slur sler, purr per-, weuld be heard. This termination is so common sir ser, were wer, herb herb (erb is old), curb that only a few examples are given. Cedar see-der, kerb, disturb disterb, verb verb, herbs herbz, curbs calendar kal'ender, vinegar vin-iger, familiar kerbz, birch berch, kerchief kerchif, lurch lerch, fumil'yer, friar frei'er, robber rob'er, member perch perch, search serch, searched sercht, burred mem'ber, number num'ber, cider sei'der, preacher berd furred ferd, heard herd, occurred okerd, pree-cher, feather fedh'er, whether whedh'er, blurred blerd, slurred slerd, purred perd, absurd weather, wether wedh-er, soldier soa'ljer, rapier abserd, preferred priferd, word wer-d, sherd sherd, rai'pyer, furriei/Mr'^r, courtier koa'rtyer, prisoner words werdz, serf, surf serf, turf ter'f, serfs serfs, priz'ner partner paa'rtnvr (not paa'rdner, a common urge erj, dirge derj, merge merj, surge serj, mistake), skewer skewer (ofter skeur], employer irk turgid terjid, verge verj, erk, birk, Burke emploi-yer (sometimes emploi-er), elixir ilik-ser, berk, jerk jerk, lurk lerk, clerk klerk (as some meteor mee'tyer, anchor angk'er, author aifther, say, but klaa-k is more common), smirk smerk, warrior wordier, honour on-er, favour favver^- perk perk, shirk sher k, Turk Terk, work werk, labour lai-ber, liquor lik'er, grandeur, grander quirk kwerk, Turks Terks, works werks, dirks gr'an-der (some say gr" an- dyer, gr'an'jer, gr'an-deur, derks, kirks kerks, earl erl, churl cherl, iuxlferl, for the first), sulphur sul'fer, murmur mer-mer. is of these as girl gy'erl (or ger-l, but gy' more common, gal Most words add on a z, furriers fur'ierz. is very common indeed, and some say gael, but When a vowel follows pure w-j-r' or w'-f-r' is are hurl as a soldier of guu'l, guu- ((rl, guu\rl very disagreeable), heard, ever, every ever, evur'i, uv her'l, pearl, purl perl, whirl wherl, earls er'lz, fortune tt-$-sooa-ljit~r' fau-rteun. Ex. pp. 132, hurls her'lz, germ jer'm, worm wer'm, germed 136a, 138a. see Jer'tnd, wormed wer'md, germs ger-mz, worms EBB', e., p. 53a, 1360. Strong, before vowels wermz, earn ern, burn ber'n, churn chern, fern only: erring err' ing (often erring], burring fern, learn lern, turn ter'n, yearn yern, earned ber r* ing (not burning], incurring inker r' ing ^or er-nd, ernt, burned ber'nd, bernt, churned cher-nd inkur'-ing}, slurring slerr'inff, preferring prifer- (never chernt], learned lernd, lernt, turned ternd r'ing (or priferring). Sec. XII. GLOSSIC INDEX. 163 b. issue ish-eu not EU, e. i., see p. 48, An unanalysed form, kuntin-eu, (or ish'oo, is-eu), tissue having several permissible pronunciations, as yoo tish-eu, statue stat-eu. Ex., pp. 124a, 132, 135^. strong and weak, ywo strong, both at the beginning E-U, e., the real form of air, p. 5Qb. of words, and yoo strong and weak in middle of words, and 100 strong and weak after consonants EITE, e., representing the murmur triphthong 1355. These forms are followed at a trilled r' 52b. which glide on to it, Ex., p. eu'u, pleasure by , p. not usually distinguished, in the mind of the Strong and long: ure ewr (compare ewer ewer) endure speaker, and are written by the same sign. Strong endewr, cure keu'r, lure lewr (or loo-r), immure inure obscure and long: you, yew eu, chew cheu, dew deu, few immewr, inewr, obskewr skewer sewer sewr feu, gewgaws geirgauz, hue, hew heu (more cor- (compare skewer) pure pewr, sure rectly yhioo, written yheu, but few speakers are (recently, formerly shoa-r, compare shoo-r, conscious of yh], Jew Jeu, cue, queue keu, lieu sewer, a waiter, is sewer, pursuer persewer, not nor mature leu (not loo, but blue bloo, not bleu, flew floo, not persoo'er, pershoo-er], mutewr, your eur, inured inewrd. : verdure ver-deur fleu, glue gloo, not gleu, clue, clew kloo, not kleu, Weak (often eur slew sloo, not sleu), mew meu, new neu (not noo), ver-jer), figure fig' (generally Jig'er), injure snew sneu (not snoo), pew peu (not peeoo, rue r'oo, iti'jeur (usually in'jer), perjure per'jeur (usually not r eu, brew br'oo, not br'eu, drew dr'oo, not perjer), pleasure plezh-eur (usually plezh-er), mea- sure mezh'eur dreu, grew gr'oo, not gr'eu, crew &r'oo, not &r'0w, (usually mezh'er], treasure trezh-eur strew str'oo, not streu, shrew shr'oo, not sArew and usually trezh'er), pressure presh-eur (usually fissure not shr'oa, sr'od), sue sew (not soo nor sAoo), thew presh-er), fish-eur (sometimes .Jis-eur, usually ' A lewt (or ?oo ^), mute mewt, newt wew^, repute (usually vul-cherj, venture ven'teur (usually ven'- ripeu'tj suit s#w (not soo*^ nor shoo't), mutes cherj, capture kap-teur (usually kap-cherj, rapture meu-ts, newts newts, suits sewts, you've ewv. r'ap'teur (usually r'ap-cherj, scripture skr'ip-teur Weak, long or short : unite eunei-t, unique eunee'k, (usually skr'ip-cherj, torture taur-teur (usually moisture mois-teur mois-cher usurp euzer-p, ubiquitous eubik-witus, uranium tawcherj, (often , eurai-niem, utility eutiliti, monument mon-eument, future fewteur (usually fewcherj, fixture fik-steur document dok'eument, vacuum vak'euem, residuary (usually Jik'scherJ, seizure see'zheur (usually see'~ rizid'euer'i, mortuary mawrteuer'i, usual ewzheuel, zherj. The change of -teur, zheur into -cher, -zher, annual an-euel, virtual ver-teuel, tribulation trib-eu- depends mainly on the frequency with which the lai'shen, virtue ver-teu, value val-eu, continue word is used, the latter forms are those which 161 GLOSSIC INDEX. Sec. XII prevail in common words. Before vowels -eur' or G, e. g. i. f., sonant of k, p. 825. Initial before 1 -ur' is used, as figuring Jig 'eur' ing, flg'ur ing. Ex., vowels : gad gad, ghastly gaa-stli (often gaa-slij, p. 137. g&meffai-m, gall yawl, get get, geese gee-s, guile a form of which see. E'uR , e., airr', geil, gimblet gim-blet, got got, goat goa't, goose a of eu'ur" before Initial ETJ-RR', e., representative ', ^oo', gout gou-t, gum ^wm, good guod. vowels only, p. 1370. Long and strong: enduring before consonants : glad glad, glass glaa-s, glaze endeu'rring, immuring immeu'rr'ing, curing keu'rr*- glai'z, glean glee'n, glitter glit'er, glossary glos'ur'i. ing, purer peu-rr'er, purity peu-rr'iti, puritanic gloat gloa't, glut glut, grand grand, grass gr'aa's peu-rr'itan-ik. great gr'ai-t, grit ^r'i<, grotto gr'ot'oa, groin gr'oin. Euo, e. faulty form of ou, p. 475, usually written groom gr'oo'm, growl groul, grub gr'ub. Medial: ew, and then to be distinguished from eu, which see. haggard hag-erd, plaguy plavgi, beggar beg-er. EW, see last entry. eager ee^r, tiger tevger^ trigger tr'iyer, flogging EZ, e., weak and final, with indistinct vowel, flog'ing, disemboguing dis'emboa'ging, drugget sometimes e, sometimes i, sometimes perhaps i', dr'ug-et, sugar shuog-er. Final : nag nag, stag forming plurals and third persons of verbs, p. 1410. stag, plague plai-y, egg ey, league lee-g, big 5iy, bog Princes prin'sez, princesses prinses-ez, seizes see-zez, bog, rogue roa'g, rug rwy. Double : a big gun inches in'chez, flinches flin-chez, judges ./w/'ez. u big gun (compare a big 'un u big-un}. Q e. i. f see Initial before vowels : of see 825. F, g. ., p. 675. Gr, theoretical implodent k, p. fat fat, farm faa-rm, fate fai't, fought fau~t, fell GH, g., voiced form of kh, pp. 830, 1460. fel, feel fee-l, file fell, feud feu-d, fit Jit, fodder 'GrH, g. faulty form of gh, allowing uvula to f fod'er, foal foa-l, four foa r, foist' foist, fool foo'l, trill, p. 840. foul foul, fuss fus, foot fuot. Initial before con- G W, rare e. combination, used for gw\ which see. sonants : flat flat, flaunt flaa'nt, flame flai-m, fled -GW, e. usual form of gw, as here always fled, fleet flee-t, flight fleit, flit flit, flog flog, float written. See p. 825. floa't, &oux flour, flutter flut-er, fragil fr'aj-il, fray G W'H, g. labialised form of gh, p. 835. frai', phrase fr'ai'z, fraught fr'au't, fret fr'et, GT, e., usually written for gy\ which see. free //*e-, fright fr'eit, fritter fr'it-er, frog /r'o^, GT\ e. a (now) faulty pronunciation of g, froth fr'oth (oitenfr'awth), froward fr'oa'erd, fruit especially before aa, ei, written gy, pp. 805, 1500. fr'oo-t, frown fr'oun, fructify fr'uk'tifei. Medial GY'H, g. voiced form of kyh, pp. 810, 1460. between vowels : Baffin Baf-in, wafer wai-fer, H, e. g., aspirate, in speaking either hi or h?, in heifer hef-er, stiffer stif-er, offer of-er, loafer loa'fer, singing always hf, p. 585. Initial only : ham ham", roofing roo'flng, rougher ruf'er. Final: staff staa'f, hat hat, heart, hart haa-rt, hate hai-t, haze hai'z, waif wai-f, safe sai-f, deaf def, beef bee-f, life lei-f, haws hau'z, hem hem, heel, heal hee'l, height heit, stiff s^/, cliff Wt/, scoff skof (also skau-fj, oaf huge heuj (or properly yheuj), hit hit, hot hot, home 0 clear the dinned finned Hi, e., jerked attack, singer's aspirate, chiwd, dind, find, piuned pindt p. 590. sinned sind, shinned shind, tinned tind, thinned thind, hinge hinj, impinge impinj, fringe fr'inf, in i. 280 and I, e., replaced by ee, g. f., pp. b, cringe kr'inj, springe spr'inj, singe sinj, tinge tinj, 29b, 315, 390. Strong and short : itch ich, if if, fringed fr'in/d, singed sinjd, mince mins, rince fib ill t/, in in, it it, is iz, bib #i, fib, jib yii, nib r'ins, prince prins, since sins, wince wins, minced nibbed m, rib r'ib, fibbed fibd, jibbed jibd, nibd, minst, winced winst, dint dint, hint hint, lint lint, bibs bibz, fibs/fo, ribs r'ibz, bitch #icA, ditch dich, flint fiint, glint glint, splint splint, mint mint, hitch AicA, nitch nich, pitch jsicA, rich r'icA, stitch print pr'int, tint tint, splints splints, plinth plinth, stick, witch wich, which which, hitched hicht, plinths plinths, king king, ling ling, sling s/iw^, pitched picht, bid bid, chid chid, did did, hid Ai^, ring r'iny, sing sm^r, string sir' ing, thing thing, width kid &^, lid lid, rid r'trf, quid kwid, wid'th, wing mw^, winged wingd, chink chingk, link widths wid'ths, lids lidz, quids kwidz, tiff ^/, stiff /m^A, blink blingk, pink pingk, rink ringk, drink ft/, whiff wAt/j tiffs tifs, whiffs wAtjft, whiffed dr'ingk, sink siw^A;, stink stingk, think thingk, lift fifths wink drinks whift, /(/if, fifth //*A, fifths, big %, dig wingk, dr'ingks, thinks thingks, blinked winked diff, fig A, gig <7*<7, jig jiff, pig 4V, rig r'iy, wig blingkt, wingkt, stings stingz, wt^, swig *t0t^, whig whiff, jigged jigd, rigged wings wingz, chip cAij9, dip <%?, hip Ai/?, gypjip, r'igd, wigs wigz, gigs ^tyz, midge mij, ridge r'y, skip sA;ijt?, lip /ij, flip /ip, clip A/ijt?, slip slip, nip flick ridged r'ijd, Dick DtA, kick AtA, lick lik, ,/KA, nip, pip pip, rip r'tp, drip rfr'ij9, grip ^r'tp, scrip click A/tA, nick tA, pick jwA, rick r'ik, brick ir*tA, skr'ip, strip str'ip, sip sij, ship sAi#>, tip mil, pillow/, rill rt/, briU Jr't/, driU dr't/, frill /r't/, wrist r'ist, grist gr'ist, whist whist, wrists r'ista, till fish griU^t/, shrUl Ar't/, thrill *A/i/, siU /, /, dish ^isA, fish, wish wisA, whish whish, fished will 7 it bit chit tot/, quill At0t/, swiU swil, filch >,cA, filched /A^, whisht whisht, t, ii*, chit, fit /, lit flit filcht, killed At/rf, drilled rfr't/rf, thrilled thr'ild, hit At*, kit At*, lit, fiit, split *j9/i*, slit /t*, builds bildz,- bilge bilj, bilk ii/A;, milk mi/A;, silk smit smit, nit, knit i*, pit pit, writ r'i, grit ffr'it, silk, silks si/A:s, film film, films jtf/wz, kihi A;i/w sit st*, tit *i*, wit wit, whit wAi, Eitz Fits, writs (usually At/), built Atft, guilt, gilt ^i/^, hilt Ai/^, r't**, kith At*A, myth mith, pith ^i*A, frith fr'ith, silt tilt sieve jilt jilt, kilt At/*, lilt /t, milt milt, tft, myths miths, live (v.) liv, siv, lived /ivc?, is tilt, wilt wtft, hilts At/to, jilts jilts, ills tfo, biUs lives (v.) livz, sieves sivz, iz, his Aiz, Liz Liz, bilz, mills wife, frills fr'ilz, dim c?iw, him Aim, Jem 'tis *iz, whizz wAiz, whizzed whizd. Weak, short, Jim, limb &m, rim r'im, brim ir'im, grim gr'im, and open, by some considered as -i' : lobby lob'i, prim pr'im, Tim rtm, whim whim, limbed /iw shrimp shrimp, guimp gimp, limp /tmp, shrimps lee'fi, craggy kr'ag'i, stingy stin-ji, valley val'i, shrimps, limped limpt, in, inn in, bin Jiw, chin cAiw, chimney chim'ni, bushy buosh'i, stithy stidh'i, din din, fmfin, begin biffin-, gin jin, kin A;iw, pin healthy hel'thi, leaky /^*At, bravely brai-vli, poppy pin, grin ^r'iw, sin sm, shin shin, tin iw, thin thin, pop'i, beggary beg'ur'i, aviary arviur'i, salary win w?iw, whin wAm, inch inch, finch finch, lynch sal'ur'i, laundry laa'ndr'i, nunnery nun-ur'i, glory winch linch, pinch pinch, winch, pinched p^nchtt gloa'rr'i, defamatory difam'utur'i, parry par'-i, lynched /t0A, Ind Ind, double-chinned dub'l- cherry cher'"i, sorry sor'i, hurry hur-i, sultry 16ft QLOSSIC INDEX. Sec. XII. sul'tri, vestry ves'tri, fury feu-rr'i, usury eu'zhur'i, krai'n, crawl krawl, crept #n?^, cream kr'ee-m, f courtesy koa-rtesi, ker-tsi, pansy pan zi, daisy dai'zi, crime kr'eim, criminal kr'im'inel, croft kr'oft, croak busy biz'i, haughty hau-ti, unity eu'niti, envy kroa-k, crude kr'oo-d, crowd kr'oud, qualm kwaa-m, en'vi, colloquy kol'oakwi, dizzy diz'i. Ex. pp. quail kwai'l, quell &M>^, queen, quean kwee-n, quite 1180, 119*, 128*. kweit, quit kwit, quantity kwon'titi, quote kwoa'i of i a with the &w>oi all i, mark an forming diphthong (sometimes koa't). quoit (often &0i) ; preceding vowel, p. 43*, or of short i. these &w are really ^^', which see. Medial I', e., p. 290, the Welsh u, p. 290, supposed in- between vowels : sacking sak'ing, taking tai-king, distinct sound of weak short open i, which gee, walking wau-king, pecker pek-er, meeker mee-ker, p. 390. striking str'ei'king, puking peu'king, picking IEE, e., a throat glide, and dialectal form of ee, pik'ing, knocking nok'ing, poking poa-king, ducking written ee, p. 55*. duk-ing, cooking kuok'ing, looking luok'ing. Final after : WO, e., a form of eu, p. 480. vowels back bak, bake bai'k, balk bau-k. e. the murmur in 50*. neck meek Suke Seu-k. I'u, , diphthong eer, p. nek, mee-k, spike spei'k, ? Z7j&, a theoretical lip glide, faulty form of ue, sick sik, lock lok, poke poa'k, suck suk, look ^woi p. 55*. Double : bookcase buok-kais (compare bouquets lUO'u, e., a form of eur, which see. buok-aiz), a black cat u blak kat, a black cock blak J-wV, e., a form of 0m-', which see. u kok, a quick camel u kwik kamel, a quid? canter M kwik kan-ter. J, e. i., not dzh, but dy'zh', see p. 800. Initial JT, e., the sound produced by gently separating before vowels : jack jak, jaundice jaan'dis, jade the back of the tongue from the roof of the mouth jai'd, jaw/aw, jet ,/e, genius j'ee'nius, gi&ntj/ei'eftl, as black blak see 94*. , p. June /ewtt, jig jiff, jot >, jolt /otrft, joy Joi, jowl KH, g., see pp. 830, 1460, the guttural hiss. does not occur before /oJ, just /wsZ. / initially 1 KH, g. faulty form of kh, with a trill of thf consonants. Medial between vowels : badger uvula, p. 840. baj-er, paging pai'jing, raging rai'jing, pledging K-H, g. post-aspirated k, the following vowe' plej-ing, lieges tee-jez, obliging oablei'jing, fidget being jerked, or preceded by jerked flatus, p. 900. fij'et, Hodge's Hoj'ez, gouging goo'jing, budget KH, e. final k followed by an ejection of flatus buj-et. Final after vowels: age */, engage stronger than k, see p. 94*. engai-j, edge ej, dredge dr'ej', ridge r'ij, podge poj, ' ' KV, the real g. qu in quelle kv'ael'u, see. judge juj, liege leey, oblige oablei-j, doge doa'j, p. 830. gouge goo-j. Double : a huge giant u yhewj jei'entt KW, e., p. 82*, an attempt to pronounce k and a stage jest u stai-j jest, a strange joke u str'ai'nj w at the same time, the true e. 'qu' in quell joa-k. Ex. p. 1250. kw'el, usually written kw, see k. /', a sonant form of j, p. 790. KWH, g., the guttural hiss kh, pronounced J'ZH', a possible form of j, p. 800. while the lips are rounded for oo, p. 83*. e. i. see 82*. Initial : K, g. f., p. before vowels KY\ e., p. 80*, old-fashioned attempt to pro- cat cart call kat, &00-r, cate kai-f, kau'l, kept kept, nounce k and y together, pp. 80*, 1500. keep kee'p, kite keit, cue keu, kit kit, cot kot, eoat KTH. g., pp. 810, 1460, the palatal hiss in ich koa-t, coil koil, eool koo-l, cowl koul, cut kut, cook eekyh. ^wo^r. Initial before consonants : clad class e. i. f. is klad, L, (the g. form I', which see), see claws cleft cleave : klaa-s, clay ^fei, klau'z, A:^, p. 730. Initial before vowels lad 00*, last laa-st, clime cliff clot clove late law let klee-v, &im, ^^/, klot, kloa-v, lai-t, lau, let, least lee'st, light leit, cloy ^rfoi, cloud kloud, club ^^M*, cram &r0w, crane lute leu't (or loot], lit lit, lot lot* loam loa'm, Sec. XII. GLOSSIC INDEX. 167 ' Lloyd Laid, loom loo-m, loud loud, luck luk, look 'LH, the hiss of % the Welsh ' U as Hall '/Aa'/A luok. L does not occur initial before consonants. p. 735. Medial between vowels : alley al-i, railing r'ai'ling, calling kau-hng, selling pel- ing, ceiling, sealing LY', i., attempt to pronounce / and y at the same see-ling, filing fei'ling, duly deu'li, killing kil'ing, time, pp. 815, 1485. Dolly Dol-i, coaling koa-ling, coiling koi-ling, cool- ' e. i. 665. ing koo-ling, growling growling, culling kul'ing, M, g. f., see p. Initial before vowels : mat pulling puol-ing. Final after vowels : Sal Sal, sail mat, Mars Maa-rz, mail, male mai-l, maul Saul sai'l, Sau-l, sell sel, seal see-l, pile peil, mule mau-l, mellow mel-oa, Molly Mol-i, mole moa-l, doll moist mewl, pill pil, dol, droll dr'oa'l, toil tot/, tool moist, move moo-v, mouth mouth, muff muf. fowl dull full M does not occur before too-/, foul, vowel : rip-l, jostle jos-l, epistle ipis-l, little /*/, kettle ham ham, aim ai'm, shalm shawm, stem ket-l, cattle &/, mizzle wiz-/, drizzle driz'l. If a stem, team, teem tee'm, time teim, dim dim, Tom Tom, loam vowel follows as an inflection, the / ceases to form loa'm, tomb too-m, room r'oo-m (not r'wom). a hum hum. Final after syllable, as stable, stabling stai-bl, stai-bling, not a consonant, not forming a stai'bl-ing or stai'bl-ling. Double between two syllable : realm r'elm', elm elm-, whelm whelm-, vowels : full film a league ufuol lee-g, a dull lad u dul film'. Words like worm werm, term term, lad (compare dullard dul-erd), Mill Lane Mil Lai'n, formfatirm, do not belong to this class unless the not till late not til lai't (compare not till eight not r" is heard, and then speakers are apt to make the til tall m form a ai-t], a lady u tau-l lai'di, a wall lamp u wau-l syllable, as wur'-em, ter'-em, for' -em, and lamp, vile labour veil lai-ber, illicit illis-it (compare similarly they are apt to say el-em ; neither fault elicit ilis-it), ill luck U luk, soulless soa-lles (com- should be imitated. Final after a consonant, pare solace soa-les). Double between a consonant forming a syllable : logarithm log-urith-'m, chasm and a vowel : Apple Lane Ap'l Lai-n, the battle kaz'm, enthusiasm entheu'ziaz-'m, spasm spaz-m, criticism lasted long dhi bat-l laa-sted long, a little lass u krit-isiz-'m, schism siz-m, sophism sofiz-m, lit-l to laa-s, haggle long too hag-l long. Ex. p. 1 255. organism au-rguniz-'m, prism pr'iz-m, egotism eg-oatiz''m, L\ g. i. f., with the point of the tongue against abysm abis'm, paroxysm par'-oksiz-'m. Double between two vowels : a calm manner u the gums or teeth, but Englishmen need not it kaa-m man~er, to thrum music too thrum distinguish from /, p. 735. meu'zik, ( a man u immure some theoretical unilateral side grim grim man, immewr, L, /, one of the tongue magpies sum mag-peiz. Double between a conso- being close to the palate, and the other (generally nant and a vowel : the the schism mentioned dhi siz-m right side) depressed to allow a passage of air, a AS in men-shend, prism made by me u priz-m mai'd bei clicking to make a horse go on, p. 735. mee, a spasm might ensue u spaz-m meit enseu-, e. 4 Z, possible western I, with the under of part heroism modernism mechanism her-oaiz~'m mod'ern- the of point the tongue brought against the palate, iz-'m mek-uniz-'m. Ex. p. 1260. see p. 735. MH, theoretical flated form of m, p. 675. the hiss LH, of /, p. 735. MP, e. final, extremely short sound of m, checked the hiss of 735 VH, /', p. by closing the glottis, p. 985. 168 GLOSSIC INDEX. Sec. XII, e. the i. f. form is which 11a. an n made with the in the N, v g. n", see), p. t N, tongue position of Initial before vowels : which lla. gnat nat, gnarled naa-rld, t d, see, p. kneel nee- knife nail nai-l, gnaw nau, knell nel, 1, NG, e. g. i., see p. 84a. Never initial in ne^f, newt <, knit nit, knot, not wo, note noa-t, English either before a vowel or a consonant. Medial noodle noo-dl, now MOM, nut nut. N does not occur between two vowels : initial before consonants. Medial between vowels: hanger hang-er, ganger gang-er, singer who Fanny Fan'i, staining stai'ning, awning awning, sing'er, longer long-er (one but more penning pen-ing, weaning wee-ning, pining penning, longs, long-ger long), hanging hang-ing, Final: tuning tewning, pinning pin'ing, bonnet bon'et, singing sing-ing, longing long-ing. bang owning oa-ning, joining joi-ning, crooning kroo-n- bang, fang fang, gang gang, hang hang, clang Hang, slang slang, pang, ing, frowning frowning, punish pun'ish. Final pang rang rang, sang sang, stang stang, Icing, ling ling, after vowels : pan pan, pain, pane pai'n, pawn king fling fling, cling kling, sling sling, pawn, pen pen, seem, seam see-m, sign sein, tune ring ring, bring br'ing, sir 1 tewn, pin pin, gone gon, groan gr'oa-n, groin groin, string ing, thing thing, wing wing, swing swing, gong, long long, str'ong, soon soo-n (not suon), brown br'oun, fun fun. gong strong thr'ong throng, Never double. Ex. Final after consonants, all the following may also song song, thong thong. p. 125. be pronounced with indistinct en, which see : ashen ash-n, freshen fr'esh'n, heathen hee'dhn, oaken NGG, e., see p. 84i. Never initial, final, or oa-kn, taken tai-kn, silken sil-Jcen, spoken spoa-Jcn, double, only medial : &.ng&cjing-ger, linger ling-ger, happen hap-n, chosen choa'zn, lessen, lesson les-n, stronger str'ong-ger, hunger hung-ger. Avoid final beaten bee'tn, often hasten hai-sn, flatten of-n, ngg. flal'n, rotten rot-n, seven sewn, waxen waks-n, NGH, theoretical flated form of ng, see p. S5a. frozen froa-zn, basin bai-zn (some call Latin Lat'n, satin but it is an sat-n, antiquated pronunciation), NGK, e. g., p. 985. Very short ng terminated rosin, resin roz'n roz'in or (or rez'inj, pardon by closing the glottis, never initial, common final : reason paa-rdn, wagon wag-n, syphon sei'fn, ree-zn, bank bangk, think thingk, wink wingk, hunk hungk, treason season cotton tr'ee'zn, see-zn, poison poi-zn, monk nwngk. When medial proper the ng is kot-n, mutton mut-n, button but'n three last (these equally short, as thinking thingk- ing, winking are never Double perhaps Jcot-en, mut-en, but-en). wingk- ing, but sometimes advantage is taken of the between two vowels : unknown unnoa'n (compare following vowel to lengthen the ng, and this is^ unowned one known to me wun noa'n too unoa'nd), always the case in Italian : monkey mung'ki, not soon known soo'n now sein mee, noa-n, sign nou, generally mungk'i, but flunkey Jlungk-i always; none sein a nun known u nun noa-n sign none, now Italian ancora aang-koa-raa. nou. Double between a consonant and a vowel: NH, e. flated form of n, still heard in Cumber- Newton knew well Newtn neu it's frozen now wel, land for kn initial, p. 78b. its chosen knolls choa-zn beaten froa-zn nou, nolz, N"H, flated form of n", which see, p. 783. never bee-tn never, often now of-n nou, he saw NY', i. f., p. 82, an attempt to pronounce n and treason nigh hee sau tr'ee'zn nei. Ex. p. 1265. y at the same time. Ex. pp. 148i, 1505. N', symbol for French nasalisation, see aen', oeri 395. short n terminated ahn', oan', , p. NT, e., p. 985, very by closing N", g. i. f., dental n, p. Ha, with the point of the glottis, when nt is final, as pant pant-, paint the tongue against the gums or teeth, for which pai'nt, haunt hawnt (or haa'nt], went went, pint an Englishman may always use his own n, which peint, hint hint, font font, won't woa'nt, aroynt uroi'nt, fount fount, punt punt. When medial Sec. XII. GLOSSIC INDEX. 169 to advantage is taken of the following vowel got, hot Aoif, jot jot, cot & indistinct : woe?, pod J906?, rod r'od, sod so^, wad woe?, hods hodz, chaos kai'os, tripos trei'pos, bloodshot rods r'oife, off of, doff <&>/, cough &o/ (or kau-f], blud-shot, upshot up-shot, earshot ee'rshot, polyglot doffs efo/s, coughed koft (or kau~ft], crofts krofts, pol-iglot, underplot un-derplot, counterplot kou-nter- or lofts /o/Vs, bog do?, dog dog, fog /o^, Gog oy, hog plot, grass-plot plat graa'splot, cannot kan'ot, slip- slop slip-slop, milksop milk'sop, snowdrop snowdrop, jogged >yc?, flogs fiogz, dodge %', Hodge JETo;, padlock pad-lok, shuttlecock shut-lkok, thingumbob lodge loj, lodged lojd, dock dok, cock &o&, lock o&, thing-embob, lapdog lap-dog, slipshod slip-shod, dry- block blok, flock ^o^, clock &o&, mock mok, knock shod drei-shod. Ex. pp. 118J, 1205, 130*. e. i. nok, pock pok, rock r'oAr, frock frok, crock r'o&, OA, g. f., see p. 355, 36 mocked shocked doll loll Moll 36 ; the latter should be avoided the mokt, shokt, dol, fo/, p. always ; oa-w is rather JfoJ, knoll nol, Poll PoJ (but poU poa't), golf ^o//, (which a lip glide, p. 550, the lips dolls dolz, lolls jWz, romp r'omp, prompt pr'ompt, closing from the mid-round position for oa, to the prompts prompts, on on, don ?ow, gone yow (or high-round position for oo; is used in open gau-n], John 7b, con kon, shone sAow (sAtw or syllables when final, but only at the end of a shoa-n), bond iowe?, donned ^ewc?, fond fond, phrase and word, when there is a pause, and in closed conned kond, blond blond, pond pond, frond strong syllables before vocals and lip letters frond, wand wows?, ponds pondz, wands wondz, chiefly, its general use should be avoided. Strong sconce skons, font yo (see -nt], fonts fonts, cons and long : bow boa-, (or boa-w), doe, dough doa- (or konz, gong //owy, long /ow^, prong pr'ong, strong doa-w], though dhoa," (seldom dhoa-w, avoid the str'ong, throng thr'ong, song sowy, thong thong, Scotch thoa-}, foe/oar (or/o the oa'w koa'ch, poach poa-ch, roach r'oa-ch, brooch, broach oa'wn, more common), bone boa-n (or br'oa'ch, encroach enkr'oa'ch, poached poa'cht, bode boa-wn), hone hoa-n (or koa-wn], loan, lone Zoa-n, hoa-d bioa-n boa-d, goad goa'd, hoed (or hoa'wd, but blown (or bloa-wn), flown floa-n (or Jloa-wri), in not common any such case), load, lode loa'd, moan moa'n (not often moa'wn), known noa'n (or flowed mode node roan f floa'd, glowed gloa'd, moa'd, noa-wn) y r'oa-n, drone dr'oa-n (or droa wrij, noa-d, rode road r'oa-d, crowed kroa-d, sowed, grown gr'oa-n (or groa'wri), prone pr'oa-n, strewn, sewed soa-d, shewed, showed shoa-d, towed, toad strown str'oa-n, thrown, throne thr'oa~n (or toa-d, stowed stoa'd, woad ivoa-d, modes moa'dz, throa'wri), sown soorw (or soa-wri), shewn, shown toads toa-dz, loathe loa-dh, clothe kloa-dh, loathed shoa-n (or shoa-wn), tone foarw, stone ^oa-w (or f loa dhd, loathes loa-dhz, clothes kloa'dhz (or kloa-z}, stoa'wn), don't doa'nt (often doct'wnt], won't woa'nt oaf oa-f, loaf Zoa-f, loafs loa'fs, loafed loa'ft, rogue (seldom woa-wnf), bones boa-nz, stones stoa-nz (or roa'ff, brogue br'oa'g, vogue voa'g, brogues br'oa'gz, stoa'wnz], ope 007? (I find oa-wju rather difficult, yet doge doa-j, oak oa'k, choke choa'k, joke joa- k, smoke I think I hear it occasionally), hope hoa-p, cope smoa-k, poke poa'k, spoke spocrk, broke br'oa-k, koa'p, slope sloa'p, mope moa'p, pope poa~p, rope croak stroke soak kr'oa'k, str'oa-k, soa'k, woke r'oa-p, grope gr'oa-p, soap oo;'ji?, hopes hoa'ps, ropes woo, k, yoke, yolk, yelk yoa'k, oaks oa'ks, croaks r'oa-ps, groped groa-pt, dose cfotrs (some say doa-z), kroa-ks, hoax hoa-ks, Nokes Noa'ks, stroked close (adj.) kloa-s, boast boa-st, ghost goa-st, host str'oa'kt, bowl boa'l (or boa'wl ; when a ball, some- hoa'st, coast koa'st, most moa'st, post poa'st, roast times boul), dole doa-l (or doa-wl), foal foa-l (or r'oa-st, toast toa-st, ghosts yoas'ts, hosts hoa-sts, oat foa-wl), goal goa'l (or goa-wl), hole, whole AoarJ (or oa-^, boat 0 1 sAoa / (or shoa-wl), toll fo the speakers, that is, they consider themselves at OA-R, e., representing murmur diphthong to the to add on a trill not to liberty to add an r when a vowel follows, or ao'ii, with permission ; ' au'u 5Qb. rhyme with words in -er, as window, cinder ;' pronounced or au, p. Always strong this should be carefully avoided. There is never and long. Oar, ore oa~r, door doa'r, fore foa-r, any tendency to change oa into oaw under such gore ffoa-r, hoar hoa-r, core koa-r, score skoa-r, lore circumstances. Felloe fel'oa (very often pro- loa-r, floor floa'r, deplore diploa-r, more moa-r, Nore ' nounced fel-i, and even written felly,') mistletoe Noa'r, snore snoa'r, pore, pour poa'r, roar r'o*r, miz-ltoa, tiptoe tip-toa, hero hee-rr'oa, negro nee'groa, crore kr'oa'r, sore, soar soa'r, shore shoa'r, tore f tyro tei-rr'oa, also au-Zsoa, potato potai'toa (often toa-r, store stocrr, wore woa-r, yore yoa r, porch ford ptt-^-tai'tu), mulatto meulat'oa, motto mot'oa, grotto poa-rch, torch toa'rch y board boa'rd, foa-rd, gr'ot'oa, bravo braa'voa (not brai'voa, still less gored gocfrd, hoard hoa-rd, floored Jloa-rd, pored, brai'v-^-oa], salvo sal'voa, embryo em-br'ioa, elbow poured poa'rd, roared r'ocrrd, soared soa'rd, stored f el'boa, rainbow rai-nboa, meadow med oa, shadow stoa'rd, hoards hoa'rdz, fords foa'rdz, borne boa'rn shad'oa, widow wid-oa, window win'doa, furbelow (distinguish born bau'rri), mourn moa-rn (also fer'biloa, callow kal'oa, fallow fal'oa, hallow hal'oa, moo'rn, distinguish from morn mau'rri), shorn shallow shal-oa, sallow sal-oa, tallow tal'oa, wallow shoa-rn, torn toa-rn, worn woa'rn, mourns moa-rnz, wol-oa, swallow swol-oa, fellow fel-oa, bellow bel-oa, hoarse hovrs (distinguish horse hau'rs), force mellow mel- oa, yellow yel-oa (not yel-u, or yal'er), foa-rs, coarse, course koa'rs, source soa'rs. The billow bil-oa, ipillowipil'oa (distinguish from pillar distinction between oa'rt, au'rt (or au-t], oa-rn, pil'er), willow wil-oa, callow kal'oa, follow fol'oa, au-rn (or awn), oa'rs, au'rs (or au-s) should be kept hollow hol'oa, minnow min'oa, winnow win'oa, very clear. If any difficulty is felt, begin in two f arrow ar oa, barrow bar'-oa, farrow far'-oa, harrow syllables with oa-er, alter to ao-er, ao'er, ao'r, and har'-oa, marrow mar-'oa, narrow nar'-oa, sparrow see pp. 131 a, 136*. sorrow burrow spar'-oa, morrow mor'-oa, sor'-oa, for ao-ur 50*. OA-ER', e., standing ', p. Long bur'~oa, furrow fur''oa, tornado taurnai'doa, lum- and strong, before a vowel only : goring goa'rr'ing, bago lumbai-goa, virago vir'ai-goa, sago sai-goa, scoring skoa'rr'ing, flooring floa'rr'ina, Flora indigo in'digoa, vertigo ver'tigoa, cargo kaa'rgoa, Floa'rr'u, snoring snoa-rr'ing, roaring r'oa-rr'ing, echo ek'oa, ioliofoa'lioa, ratio rai'shioa, buffalo buf~- storing stoa-rring, sorer soa-rr'er. See p. 137. uloa solo soa-loa, volcano volkai'noa (or volkaa-noa), OA'u, e. murmur diphthong, faulty form of oar, insolent innocence in-oasens in's&alent, (compare, which see. in no sense in noa' sen's), trilogy tril-oaji (or OAuo, e. faulty form of ou, p. 47. tril-i^-ji, and so for all endings in '-logy,' as) OA-uo, e. vanish of oa, p. 47*. zoa-ol'oaji, zov'oa- zoology zoa-ol'uji, zoological e. form of 47*. OA Wy faulty ou, p. loj-ikel, zoophyte zocroafeit, Laocoon Zaiok-oa-on, e. vanish of 124. innovation in''oavai'shen, impotence im'poatens, OA-W, oa, pp. 47*, 55*, 46*. omnipotence omnip'oatens, geographical jee^oa- OAT, g. f.,p. graf-ikel, geometrical jee-'oamet-r'ikel. Ex. pp. OE, g. f., see pp. 300, 31*, 390, 144*, 149*. 114*, 1163, 124, 131$, 135a. OEee, f. diphthong, see p. 470. O'A, e. provincial lip glide, same as uuoa, p. 55b. OEN', f. nasal vowel something like ung, sea OAi, e., a faulty form of oi, which see. p. 410. OA-1, e. faulty form of oi, p 455, not to be OUT, f. diphthong, see p. 470. tolerated for ei, p. 44a. OAN', f. nasalised oa, more like oang than ong, 01, e. g. diphthong, p. 45*, i. andf. form, p. 46a. final and as *ot p 40i. Generally awl when strong, boy f 172 GLOSSIC INDEX. Sec. XII. (when this is weak, as footboy fuot'boi, the diph- suon), moons moo'nz, hoop Aoo'ju, coop Jcoo'p, loop becomes thong o7) , coy koi, hoy hoi, joy joi, cloy foo-j3, poop ;;oo-j0, roop r'oo-p> droop dr'oo-p, group kloi alloi" t alloy (or uloi'j, employ emploi-, annoy groo'p, croup kr'oop, scruple skr'oo-pl, soup soo^?, 1 unoi' troy troi, destroy destroi', toy toi, buoy boi whoop whoo-p, hoops hoo-ps, groups gr oo-ps, hooped and this remains before inflexional loose (or *oo-), d} z, hoo-pt, drooped droo'pt y goose goo-s, loo's, as destroi' destroi' tnoo-t br'oo't destroys z, destroyed d, and even loosed loo-st, moot y root r'oo-^, brute but before * it is fruit *oo'^ poise poi-z t poised poizd, more (not br'eu't], frooi (not fr'eu'tj, soot (or frequently 01, and may be always so pronounced, swo^ or sutj, shoot shoo't, moots moo'ts, fruits as oyster oi'ster, boisterous boi'stur'us, hoist hoist, fr'oo'ts, shoots shoo-ts, uncouth unkoo'th, forsooth joist joist (not jois, nor jeis), foist foist ; before n faursoo'th, tooth too'th, tooth's too'ths, move moo'v, it is variable, as join join (notjein'), coin koin, loin prove pr'oo-v, moved moo-vd, proved pr'oo-vd, moves - An (not few), point j!?ow (not j^). Ex. pp. moo vz, proves pr' oo-vz. Long and weak, in closed 123*, 1340. syllables: forenoon foa'rnoon, Blackpool Jllak-pool, Oi, e., proper form of oi, especially before s, storeroom stoa'rr'oom. Short and weak, in open p. 45*. syllables : into in-foo, unto un'too, influence in'- called 520. rheumatic 0/.K, e., commonly waur, p. Jlooens, r'oomat'ik, rugose roogoa's^ ' 0Tw, e. attempt to pronounce choir, moire,' with rubescent roobes-ent. Ex. pp. lloa, 117, 1313, oi, see p. 520. 182*. ON', e. substitute for f. ahn", p. 400. O'O, e. prov., an 00 begun with the mouth open, 00, e. g. i. f., see p. 36*, peculiar g. and Swedish, same as ww'oo, p. 37# and p. 55*. p. 370, may be sung as wo, p.' 390. Long and ooAA, i. f., usually written waa, p. 49#. strong: do doo", who Aoo-, coo 00*, loo 00-, blue OOaa, i. slurred diphthong, p. 148a. 0700', flew Jloo', glue gloo', clue, clew &/oo', slew ooAAee, i. close triphthong, pp. 45a, 49a. sloo' (or .s&w), pooh J000-, rue roo', brew br'oo-, drew ooAI, i. close diphthong, p. 49. 0>'0o', grew gr'oo', crew kr'oo-, strew str'oo', shrew SoAO, i. close diphthong, p. 49a. shr'oo- (formerly shroa'}, true tfr'oo-, threw, through ooAOee, i. close triphthong, p. 490. thr'oo', shoe sAoo-, too, two (and sometimes 'to') oo E, e. form of we, as dwell dooel, p. 490. woo the Zoo 0"Ai food f. of written 00', woo', Zoo-, foo'dy cooed ooEE, form oui, usually wee, pp. #00'0*, glued gloo'd, slewed sloo-d, mood moo-d, snood 460, 49*. snoo'd, rude r'oo'd, brood br'oo'd, crude kroo-d, oo/, e. form of wi, as twin tooin, p. 490. strewed shrewd str'oo-dy shr'oo-d, shoed shoo'd, the uo'u 00*E, e., p. 50*, murmur diphthong y wooed woo'd, foods foo-dz, broods mooda br'oo-dz> with permission to append a trilled r\ Strong and booth soothe soothed moo'dz, boo'dh, soo'th, soo-dhd, lure loo-r moo'r long: boor boo-r, (or leu-rj, moor t 1 soothes soo'dhs, aloof uloo-f, roof r'oo'f, woof woo /, poor poo'r, sure shoo'r (or shewr). Weak and long: roofs r'oo-fs, roofed r'oo-ft, gouge ^ooy, fool/00'^, Dartmoor Daa-rtmoor. See p. 1370. ghoul ^oo^, cool koo-t, school skoo-l, pool jsoo'/, OO'EE', e., meaning twitr', p. 50*. Long and spool spoo-ly rule 7*'oo'/, tool too'l, cooled koo'ld, strong before vowels only, boorish boo'rr'ish, moor- ruled r'oo'ld, schools skoo-lz, tools ^oo-/z, boom ing moo'rr'ing, poorer poo'rr'er. boo-m, doom doo'm, whom hoo'm, Combe Koo'm, OO'u, e., p. 50*, the murmur diphthong in oor, loom foo'm, bloom bloo-m, gloom gloo-m, plume which see. r'oo-m ploo-m, (or pleu-m), room (not r'uoiri), broom, i. 46*. br'oo'm latter 00 Y, g. f., p. Brougham (the not r'oa'e)ri), tomb bow thou how cow bough, (v.) bou, dhou, hou, kou, ing kou-rr'ing, louring lowrr'ing, glowering mow now plough plou, slough slou, (s.) mou, nou, glou-rr'ingj towering tou'rr'ing. See p. 137*. row (noise) r'ou, brow brou, prow prow, sow (s.) e. as sou, vow vou, wow wow, couch, cowitch kouch, OTT-TIR', dissyllable, flowery flou'ur'i, 52*. slouch slouch, pouch pouch, crouch kr'ouch, vouch p. OY, e. abbreviated form of oee or vouch, crouched kr oucht, vouched voucht, bowed boud, 01, p. 46. cowed koud, loud loud, proud pr'oud, vowed voud, e. i. 63*. Initial P, g. f., p. before vowels : pat bow-wowed bouwou-d, mouthe moudh, south (v.) pat, part paart, pate pai't, pall, Paul paul, petptt, soudh, mouthed moudhd, southed soudhd, owl oul, peat pee-t, pike peik, puisne, puny peu-ni^ pit pit, foul, fowl foul, howl houl, jowl joul, coul koul, pot pot, pole poal, poison poi-zn, poolpoo-l, pontpout, growl groul, prowl pr'oul, growled gr'ould, prowled Initial before I r' pun pun, pull puoL and : plait pr'ould, howled hould, owls oulz, fowls foulz, down plat, plaister, plaster plaa-ster, play plai- (orplai-y), doun, gown goun, brown br'oun, drown dr'oun, plaudits plau-dits, plenty plen-ti, plea plee, plight frown fr'oun, crown kr'outi, town toun, bound pleit, plinth plinth, plot plot, plume bound, found found, hound hound, mound mound, ploo-m, plough plou, pluck pluk, prattle pr'at-l, prance pound pound, round r'ound, browned br'ound pr'aans, praise, prays pr'ai-z, present pr'ez'ent, preach drowned dr'ound, frowned fr' ound, ground grr'ottnd, pr'ee-ch, pride pr'eid, pretty pr'it'i, promise crowned kround, sound sound, wound (p.p.) wound, pr'om-is, prone pr'oa-n, prude mounds moundz, pounds poundz, flounce pr'oo'd, proud pr'oud, flouns Prussian Pr'mh-en (not Proo-sheri). Medial be- pounce pouns, trounce tr'ouns, flounced flounst, tween : vowels clapper klap-er, apish trounced trounst, fount fount, count kount, mount ai-pish, pepper pep-er, creeper kree-per, mount, founts founts, mounts mounts, gowns gounz, poppy pop-i, popery poa-pur'i, looping loo-piny, supper sup-er crowns krounz, hounds houndz, chouse chous, douse Double between vowels : the house louse top pinnacle dhi top dous, hous, lous, mouse (s.) mous, grouse pin-ukl, soup plate soo'p plai-t, pump-powerj9^mj9'- gr'ous, souse sous, soused soust, out out, bout bout, to too doubt pour, chop poles chop poa-lz, slop-pail slop-- dout, gout gout, lout lout, flout flout, pout pail, to gallop post haste too gal-up poa-st hai'st. rout r'out, drought dr'out, sprout spr'out, trout P, e. click afterj^ final, p. 63*, 94*. tr'out, shout shout, tout tout, doubts douts, trouts shouts PI", g., sometimes^/, p. 660. tr'outs, shouts, mouth mouth, south south, cows P-H, g. post-aspirated, p 63*. kouz, ploughs plouz, brows br'ouz, Q prows flatus P H, e., after final p, p. 63*, 94*. pr'ouz. Ex. pp. 123*, 134$, 135 a. theoretical 'PR, flated lip trill, p. 66. OTTER, e., p. 52*, two syllables, as distinct from 530 i. our, which see. R, e., p. (not g. f., p. 550), a direction to make a murmur diphthong or triphthong with e. form of ou-ur' 526. OU-ERR', , p. preceding long vowel or diphthong and add a trill 1 murmur r at pleasure, see aar air aur eer eir eur oir OTTR, e., p. 52*, triphthong ou-u, with oar, t a oor, our; also a direction to permissive trill r' after it. Long and strong: pronounce preceding e bower dower in strong syllables as w with a bour, dour, cower kour, lour lour, long permissive flour trill r' after, and in weak to flower, flour, glower glour, power pour (but syllables pronounce u short with or without a loose on to a follow- pour poa-r, poo-r], sour sour, shower shour, tower glide tour see er. (but tour too-rj. See p. 137*. ing r', pp. 530, *, 126*, OTJ-RR', e., p. 52b, meaning ou-ur'. and e. i. Long R', g. f., p. 74*, much weaker in English : sourer strong aou'rr'er, sourish sou-rr'ish, cower- than in Italian. Initial before vowels: rat r'at, 174 GLOSSIC INDEX. Sec. XII rascal r'aa'skel, rail r'ai'l, rare r'ai'r, wrought smock *moA:, smoke smoa-k, smooth smoo-dh, smudge r'au't, wretch r'ech, reach ree'ch, writer r'eiter, smujj snap snap, snarl snaa'rl, snake snai'k, snort writ r'it, rot r'ot, roam r'oa'in, roysterer roi' stumer, snau'rt, sneak snee'k, snipe snei'p, snivelled snivld, room room, rout r'out, rut r'ut. Initial r' does not snob snob, snore snoa'r, snooze snoo-z, snout snou-t, occur before consonants. Medial between vowels : snub snub, span span, spark spaa-tk, spake spai'k, staa'r'i Harry Har' -i, starry (or staa'rr'ij, meiTy spectacle spek'tukl, speak spee'k, spike spei'k, hur''i. mer-i, spirit spir'-it, sorrow sor'-oa, hurry spume speu'm, spin sjinw, spot *j90^, spoke spoa'k, See also aarr', airr', eerr', eirr', eurr', oarr, oorr\ spoil sjooi/, spool spoo'l, spouse sjs>o<2, sponge spunj\ 1 ourr and err'. Final r' never occurs in English splash splash, splay splai', splenetic splen-etik (not except as a permissive trill, see r. Inserted r', splenet'ik], spleen splee-n, splice spleis, split */?^, p. 515. Ex. pp. 136138. splutter splut-er, sprat spr'at, spray spr'ai, sprawl ", e. provincial, e. 'dental r' after t\ d\ in spr'au'l,, spread spr'ed, spree spr'ee-, sprite spr'eit, which case it possibly also occurs in g. i. f., p. 745. sprinkle spr'ingk'l, spruce sproo's, sprout sprout, ( ' R, f., Parisian uvular r,' p. 835. sprung spr'ung, stand stand, starling staa'rling, ".K, Northumberland uvula rise, p. 840. state toi^, stair stai'r, stem s^m, steam stee'm, e. ' reverted 760. still stolid stole ( H, provincial r,' p. stile, style s^i^, **W, stol-id, *to^, ' ' e. untrilled or for stool stout stuff ((R, r,' point rise,' p. 760, stoo'l, stout, sw/, straggle strag'l^ which in London is always substituted r, which straight str'ai't, straw str'au", stretch str'ech, see. stream str'ee-m, stripe str'eip, strip str'ip, strop ' ,R, Danish glottal r,' or croak, p. 605. strop, stroke str'oa'k, strut str'ut, swagger swag-er, H, flated form of r', p. 745. swarthy swaa'rthi (or swau'rthi), swelter swel'ter, "&, flated form of r", p. 745. sweet swee't, swine swein, switch swich, swab swob, 1 EH, flated form of V, p. 835. swollen swoa'ln, swoop swoo'p, swam swum. Medial l 'UW', Northumberland labialised uvular r, p. between vowels : hassock has-uk, asses aa'sez, 840. tracing trai-sing, sauces sau-sez, messes mes-ez, piecing pee' sing, spicy spei'si, missing mis-ing, i. Initial before : sat S, e. g. f., p. 705. vowels tossing tos'ing, (or tau'sing}, mossy mos'i, doses (s.) sat, serjeant, sergeant saa-rjent (not ser'jent), same doa'sez, choices choi-sez, spruces sproo-sez, douses stti'm, sought sawt, set set, seal see'l, sight seit, suit dou'sez, fussing fus-ing. Final after vowels : gas seu't (not soo't or shoo't], sit sit, sop sop, soap so0'j9, gas, ass aa-s, case kai's, sauce saws, chess ches, soy soi, soup soo'^, sow (s.) sow, sun, son em, soot piece pee- s, spice speis, use eu-s, miss mis, moss mos/ suot (or soo'^ or suf). Initial before consonants: close kloa-s, rejoice rijoi's, loose loo's, mouse mous, sphere sfee-r, scatter shatter, skate skart, scare fuss fus. Double between vowels or a vowel and skaiT, scald sTcawld, sketch sJcech, scheme sltee'm,, consonant : missent missen't, Miss Smith Mis sky ^i (not sky'ei or sky'iei-}, skewer skeu-er, skip Smith, Mrs. Stiles Mis'is Stei'lz, Miss Strange, Mis sij9, scot s^o#, scold skoa'ld, school skoo'l, scowl Strai'nj, this stretcher dhis stretcher, this story skoul, scull A;w?, scrap skrap, scratch skr'ach, dhis stoa-rr'i, this stew dhis steu. See p. 1215. e. modification * after scrape skrai-p, scrawl skr'au'l, scroll skr'oa'l, f squeeze skwee z, squat skwot, slam ^am, slate slai't, SH, e. g. i. f., p. 710. Initial before vowels: shale shai-l slaiighter slau'ter, sledge slej\ sleet slee't, slight, sham sham, sharp shaa'rp, t shawl sleu slit sheet shine shein shin sleight skit, slew (or /oo), slit, slop sfop, shau-l, shed shed, shee't, t slope sloa'p, slouch slouch, sludge sluj, smatter shin, shot shot, shoal shoa'l, shoe shoo', shout shout, mat'er, smart smaa'rt, smite smei't, smit swi^, shun shun, shook shuok. Initial before the con- Sec. XII. GLOSSIC INDEX. 175 shrike see 685. Initial before vowels : thatch sonant r" : shrapnel shr'ap'nel, shred shred, TH, e., p. shrei-k, shrill shril, shrewd shr'oo-d, shroud thach, thaw thau, theft theft, theme thee m, thigh vowels : thei thermic thews thick shroud, shrub shrub. Medial between t thermik, theu-z, thik, hashing hash-ing, meshing mesh'ing, leashing thong thong, thole-pin thoa'lpin. thousand thou'- thum. Initial before consonants : lee'shing, wishing wish'ing, galoshes gulosh'ez, zend, thumb thrash threat three flushes/?**/^-;. Final after vowels : splash splash, thrash, thrave thr'ai'v, thr'et, mesh mesh, leash lee-sh, wish wish, bosh bosh, gush three, thrive thr'ei'v, thrift thr'ift, throng thr'ong, gush, bush buosh, push j)uosh. Double : I wish throat thr'oa-t, through thr'oo', thrust thr^ist, shells she'd do it ei wish shee'-tf doo it, do you wish thwack thwak, thwart thwawrt (or thwaa'rf). to-day ? doo eu wish shelz toodai' ? the bulrush Medial between two vowels, not found, but shakes dhi buol-rush shai'ks, boyish shame boi'ish between a vocal and vowel sometimes, as wealthy shai'm, vanquish shams vangk'wish shamz, ice- wel-thi, filthy fil'thi. Final after a vowel : hath bergs crush ships ei'sbergz krush ships. Seep. 1215. hath, faith fai-th, breath br'eth, wreath r'eeth, e. of sh after in which is earth wroth r'oth SIT , variety tij ch, erth, youth eu'th, pith pith, (or 'sh see 490 and 1455. broth br'oth both boa'th (not really ty ', pp. r'au-th], (or brau-th], SZ, g. initial, for z, see p. 720. boa'dti), tooth too'th, mouth (s.) mouth (v. moudh), i. duth. : boa'th T, e. (the g. f. form is *'), p. 690. Initial doth Double both thank you thangk before vowels : tap tap, tart taa-rt, tata ! taa'taa- ! eu, both thieves boa'th thee'vz, uncouth thought tail tai'l (not tai-yl], taught tau't, text tekst, teach unkoo'th thau't. tee'ch, tile teil, tune teww, tick tik, top fop, toad THDH, e. provincial beginning with flatus and toa'd (not toa'wd], toil foi/, tool fo 1 trash trail trawl i. initial fs track trak, tr'ash, tr'ai'l, trawl, and , which see, and p. 705. tread rW, treat tree't, trite r' skruf, tough tuf, puffs pufs, roughs r'ufs, puffed , clung klung, slung slung, wrung, rung puff, cuffed kuft, tuft tuft, tufts tufts, bug bug, r'ung, sprung spr'ung, strung strung, sung sung, dug dug, hug hug, jug jug, lug /wy, slug slug, mug tongue tung, bunged bungd, bunk bungle, funk wwy, pug pug, rug r'wy, drug dr'ug, shrug shr'ug, fungk, hunk hungk, junk jungk, slunk slungk, struggle strug-l, tug tug, thug tfAw^, hugged AM#^, monk mungk, drunk dr'ungk, shrunk shr'ungk, shrugged shr'ugd, mugs mugz, hugs hugz, tugs tugz, trunk tr'ungk, sunk sungk, bunks bungks, hunks budge %', fudge fuj, judge >/, sludge %', smudge hungJcs, monks mungks, funked fungkt, bungs smuj, nudge nuj, drudge dr'uj, grudge gruj, trudge bungz, tongues tungz, cup Jcup, pup pup, sup sup, tr'uj, nudged nujd, drudged dr'ujd, buck buk, chuck cups kups, pups jwj!?s, buss #MS, thus dhus, fuss /MS, chuk, duck duk, luck luk, cluck kluk, pluck pluk, Russ R'us, busk iwsA;, dusk m kr'unch, munched muncht, crunched kr'uncht, adap t), affair u-fai'r (or a'fai'r), afront, affront dunned dund, shunned shund, lunge lunj, plunge u-fr'un't (or a'fr'un't], alone u-locrn (or a-lwn), plunj, plunged plungd, once wuns, hunt hunt, blunt amass u-maa-s (or a-ma's'}, approve u-pr'oo-v (or blunt, punt punt, runt r'unt, front frunt, grunt appr'oo-v, a'pr'oo-v), award uwawrd (or a'wau'rd). gr'unt, shunt shunt, stunt stunt, wont wunt (often, Final, see . In the middle of words, weak u is but occasionally woa-nt, which is properly won't), not more than slurred on to the following letter : hunts hunts, grunts gr'unts, shunts shunts, buns appanage ap-u-^-nej, ratable rait-u-^-bl, heritable notable comfortable Jcum'- bunz, guns gunz, bung bung, dung dung, hung hung, , not-u-^-bl, eec. XII. GLOSSIC INDEX. 177 fertu-^bl, mutable mewtur^-bl, primary prei' Uuo, e., one of the best forms of the diphthong evu~r'i. See also u\ of which a'uo is another the is finery fei'nu-^-ri, every ou, ; singer's form Note that in possible, positive, and such words u~ aauo, see p. 470. must not be used, say pos-ibl, poz'itiv, not pos-ubl, Uuo, e., an admissible form of ou, p. 470- pnz-ntiv, nor yet pos eebl, poz'eetiv. Ex. pp. 1190, uuOA, e. provincial lip glide, a faulty form of 1203, 1310, 1320. 00, p. 553. T, e. provincial form of uo, p. 373. uu 00, e. provincial lip glide, a faulty form of U", e., the possible form assumed by weak 'a,' oo, written do, pp. 370, 553. a and u and 380 be the see weak, weak, pp. 343, ; may TJuou, e., murmur triphthong ouu involved sung as u, p. 390. in our, p. 523. e 343. a form of UA, provincial , p. UUuo, e., faulty ou, p. 470. a of ee i VU-uo, e., very faulty form ou, p. 470. HE, g. f., described p. 29, confused with in abbreviated form of but in 393 how it differs UUY, uui, or uuee, p. 460. German, not French, p. ; UT, abbreviated form of ui or uee, p. 460. from oo, p. 370. See also pp. 1440, 6, 1490. f . see and 1493. ueEE, diphthong ui, p. 493, uee$, p. e. i. V, f., p. 673. Initial before a vowel : vat UEY, variety of ueee, p. 470. vat, vast vaa-st, veil, vail, vale vai~l, vaunt vau'nt e. of the best Ui, , one forms of the spoken diph- (orvaa-nt), vault vau'lt, vegetable vej'itubl, velvet a i another the is thong ei, being ; singer's form vel-vet, veal vee-l, vile veil, virtue ver'teu, view veu', aai, p. 440. victuals vit-lz, villain vil-en, volley vol'i, void void, e. form of the murmur TTiu, triphthong eiu, vouch vouch, vulgar vul-ger. V is not found initial involved in eir, see p. 520. before a consonant. Medial between vowels e. substitute for f. oeri 400. Vn', , p. navvy navi, lava laa-vaa, navy nai'vi, bevy HO, e. g., used in place of short oo in closed bevi, levy levi, leaving lee-ving, Levi Lee-vei, str' syllables, much used in the provinces in place of u, striving ei'ving , serving serving, living living, : sovurin some p. 373. Short and strong good guod, hood huod, sovereign (or sovr'in, say suvrin, could kuod, should shoud, would, wood wuod, book but this is archaic), coving koa'ving, moving moo-v- Final after buok, hook huok, cook kuok, look luok, nook nuok, ing, shoving shuving. a vowel : have rook 7-' MOA, brook br'uok, crook kr'uok, shook shuok, hav, stave stai'v, reeve r'ee-v, alive ulei-v, serve ;ook tuok, bull buol, bullion buol' yen, full fuol, pull serv, sieve siv, grove groa v, groove groo~v, love puol, pulpit puol-pit, bush buosh, cushion kuosh-en, luv. Double : love virtue luv ver-teu, sportive vice msh puosh, tush tuosh (or tush], foot fuot, soot spoa-rtiv veis, a festive voice u fes-tiv vois, a live u leiv Van- five mot (or soo-t or sttt). Ex. pp. 1190, 1210, 1320. Vandal del, vowels feiv vou'elz, 110 acute or uo for above vaults ubuv five villains ', uo, pronounced high notes vau-lts, feiv vil'enz, twelve vines twelv veinz. with open mouth and contracted arches, p. 383. Ex. p. 1220. UO ii, e., the real form of the murmur diphthong ' V, g., the sound of g. w,' see p. 650, 3. n on-r, p. 503. VF, e. final v at end of a as : I see UOur the real form of oo'rr" phrase, five, , e., , which see. all alive? ei see au'l ? 933. e a common feivf, ulei-vf seep. UU, , very pronunciation of u, in see and '.trong syllables, M, pp. 340, 360, 39. W, e. p. 64, used in Glossic of i. f. for oo, form- the sound of oo UU\ e., when the lips are ing a diphthong, as wee for ooee, see p. 823. Initial see do, 370. before vowels : waft pened, p. wag wag, waa-ft, waif wai'f, e., a form of ei, admissible in weal wee- UlTi, just speech, water wau'ter, wet wet, 1, wile wei-l, work >. 440. werk, wit wit, wot wot, woke, woa-k, woo woo* H 178 GLOSSTC EVDEX. Sec. XII wound wound to a 3. (part.) (in wound, wound, p. 480, Initial before vowels : yam yam, yak yak usually woo'nd, but soldiers all ay wound}, wood yankee yangk'i (sometimes yangK'kee), yard yaa'rd wuod. is not initial W found before consonants, jQ&yai (not yai-y], Yale Yai-l, yawl yawl, yawn or double. Ex. 1220. or medial, p. yau-n, yet yet (not yit], yes yes (not yis, is) abbreviated form of i. and f. 490 WAA, ooaa, p. ye yee (not ee}, year yee-r (not ee~r], yield yee-ld (not and 500. p. ee-ld),yea,n yee-n (not ee-ri), yeast yee-st (not ce-st abbreviated form of i. and f. WAAY, ooaaee, sometimes yest], yearn yern, yew yen (that is, 500. p. yioo], yule yeul (that is, ywo-l), yacht yot, yolk, abbreviated of f. 493. WAE, form ooae, p. yelk yoa-k ("yelk" is sometimes yelk], yoicks! abbreviated form of f. ooaen' 49 ! eu eu~r WAEN', , p. 1>, yoiks you (that is, yoo], your that is and 500. p. yoo'r ; when weak, often yer], you'll ewl that is, abbreviated form of i. 493. WAI, ooai, p. yoo'l], youth eu-th (that is, yoo-th], young yung. WAO, abbreviated form of i. ooao, p. 490. Y is not found initial before consonants, medial, WAOY, abbreviated form of ooaoee, p. 500. final, or double in received English. Some e. e. abbreviated form of 490. WE, ooe, p. speakers say eey for ee final, some g. faulty WEE, abbreviated form of f. ooee, p. 490. speakers say yr'- and yl- for gr',- gl- initial. e. 493. WI, abbreviated form of ooi, p. YAEY, form of i. eeaaee, p. 490. WY^EE, form of ueee, not used, p. 500. YJEUior yioo, a form of e. eu, p. 480, 3. e. 643. Initial : WH, p. before vowels whack YWO, a form of e. eu, p. 483. whak, whale whavl, wharf whau-rf, whet whet, wheel whee-l, while wheil, whirl wherl, whit whit, YH, e., p. 79a, initial in yheu hue, hew, Hugh, what whot. Wh is never found initial before a yheewmen human, Yheum Hume, Yheuz Hughe consonant, medial, final or double. As the sound These words are often pronounced htoo, hloo'me of wh is dying out very generally in the South of Ifioo'm, ITioo'z, which are written heu, heu'men, England, and it is advisable to retain it, the Heu-m, Heu-z. The singer uses the form hwo. following contrasts should be observed, and YOO, form of i. eeoo and e. too, pp. 483, 49a. sedulously practised : whale, wail whai-l, wavl, weal e. i. f 720. Initial before vowels : what, wot whot, wot, wheal, wheel, whee-l, Z, g. , p. wee-l, when, wen when, wen, where, wear whai'r, Zantiote Zan'tiot, zany zai'ni, zealous zel'us, zeal ^vai'1', whet, wet whet, wet, whether, weather, zee'l, zero zee'rr'oa, zinc zingk, zocle zok'l (also wether whedh'er, wedh'er, whey, way whai', wai', socle sok-l), zodiac zoa-diak, zone zoa-n, the Zoo dhi (or whai-y, wai-y], which, witch which, wich, whig, Zoo^, zooks ! eoo-ks ! (or zuoks, gone out of use), wig whig, wig, while, wile wheil, weil, whiled, wild zounds zoundz Z is not found initial before con- wheild, weild, whin, win whin, win, whine, wine sonants. Medial between vowels : hazard haz-erd, whein, wein, whirld, world wherld, werld, whist, mazard maz-erd, lazy lai'zi, mazy mai'zi, pleasing wist whist, wist, whit, wit whit, wit, white, wight plee'zing, wiser wei'zer, Mersey Mer-zi, kerseymere wheit, weit (Isle of Wight Eil ov Weit], whither kerzimeer, Pusey Pewzi, gizzard giz-erd, wizard whidh-er, whort, wort whert, wert, why, Wye whei, wiz'erd, positive poz'itiv, posy poa-zi, rosy r'oa'zi, , wei. Ex. 1215. losing loo-zing, oozy oo'zi, drowsy drou'zi, carousing ' WR, e. faulty tight lip trill for r, see p. 663. kur'ou'zing, buzzing buz'ing. Final after vowels : WY\ f. abbreviated form for ue diphthongs, has haz, baas baaz, baize, bays 30rz, gauze gau'z, fez fees freeze wise p. 500. gnaws nawz, fez, fee~z, free'z, furs Y, e g., p. 783, in i. f. it is used in Grlossic for ee weiz, prize preiz, pies peiz, firs, forz, ewes, his nose vr i, forming a diphthong with the following vowel, use (v.) eu'z, hiz, pose poa-z, knows, noa'z, Sec. XII. GLOSSIC INDEX. 179 boys boi-z, lose loo~z, shoes shoo-z, brows, browse persuasion perswai'zhen, adhesion adhee'zhen, de- trouz, buzz buz. Final after consonants : cubs kubz, cision disizh-en, vision vizh-en. revision rivizh'en adds adz, breathes bree-dhz, eggs egz, bells belz, jams fusion feu-zhen, conclusion kunkloo-zhen, delusion loves saves dileu-zhen diloo-zhen intrusion jamz, nuns nunz, songs songz, zwz, sai'vz, (or , intr'oo-zhen, con- waves wai-vz. Double : his zeal hiz zee-l, wise zeal tusion kunteu'zhen, pleasure plezh'er (or plezh'eur] iveiz zee'l, it flies zigzag it flelz zig-zng, he shews measure mezh'er (or mezh'eur"), treasure trezh'er (or zest hee shoa'z zest, prize zinc preiz zingk, his zone trezh-eur], erasure eerai'zheur, leisure lezh'er (or hiz zoa-n. Ex. p. 1220. lezh'eur, sometimes lee'zher or lee'zheur), closure advanced heard in i. initial d'z see 720. Jcloa'zher or Z\ z, , p. kloa'zheur], exposure ekspoa'zher (or ekspoa-zheur). Ex. p. 1220. e. does ZH, f., see p. 720. ZA not occur initial, ZH\ e., the ge in judge juj, which, when fully or double in but is initial and is 800. final, e., frequently analysed, dtfzKudyzK , p. f : final in Medial between vowels division di- ZS, e., final z at the end of a phrase, as 'tis his vizh'en, occasion okai'zhen, invasion invai'zhen, tiz hizs, p. 93. SIGNS. ' a I gradual,' turned I, signifying the gradual entirely, see the letters with these marks affixed in attack and release of voiced sounds, pp. 570, 920. the preceding index. the ' ? A, same made very perceptible, p. 570. () accent,' turned period, placed after a vowel, ' a turned j clear,' t, signifying the clear attack shews that it is strong and long, as mee't meat, and release of voice 57b. 105* after a consonant shews that the sounds, p. p. ; placed ' a (;) check,' semicolon, signifying the check of next preceding vowel is short and strong, as the voice, 580. p fam'ili family, p. 105*; placed before a word 'bleat' or turned (') \anyn. semicolon, signifying shews that it is emphatic, p. 1050; placed after a the Arabic 60* bleat, p. systematic diphthong, it shews that the strong ) or 'flated' or small 'imploded' 'clicked,' element is short, as ui'lid uylid eyelid, p. 43*. It circle used for before a degrees, placed sonant, does not separate syllables. makes it signify an p. 54'*, before ' implodent, placed (') sub-accent,' turned period, followed by an a vowel indicates flatus the vowel through position, apostrophe, placed after a vowel shews that it is as 560 ; before h as h makes it ee, p. placed long and has a secondary accent, as v&rtilai''ted flatus, 560 ; before h' as signify simple p. placed ventilated, p. 1050, placed after a consonant, shews %' makes it 56* signify simple whisper, p. ; placed that the next preceding vowel is short and has a after a final mute, as t, indicates the gentle secondary accent, as dem-'oakr'at'ikel, p. 1050. final 9-1 i English click, pp 63.-/, seldom distinguished from ig. It does not separate jfore a vowel shews it to be 105*. ['), p. two letters, shews that (between them, as u-\-i, that I*. This is omitted except 180 OLOSSIC INDEX. Sec. XII. ' (-J-) slur,' between two letters, shews that there either, as yaa for \aa or eeaa, and when they are ' ' ' ' is a loose glide or slur between them, as aa-^-ee So or uo, as ooaa, ooao, it is usual to write w, as in Italian diphthongs, pp. 45a, 87. This is waa, wao. The length and strength of the second omitted except in theoretical writing. element is then treated in the usual way. When ' (...) break,' between two letters, shew that great phonetic exactness is required (as in discus- ' ' there is a silence and no glide or slur between sions) it is necessary to distinguish %aa, eeaa, yaa them, p. 87b. When words are written separately accurately, and similarly for ooaa,, uoaa, waa. When it by no means follows that there is no glide ue is one of the elements, the sign ought to be used, between them, hence for theoretical writing, as lueee, but lue-ee is often quite enough. When it although the close glide may be still omitted, the is necessary to mark the length of the weak ele- should be there slur (-f-) and the (...) used, and ment, the long mark is used, as aaee, but this is should be no separation between the words unless scarcely ever necessary. The aaee or aay leaves ' there is a sensible pause. Thus : Command your- the length of the second element generally un- self, if you would command others,' which in determined. Glossic would be kumaa-nd eu ordinary eursel-f if ' ("} short,' over a vowel letter, or first of two wuod kumaa-nd udh'erz, would be theoretically letters representing a vowel, when it is not written ku-^-maa-nnd-^-yuousell'f..., if-'yoo-^-wuod followed by a vowel, shews that it is short. Thus -~ku-~maa'nnd~udh'u~-z, where the nn, II shew the vowels ee, ai, aa, ao, oa, oo, being generally long vocals. in closed it is easier ' long English syllables, much (-) hyphen,' between groups of letters, is used to the reader to see the short mark applied when merely to guide the eye in the separation of the they are short in foreign languages, as meelky'h groups, 'as lue-ee, pot-hous, it does not indicate milch, g., skydit-toa schietto, i., maan mann,g., gliding or slurring, except in such combinations aom homme, f., soat'toa sotto, i., pool poule, f. as aa-ai used to mark Italian slur, p. 45. It This is in i. because the rule may always be omitted when other means mark unnecessary g. f., that the vowel is short unless of as should be always the separation the groups, the accent mark v In cases is a ' marked long. other the ( ) in pot'hous, or the gliding mark in lueee. gliding w ' mark ' in mark.' ( ) gliding diphthongs, placed over the letter or letters which represent a single vowel letter or first of (") 'long,' over a vowel two when it is weak and the sound, preceding strong letters representing a vowel when it is preceded by vowel on to it and forms a glides diphthong, as a consonant and not followed by a vowel. This is ui 43 when these weak vowels are i or uuo, p. ; ee, sometimes convenient in weak syllables, as prim-- it is usual to write as for either ui or y only, uy, roaz primrose, and is necessary in French where and when the vowel is uo or it is uee, p. 46r?, do, no accent can be marked, as pahsyoarf passion, but usual to write w as uw, for either uuo or only, ooo, the long syllables are not carefully distinguished the accent is it is p. 47* ; when used, after is a () placed in French speaking. In other cases (") the first element when that is as aa~1 or ' long, aa-y, gliding mark. See end of Q gliding.' and after the second element when the first element or first of (") 'medial,' over a letter, the two is short, as am~ or aay, p. 43, and in weak syllables letters representing a vowel, shews that it has t is omitted altogether. The gliding mark is also as this is also medial length, p. 104#, faast ; repre- used over the letter which represents a single before the 1055. sented by (:) vowel, a,sf:aast, p. owel sound when it is weak and glides on to the as after a above the usual following strong vowel, laa, ooaa ; when these (') acute, vowel, spoken weak vowels are i or ee, it is usual to write y for pitch of the voice, p. 1044. Sec. XII. GLOSSIC INDEX. 1S1 (') detached, 'acute,' spoken above the usual printed by any printer in any fount of types, and pitch of the voice, p. 104; attached, as in 60, 6ai has rather the appearance of a reformed system of indicates certain 55b. e'e, provincial glides, p. spelling with the old alphabet than of a totally usual (") detached, 'grave,' spoken helow the different and perfectly systematic orthography* of the 1045 used to pitch voice, p. ; attached, precisely indicating pronunciation, using the old distinguish provincial u from no, p. 37b. letters, indeed, but on an entirely novel system, (") pitch glide from high to middle,:_-'p 104J. namely, the absolute restriction of one combin- Note that when the marks -j are ation of letters to mean one combination of sounds, omitted (and they are unnecessary except for ex- so that given the one the other can be immedi- tremely refined phonetic work), Glossic can be ately determined with absolute certainty. 182 ENGLISH PRONOUNCING DICTIONARIES. XIII. ENGLISH PRONOUNCING DICTIONARIES. English Pronouncing Dictionaries Necessary. we can only approximate to the result by following Our language rejoices in such a remarkable orthog- them. Moreover, I probably pronounce those key raphy, that no one who merely sees a word can be words in a different way from any one of the quite sure how it should be pronounced, and no three. At the same time, if those who have one who hears a word can be at all sure how it studied the value of the Glossic symbols from the should be spelled. Both pronunciation and spelling detailed account of them here given, pronounce have indeed varied materially during the last six the key words as my symbols declare, and thence centuries, and even during the last two centuries, deduce the value of symbols in pronouncing without any definite connection having been dictionaries, he will arrive at results which will established between the two. Hence arose during be quite good enough for any practical purpose. last hundred a for the Different or the years feeling necessity orthoepists (atirthoa-epistsj , persons of Pronouncing Dictionaries, which purpose by who take upon themselves to declare what is the additional marks, or by re-spelling the words, correct pronunciation, differ in opinion from one " according to some systematic phonetic principle, to another. Who's to decide when doctors dis- " supply the necessary information. But here agree ? The only means is to listen to numerous another difficulty occurs, no one is empowered to persons of education with whom the listener has declare what is or should be the pronunciation of come into direct communication during a long English. In point of fact, English is spoken very period of years. Even then very much more than differently indeed in different parts of the country, half the words of the language will never have and material differences affect even men of the been heard, and can be pronounced only by the highest education. We seldom fail to detect a analogy of those known. In giving the pro- Scot, an Irishman, or an American after hearing nunciation of numerous words in the preceding him speak a few words. Now our first English Glossic Index I have often added an alternative pronouncing vocabulary was written by a Scot pronunciation, which I have frequently heard from (James Buchanan, in 1757) our first English educated speakers, and I have also directed others pronouncing dictionary was written by an Irish- to be avoided, because I have found them to be man (Thomas Sheridan, in 1780), and one of our generally avoided among those who are thought most widely-used pronouncing dictionaries at the to speak decently. But whatever pronunciation is present day is by an American (Joseph E. there mentioned has been heard, and heard often. Worcester, 1847.) There is no doubt in my own My opportunities have been, education for four mLud (and I have devoted much time to the study years at a large private classical school, for three half of this subject) that all three would have pro- and a years at Shrewsbury school, for three nounced their key words in different ways, so that years at Eton College, for four years at Cambridge, Sec. XIII. ENGLISH PRONOUNCING DICTIONARIES. 183 constant communication since then with highly- speaker conscious of differences, and capable of educated people, more than thirty years study of understanding wherein they consist. In Shak- " speech sounds, with especial examination of all the speare's tragedy of King John," Mrs. Charles ' ' varieties of English speech, and nine years re- Kean had to use the word calf with great energy, search into the history of the changes of English and Mr. Alfred Wigan had to repeat it after her pronunciation, tracing them from century to with equal force. The lady said ka-f, the gentle- century. Yet with all this I do not presume to man said kaa-f, which had the effect of correcting decide. I have my own preferences, and I am. led her pronunciation. Yet probably no one present, to believe from the general approval of my pro- except myself, perceived the difference. We are nunciation when reading in public, that those who so accustomed to listen to sense, and not observe follow it, will not be held to make default, although the sound by which it is conveyed, that when the on many little points they might be called in difference of sounds is within the limits of usage question by others, whose pronunciation I might it is not remarked, except by special observers. also perhaps call in question on the same, or 'Calf is a word which is heard as kerf, ka'-f, numerous other points. This is a matter for kaa-f, kaaf, hence there was nothing strange. personal choice. But beyond such limits there are But if the lady had said kaf- (as some do, in ladies' varieties in which no speaker can indulge without refined Yorkshire speech), and the gentleman had condemned as H must never be said in Cumberland ^ the being ignorant. kao'f (as peasant speech , omitted, except on very rare occasions, and none effect would have been ludicrous, and Mr. Wigan must ever be inserted where not written. Trilled at least would have been greeted with a shout of r' must never be added when no r appears in the laughter. spelling. These three are heinous offences, which For the ordinary words of songs, a pronouncing some people never forgive. Ai must never ap- dictionary ought never to be necessary, but as proach to the sound of ei, nor oa to the sound of speakers have no opportunity of hearing half the ou ; neither must ei approach aey or oi, or ou words of any language in actual speech, they have approach aew, oaw. No a must sound as aa, no u often to refer to such a book for assistance. Hence as uo, or uo as u. No w must become a v, and no v I add the titles and key words and modes of 1 a w No er must be sounded as er' or iir with a in of , symbolisation adopted some the most acces- short vowel and trilled r\ All these usages mark sible of these works. provincialisms or vulgarisms. Many others have been already incidentally pointed out. While, Walker. "A Critical Pronouncing Dictionary therefore, the boundary which separates received and Expositor of the English Language, in which from inadmissible pronunciation is by no means a not only the meaning of every word is clearly mathematical line, but is a sensibly broad band, explained, and the sound of every syllable correctly there are distinctly inadmissible pronunciations, shewn, but, where words are subject to different which all who wish to cultivate refined and careful pronunciations, the authorities of our best pro- pronunciation must diligently avoid. No better nouncing dictionaries are fully exhibited, and plan can be followed than learning accurately the reasons for each at large displayed, and the aature of sounds, and acquiring a facility in pro- preferable pronunciation pointed out. To which aouncing both one way and the other, because are prefixed, Principles of English Pronunciation, when this is done, the ear and judgment cannot be in which the sounds of letters, syllables, and deceived, and the speaker consciously adopts a words are critically investigated, and systemati- particular pronunciation as the most desirable. cally arranged, the influence of the Greek and The difficulty always consists in making the Latin accent and quantity, on the accent and 184 ENGLISH PRONOUNCING DICTIONARIES. Sec. XIII. quantity of the English, thoroughly examined and WALKEK'S KEY WORDS, clearly denned, and the analogies of the language As completely spelled by himself in the body of the BO fully shown as to lay the foundation of a con- dictionary, not as imperfectly given in his list. sistent and rational These have numbers 1 2 &c pronunciation. Likewise, superior , , , placed Rules to be observed by the Natives of Scotland, actually over the letters, special types having been Ireland, and London, for avoiding their respective cast, and this arrangement makes them rather and Directions to for difficult to read. Here these are peculiarities ; Foreigners numbers placed acquiring a knowledge of the use of this dic- above and to the right for convenience of printing. tionary. The whole interspersed with observations The French examples are given by himself. My etymological, critical and grammatical. By John own pronunciation of these English and French Walker, author of Elements of Elocution, Rhym- words is added in Glossic (in italics) . 1 j ir 2 &c. si fieri et a . fa te, r fai-t, pa'vper ; e in fee ing Dictionary, &c , Quare, potest, pa -pu epee, et us urbis oleant fai aipai. verba omnia, vox, huj alumnum ; 2 2 2 2 2 4 2 ' a . fa fa -THe ma m ma ut oratio RSmana plane videatur, non clvitate r, r, pa*-pa ', faa'r, mumaa' donata. Quint. [Wherefore, if possible, let every faa'dher, pupaa', (or paapaa', maamaa') ; of a native of this a in fable, rable, rahbleo. word and sound savour city ; fahbleo, 3 3 3 2 a . fa wa -tu r wau'ter that your speech may be unmistakably Roman, ll, wa'll, fau-l, wau-l, ; a in Chalons Shahloan\ and not Romanised.] The fourteenth edition, age, ahzh, 4 4 4 1 a . fa mar'-i a in London, 1814." 8vo, double columns. Prelim- t, ma t, maV-re fat, mat, ; fat matin maataen' inary matter 92 pages, Dictionary 602 pages, faat, orfa't, ma'taen'}. 1 1 1 2 v 1 2 1 '- e . me me '-te me -de -u m or me stereotyped. The first edition published in 1791. , he^e, r, i in The previous authorities referred to are Johnson, jV-u'm mee, hee'r, metier, mee-dyem ; 1755; Buchanan, 1757; Entick, 1764; Kenrick, mitre, epitre meetreo, aipeetreo. 2 2 2 e . t e in 1773; Ash, 1775; Perry, 1775; Sheridan, 1780; me't, Ie t, ge met, let, get ; mette, nette naet. Scott (new edition), 1797; Nares, 1784. maet, 1 j . tei'tl in This is a most painstaking work, by a man who 1 p^ne, ti '-tl pein, ; ai laique, naif devoted his whole time, thought, and energy to laa-eek, naa-eef. 2 2 2 . t'-tl tit- i in teaching pronunciation. But he had not had the 1 pi n, ti pin, 1; inne, titre eennai, teetrai different from advantage of a high education, or of associating [quite tea-tray tee'trai*']. 1 1 j 1 2 with children . no no no '-ti s noa'tis ; o in on equal terms from childhood the , te, noa, noa-f, lobe Idob. of persons of high education. He was born at globe, gldob, 2 2 2 2 2 . o v ou in Colney Hatch, Middlesex, 18th March, 1732, was mo o v, pro moo-v, proo'v ; mouvoir, 1 brought up to trade, became an unsuccessful actor, pouvoir moovwaar', poovwaar . 3 3 3 3 3 the in became a school . no r, fo r, o r, "like the broad a ," naur quitted stage 1767, master, f and in 1769 began to teach elocution. He died fawr, au'r ; o in or, for, encor dor, faor, ahn'- 1st August, 1807. His pronunciation, therefore, kaor'. 4 4 4 4 . ho t o in cotte belongs entirely to the last century, and it is no t, t, go not, hot, got ; hotte, Mot. perceptibly antiquated. It is full of instruction aot, 1 r 2 d in the of the to those who wish to study the history of our u . k^be, ku -pi [not body work, taken from ku 1 2 d'-e 1 -te 1 pronunciation, and remember the circumstances spelling -pi keupid'iti] in chiourme under which the author acquired his knowledge. teu-b, keu-pid; iou Cioutat, Syootaa, But it is not a model to be followed at the present shyoor'm. 2 2 2 2 . ku su eu in day. Modern editions, and so-called "pocket u tu b, p, p tub, kup, sup; neuf, Walkers," are simply worthless. veuf noef, voef. Sec. XIII. ENGLISH PRONOUNCING DICTIONARIES. 185 3 3 3 3 . fu ! in advance on Walker. There are some u bu !, !, pu buol, fuol, puol; ou boule, great pro- archaic and foule, poule bool, fool, pool. nunciations which are rather "thin," 3 2 3 2 shew the elocution-master rather O i . o i ! oil ; o'i in cycloide, heroi'que seekloa-eed, and many which air'oa-eek. than one in the habit of hearing and conversing 3 3 3 3 3 3 o u . THO u u nd aou in Aout with of education. But no , po dhou, pound ; people high certainly for his oo (could it have been aaoo in Walker's time ?) one could be blamed adopting pronuncia- 2 th. Ai ngk, th\~n. thingk, thin. tions. He takes the "well-educated Londoner" 2 4 sufficient TH. THi s, THa t dhis, dhat. for his model, and does not allow quite 2 1 2 latitude of For the work is g. ge t, go*n, go , gi v, geVse get, gon (or gau'n], pronunciation. study, goa, giv, gee's. indispensable. 2 he letters with numbers j. ji^'-a^t, ji n'-j\i~-rjei'ent,jm-jer. In his spelling adopts 2 2 1 2 2 s. si su so si se nse in a few here n, n, , t, sin, sun, soa, sit, over them cases, given by superiors. " " sens. He has a peculiar script character occasionally, ] j z. ro ze, ra ze roa'z, rai'z. which is here represented by italics, and his italics are distinguished by being placed between paren- " Smart. Walker Remodelled. critical as 3 the a in italics and the h in A new theses, (a ) A, being Pronouncing Dictionary of the English Language, script, for th, dh he uses peculiar letters which are adapted to the present state of literature and here written th, TH, as in Walker. The mode of science, embodying the original stores of Johnson, indicating pronunciation is so singularly laborious the additions of Todd and Webster, and many and intricate, that he avoids it whenever he can, so words in modern use not included in former that not half the words in his dictionary are spelled dictionaries, exhibiting the pronunciation of words at full according to this scheme, but the sounds in unison with more accurate schemes of sounds are merely indicated to belong to some preceding than any yet furnished, according to principles word, by italics, &c., and even in his scheme he carefully and laboriously investigated : explaining has spelled only the syllable of the example con- their meaning by classification and mutual refer- taining the peculiar sound at full. This occasions as well as definitions /and at times. The mode also in ence, by improved ; considerable difficulty accompanied by i. Hints for surmounting defects which he has grouped his words according to of utterance, foreign, provincial, vulgar, and im- etymology often occasions delay in finding the pedimental ii. An etymological index of common word required. The key words are here spelled terminations iii to the of in the of the when occur ; A key pronunciation as body dictionary they and names iv. Glossic own Greek, Latin, Scripture proper ; A there. The (in italics) gives my brief appendix on the pronunciation of modern pronunciation. foreign names. By B. H. Smart, author of an Outline of a Practical Grammar of SMART'S KEY WORDS. Sematology ; " Pronunciation and Practice of Note that i, so are English ; Theory a, e, o, u, y, w, h, printed, Elocution, &c. London, 1836." 8vo., double mute, though in general significant : Note further columns. 64 the mark to : as a to a 1 Preliminary matter pages, Dictionary that (") changed ( ), , and Appendices 738 pages. signifies a change in the quantity of the corres- This is still a accented vowel that an italic letter a valuable work of reference. ponding ; [in or in Although the author (who died a few years ago), parenthesis] implies a change corruption like all others of his time, had not quite an the quality; and that no change of indication adequate knowledge of phonetic relations, the implies that there is no change of quantity or work shews much independent study, and is a quality, the difference in such case being merely 186 ENGLISH PRONOUNCING DICTIONARIES. Sec. XIII that of accent. Note likewise that two 24. 3 3 3 3 3 remitted ( ), ( )A,p(a )-pa ',man'-n( ),mes-sI'-(2>, or more ways of marking a sound s, or c, or ss, for pupaa', man'u, mesei'u (or man'aa, mesei'aa). 4 4 4 instance) imply no difference in the sound itself." 25. a w, a.* we, atw, la%, a w [a we in scheme], 1. a, ai, ay, gate, gait, pay, gai't, gai't, pai. /aw, w. 2. a1 a 1 a ! a 1 -e'-re 1 re'-ta 1 26. a4 4 in , *, y, -(a)l, *!, gate-waV, w, jack'daw [jack'-da w scheme], jafr- aier-'iel, ree'tail, gai-twai. dau. ' 3. meet the in 27. 65 is but and both e, &e, ea, me, mete, [in dictionary ; [the single large covering the scheme, meet, met], mee, mee-t, mee-t. letters], p65l poo- 1. 4. e 1 e ] e ! de ] 1 28. wh means hw whirr- , e, y> -fy, ped'-e^gre ^, gal'-h^y, oo, wAerl'-pool [where ; difei', ped'igree, gal'i. pool in scheme] wherlpool. 5. I, le, y, wide, deified', de^fy, weid, difei-d, 29. oi, oy, toil, boy, toil, boi. difei'. 30. oi, oy, tur'moil, foot'-boy, ter- moil, fuot- boi. 6. 3 br'oun. I, le, y, i-de'-(a ), for'-te'^fies, for'-te^fy, 31. ou, ow, noun, now, brown, noun, nou, eidee'u, fau'rtifeiz, fau'rtifei. 32. ou, ow, pro^-nown [apparently a mistake for 7. 6, da, 6e, ow, ow, no, bo#t, foe, sowl, "blow, noa, pr5'-nown], niit'-brown, proa-noun, mtt-br'oun. 3 boa~t, foa, soa-l, bloa. 33. ar=a r, ar'-dent, aa-rdent. 1 I 3 8. o Q f ol'-lo 1 the in 34. 3 aarkai'd , W, o^bay', [in dictionary ; ar, ()r=a r, (# ,r, ar-cade', dol'-l()r, the scheme, fol'-lo^], oabai-,fol-oa. (or aakai-d], dol-er. 9. du the in 35. ver-teu. ii, ue, ui, cube, [in dictionary ; the er, ir, er'-mm, ver'-tue, er-min, scheme, due], suit, keu'b, deu, seu't. 36. er, (e)r, (i)r, com'-merce, let'-t(e)r, na'-d e)r, 10. u 1 u j 1 in iiai'der , e, u^zurp', a'-gu [a'-gi^e scheme], kom'ers, let-er, 4 euzer'p, ai'geu. 37. or=a wr, or'-d(e)r, au-rder. 38. sai'ler. 11. a, man, chap'-m(#)n [in scheme here chap- or, (o)r, stu-por, sa,il'-(o)r, steu'per, man], man, chap-men. 39. ur, ur'-gent, er-jent. 12. a, (a), ack-sept' [ac-cepf in scheme], chap'- 40. ur, siil'-fur, sul'fer. writes m()n [chap'-m(a)n in scheme], afrsept, chap-- 41. are=a'ur, mare, mai'r [he mayor= men. may- 'o)r=ma'-ur=mare]. 1 1 13. e, lent, lent. 42. a re=a ur, wel'-fa^e, wel-fair. 14. e, si'.lent, sei'lent. 43. ere=e'ur, mere, mee~r. 1 1 1 15. i, pit, pit. 44. e re=e ur, at'-mos-fe re, at-musfeer. in mei-r. 16. i, saV-pit [saw'-pit scheme], sawpit. 45. Ire=I'ur, mire, 17. o, not, com'-m(o)n [common in scheme], not, 46. ire=iur, em'-plre, em-peir. kom-en. 47. 6re=5'ur, more moa-r. raer'-fo^e 18. o, (o), pol-l'55t', c(o)m-mand', com'm(o)n, 48. o'-re=o'ur, dhai-rfoar. pulewt, kumaa-nd, kom-en. 4.9. ure=u'ur, mure, meu'r. 1 1 01 19. u, nut, ciis'-t t)rd, nut, hus-terd. 50. u re=u ur, fig'-u^e Jig-eur (or fig-yer 4 20. u, wa wl'-nut, cer'-kus wau-lnut (or wau-nut], /yer. ser'kus. 51. 66r=66'ur, poor poo'r. v blak-umoor. 21. oo [the is single but large, covering both 52. oor=oour, black'- (a) -moor, letters], good, hood, guod, huod. 53. ower=ow'ur, power, pou-r. 22 oo, ch(i)ld'-h(oo)d [in scheme, child'-hood, in 54. ower=owur, c^^l-e^flower, kol-iflour. " consonant sound between the dictionary child, as a principal word, is given 55. ('), A slight semi- 1 heard in the transition from as chiled, and the (i} refers to this] chei'ldhuod. e and y consonant, 23. a3 a3 3 3 a3 na. to certain vowel as in , A, p(# )-pa ', A, pupaa-, certain consonant sounds, Sec. XIII. ENGLISH PRONOUNCING DICTIONARIES. 187 lute (1'oot), jew (j'65), nature (na'-ch'oor) [in 74. p, pp, p?, pop, siip'-p(tf)r, hope, pop, sup-er, " the dictionary this is called colloquial," and hoa-p. na'-tu^e is given as the first form], g'arment 75. b, bb, be, bob, rob'-b(e)r, robe, bob, rob'er, [in the dictionary gar'-ment], k'ind [in the roa-b. leut 76. also c and c before dictionary kined], (or loot), jeu (or joo , k, ck, ke, final, a, o, or u, nai'teur or a bake (or nai'cher}, gaa'rment (not yyaa'rment], consonant, king, hack, ; an'-tick, cat, keind (not kyeind}. cot, cut, claim, king, hak, bai'k, an-tik, kat, hot, 66. h, hand, per-haps' [meaning p(0'r-haps' ?] kut, klai'm. ve'-he^ment hand, per-hap-s, vee'himent (or 77. g, before a, o, or u, or a consonant, gap, got, last is vee'iment, vee-ument, the commonest). gun, g^ nounced in America and in England. Ask any 3. i. like e, ma-^hlne', po-lice' po-les', mien American to pronounce the word America, and men, m-rme' m-ren', mushee-n, poalee-s, mee-n, listen. If, however, we read hy English rules the mur'ee-n. whole book becomes clear and useful. Worcester's 4. i'. fir, si'r, bird, Tirfwe, virt'yw, fer, ser, berd marks for indicating pronunciation often require ver-teu. new signs, and in that case they are here put in 5. i. 0-lix'ir e-Kk'sur rr'in, lo^'ik lod'jik, a-bil'- italics or small capitals, and described. If not i-ty, ilik'ser, r'oo'in, loj'ik, ubil'iti. otherwise mentioned, italics indicate under-dotted 1. 5. note, f5al, tow to, s5re, noa't, foa-l, toa~, letters. The spelling is that in the body of the soa'r. work, with the respelling if there given. The 2. o. not, con, odd, bor'r5, not, kon, od, bor-oa. unmarked vowels in a combination are mute. The 3. 6. move, prove, food, soon, moo'v, proo'v, Glossic (in italics) gives my own pronunciation. foo'd, soo'n. WORCESTER'S KEY WORDS. 4. 6. like a, nor, form, sort, ought awt, nau-r, fau'rm, sau'rt, au't. 1. a. fate, lace, aid, pain, player, plater, fai-t, lai-s, J- 5. o. (an o with over it), son, done, come, ai'd, pai-n, plai-er. mon'ey, sun, dun, kum, mun-i. 2. a. fat, man, lad, car'ry, fat, man, lad, kar'-i. 6. o. ac'tor, con-fess', fel'o-ni, ak'ter, kunfes', ' 3. a. [a with over it], fare, rare, pair par, bear fel-uni. bar, fai'r, r'ai'r, pai'r, bai'r. 4. a. far, fa/TH^r, part, arm, oalm kiim, faa'r, 1. u. tube, tune, suit sut, pure, teu'b, teu'n, seu't, faa-'dher, paa'rt, aa'rm, kaa-m. peu'r. 0. A. (a with a + above it), fAst, branch, grASp, 2. ii. tub, tiin, hut, hiir'ry, tub, tun, hut, hur''i. is meant for stated to be "inter- grAss [this ', 3. u. bull, full, pull, push, buol, fuol, puol, puosh. in mediate between its short sound, as fat, man, 4. ii. fiir, tiirn, mur'mwr, hiirt, fer, tern, mer- 1 ' and its Italian sound, as in far, father, but mer, hert. whether or or medial is not -*- over it like long, short, stated], 5. u. (u with , 6, rule, rude, true. faa'st, br'aa-nch, graa-sp, gr'aa-s. r'oo'l, r'oo'd, troo. 6. a. fall, hall, haul, wawk, warm, fau-l, hau'l, 6. u. sul'phwr sul'fwr, miir'niwr, dep'w-ty, sul'fer, hau'l, wau'k, wau'rm. mer-mer, dep-euti. 7- a. ll'ar, pal'ace, ri'vfll, ab'ba-cy, lerer, pal'es, 1. y. type, style, lyre, teip, steil, leir. r'ei'vel, ab'usi. 2. y. syl'van, sym'bol, crys'tal, sil-ven, sim'bel, j kr is-tel. 1. e. mete, seal, fear, keep, mee-f, see'l, fee'r, 3. mer'tl. kee~p. y. myrrh mir, myrtle mi'r'tl, mer, 4. en n vi 2. e. met, men, sell, fer'ry, met, men, sel,fer'-i. y. truly trvle, en'vy, mar'tyr, tr'oo'li, t maa'rter. 3. e. like a, heir ar, THere THar, where hwar, ai-r, dhai'r, whai'r. 01, oy, boil, toH, boy, toy, boil, toil, boi, toi. 4. e. her, herd, fern, fer'vid, her, herd, fern, 6u and ow, bound, town, now, bound, toun, nou. fervid. like new deu. 5. e. br ew, u, few, dew, feu, neu, brl'er, fu'el, cel'ery, ever, few el, sel-ur'i. 9, like s, ac'td as'id, pla9-id, as'id, plas'id. 1. J- I. pine, file, find, mild, fire, pein, feil, feind, c (c with under it, or C with an oblique lino meild, feir. through it), like k, flaccid, scep'tie, Jlak'sid, 2. I. pm, fill, miss, mir'ror, pin,Jil, mis, mirr''er. skep'tik. Sec. XIII. ENGLISH PRONOUNCING DICTIONARIES. 189 is a well-known His and re- eh. (c as before), like k, chav'ac-ter k&r'ak-ter, orthoepist. usages chasm kazm, kar'-akter, kaz-m. commendations will, however, be found to differ in those here 9h, like sh, 9haise shaz 9hev-#-lieV shev-a-ler, many respects from given. For example, shevulee-r he uses the vanishes oa w he does not shai-z, [Fr. sheovaalyai.'] ai-y, always ; ch, like tsh, charm, church, chact'rm, cherch. distinguish r, r', rr\ and does not recognise murmur with J- over it and he treats weak as if G (g , Get, Give, Gift, get, giv, gift. diphthongs, syllables they g (g \vith a half inoon over it; capital, with re- were strong. The following key words run along verted half moon under it), ^en'd^r, gl'ant, the foot of each page. They are here given in jen'der, jei'ent. Mr. Cull's orthography, using a, u for a, u with like s (s with a half moon under it), z, muse, two dots under them. To these are added a few choose, meu-z, choo-z. other words to shew Mr. Cull's treatment of R and x (x with a straight line under it) op-tish'n, oa- sheii, optish-en. tube teu'b, tub tub, bull buol ; oil oil, pound pound. cil, sil, tial, like shal, com-mer'cial kom-mer'shl, Chan chai-yn (chai'n) ; job job ; go goa-w (goaj ; kon- con-tro-ver'si^l kon-tro-ver'shal, kumer'shel, sing sing; THen [the stem of the T is crossed] dhen ; troaver'shel. thin thin; wig wig; a'zhur ai'yzheur fai'zhettr, ceows, ciows, tiows, like shus, far-i-na'ceows far-^- ai'zher, azh'eur, azh'erj. na'shws, ca-pa'ciows ka-pa'shws, sen-ten'tiows OTHER WORDS mer'li inee'r'li 1 (mee-rli) ; se'rez sen-ten'shws, in ai- shus, kupai'shus, senten'- far see-r'eez rar fsee'rr' ieezj , r'ai-yr' ra're-fl shus. (r'ai'r), r'ai-yr'eefei (r'ai'rr'ifeij, 5'ral oa'wr'al foa'rr'elj, ffeous, giou&, like jus, cot^-ra'^eows kwr-ra'jws, porpoo-r' fpoo-rj, la'ber-er lavybur 'ur' (lai'burer), re-liff'ious re-lid'jws, kur'ai'jus, rilij-tis. de-pend-ant deepend-ant (dipen'dentj, de-pend'ent qu, like kw, queen kwen, ques'tion kwest'y^n [but deepend'eni fdipen'dentj [these two last words are the first spelling ought to have given kwes'shem, usually identical], re-jon ree'jon (ree-jen) , or'gan see tion above], kween, kwes'tyen. or-gan (au-rgen, awgen), for'tu-nat for'-teunai-yt wh, like hw, when hwen, while hwil, when, wheil. fau-rteunet, fawchunet), hor'rid hor'-r'id (hor'-idj, ph, like f, phan'tom, ser'ph ser'sd, fan' tern, ser''af flo'rid flor^'id [these two last words rhyme per- (or ser^'ufj. fectly], flo'-rist/or'-u* (floa-rrist). and Cull. smaller I Ogilvie A English Dictionary, As am personally acquainted with Mr. Cull, I etymological, pronouncing, and explanatory, by know that the pronunciation he uses in conversa- Joint LL.D. The Ogilvie, pronunciation adapted tion and public speaking does not differ from my to the best modern Richard Gull. usage, by F.S.A., own so much as these words would imply, and 464. hence I recommend those 1875, London, Blackie, pp. who use this dictionary A compact, useful, and very cheap little book to read the pronunciation there given in accordance (3s 6d.) beautifully printed and got up. Mr. Cull with the above indications. 130 ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FRENCH. XIV. ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FRENCH. Introduction Although it is not possible to lay (Haam-buorkh, Lue'baek, Brae-men, Haol-staayn^ rules which will enable a reader to ascertain Haan-oa-vur Free- . down , sldandj Through Hamburg the sounds from the ordinary spelling of English and Hannover (which we write Hanover, and call this is much more the case with this reaches words, nearly Han-uver) % system chiefly England, German, Italian, and French. but the point to which the English cling is the fifth, concerning st, sp. oe. 6 I. German. For German it is not usual to give (1) Short i, u, ii become e, oa, Short e, o, any assistance to the reader, and most Germans become ae, o, e\ ' ' ' ' are under the delusion that they spell as they {2} When e long is derived from a long, or ' ' pronounce. This is not the case. High German i long, it becomes ae- long, and is otherwise ai- is a literary language which owes its predominance long. This custom requires a knowledge of the to the fact that Martin Luther (Luot-ur ) was language, or marked vowels. [Mr. Henry Sweet, " born at Eisleben CAayslae-benJ in Saxony, and in a paper on The Characteristics of North used his own dialect for his translation of the German," read before the Philological Society, Bible. In different parts of Germany different 17th March, 1876, immediately on returning- from systems of pronouncing this literary language a six months' residence in Hanover, stated that prevail, distinguished by their treatment (1) of this distinction in now entirely given up, and that of it German e, (2) the diphthongs, (3) of the corre- long 'e' is invariably ai-, no matter whence is spondence of short vowels in closed syllables to derived.] ' ' of ' ei ' long vowels, (4) German g, (5) of German s, (3) The diphthongs ai, are both aay, au * ' and (6) of German ng. The three principal is aaw. and au, eu are both oy. ' are thus ' systems defined and described by Dr. (4) Initial g is g at the beginning of syllables, " H. M. Rapp, in his Physiologic der Sprache," and gh or gy'h at the end of syllables. [Mr. vol. 4, 1841, p. 85. Henry Sweet says it is always g except at the end A. The or Low Saxon then it is k the Orthographical System of of words, and even generally ; gy'h used in the Pronunciation, North West of Germany, or ky'h occurs only in the termination ~ig.~\ between the ' ' Weser (V'ae-zur) and the Elb, and (5) The combinations st, sp are always &t, sp. in the are considered mostly Hanse Towns (Hamburg, Liibeck, [Mr. Sweet says that st, sp not Bremen), Holstein, Hannover, East Friesland correct at present in Hanover, that sht-, shp-, with Sec. XIV. ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FKENCH. 191 ' ' the full labial sJi (p. 713) are always heard on the (3) The diphthongs ei, au, eu are aay, aaw, ' ' stage and in public speaking, and st-, sp- may be aay [but oy or aoy is used for eu on the stage, the a considered to have practically disappeared.] aay being thought vulgar ; Rapp supposes ' ' theoreticians 6) Final ng adds on a g, as ngg, but between theoretical one, other give a theoreti- vowels no such g is heard. [Mr. Sweet knows cal aaue, I have never heard either.] ' ' ' only ngk final, but even this is now discoun- (4) Initial g is g, final g' is kh or ky'h, and ' tenanced, and ng alone is used.] g' between vowels, and after a liquid and before a vowel, is gh or gy'h. B. The Historical used ' System of Pronunciation, ' (5) Initial st, sp always sht, shp [or, in in the North West of Germany, Berlin, Branden- Saxony, in the most refined speaking, more exactly burg, the shores of the Baltic from Mecklenburg, sKt, sh'p.] Pomerania to the Russian borders also ' through ; ' 1 6) The ng is always ng without any final g in isolated districts in the middle provinces, on the [or *.] lower Rhine about Aix-la-Chapelle and Cologne, It is this system of pronunciation to which I near the river Fulda in Franconia, &c. ; and like- have become accustomed by three years' residence wise in South West Germany, in Swabia, Alsatia, in Dresden. But I always took the liberty of using Switzerland. (Baei'lee'n, Br'aatrdenbuor'ky'h, those pronunciations known in other parts of Maek-lenbuor'ky'h, Paom'urn, French Aezlaa- Germany, which were easiest for my own organs, Shaapael, Kaolaony , German Aa'khen, Koeln, and I recommend other Englishmen to do the . Fuoldaa) ' same. Thus the short German vowels a, e, i, o, u, (1) The short vowels have the same quality as 6, ii,' I recommend pronouncing as aa, e, ?, o, uo, the long vowels. oe, ue, and the long as aa, ai, ee, oa, do, eo, ue. The use of ai as in the Ortho- (2) The ae, long, ' ' diphthongs ei, au, eu may be taken exactly as graphical System. English ei, ou, oi, in the form most usual to the A ' (3) very complicated diphthongal system, The ' even be ' ' speaker. g may always speak well enough to be mistaken for a German little work by Theriat, cited below, and now by Germans; I have had much conference with apparently out of print. With this help, I hope Germans respecting pronunciation, and have that my Key will prove useful even to those who studied many German orthoepical works. My have considerable acquaintance with the language. directions may, I think, therefore, be followed But a pronouncing dictionary or vocabulary is still with considerable confidence. necessary, and for those who can read French, I " recommend Adrien Feline's Dictionnaire de la II. Italian. For Italian, the spelling shews Prononciation de la langue Fran9aise, indiquee au the pronunciation almost exactly, except in four moyen de caracteres phonetiques, precede d'un the use of the three letters important points, double memoire sur la Reforme de 1'Alphabet, Paris, ' the of the accent. It is e, o, z,' and position 1851," 8vo, double columns, 383 pages, a work I quite impossible to give complete rules for over- find constantly useful. The following is a com- coming these four difficulties. All elementary parison of his symbols with the Glossic. Italian books and dictionaries should have the broad sounds tie ae, do do, dz distinguished in some 1. a aa 13. u ue 25. 1 I way from the fine ai ai, da oa, ts ; learners other- 2. a ah 14. u oo 26. hj wise fall into difficulties which they can never j. correct. Although I resided eighteen months in 3. a ahn' 15. u oen 27. y y Italy, and was at one time able to speak the 4. e ai 16. p p 28. f / language fluently, I have not attempted to grapple with these difficulties on my own responsibility, 5. e ae 17. b b 29. v v but have always consulted the excellent work of 6. oe 18. mm 30. w w Valentini. In Petronj's (Paitrao-nyee'zJ Pocket Italian Dictionary, Rosteri's (Roastae'ree'z) Pocket 7. e eo 19. t t 31. s s Italian Interpreter, and New Italian Grammar (all 8. i ee 20. d d 32. z z in English), these distinctions are always carefully marked. Based these and own 9. aen' 21. n n 33. h sh upon helps my i_ familiarity with the language, the following 22. 10. o ao k k 34. j zh Alphabetical Key will most probably always lead the student correctly. 11. 6 oa 23. g g 35. r r' 12. o oan' 24. g ny' III. French. There is this peculiarity about French spelling, that though it is quite impossible to the of a guess spelling word from its sound, the These Alphabetical Keys were originally written reverse process of telling the sound from the and stereotyped for separate use, and hence they spelling is tolerably certain, and admits of reduc- have been constructed independently of the pre- tion to which will rule, generally, not always, ceding pages, with a separate key to the especially suffice. I Although have been familiar with foreign sounds, which was continually referred to. French from childhood, have resided many months This Key is therefore retained, and although the at various times in France, during which I full explanations already given may have rendered studied diligently the pronunciation, and have in- it not so necessary as before, yet the reader may dustriously worked through many French treatises find it convenient to have a -statement of all the on the I subject, have been very glad to rely for new sounds he has to learn put before him at once, the following Alphabetical Key on an admirable with a reference to the other fuller accounts. Sec. XIV. ALPHABETICAL BEYS TO GERMAN ITALIAN, AND FRENCH, 193 EXPLANATIONS OF FOREIGN SOUNDS. Six Vowels, heard in Provincial English. this sound, which is written eo in Glossic. See ae is a [1.] with a higher larynx and narrower p. 94. a ae throat, somewhat broader sound of ai in air, [6.] oe is produced by trying to say (instead 32a. It p. has no resemblance to aa. It is very of ai, as in the last case; when the lips are placed common in German, Italian, and French. Those for oa, p. 3 la. Common in French (where it is who have a difficulty in pronouncing it may use ai distinguished from eo by careful speakers, but must long and e short. not be confounded with any other sounds), and in [2.] ah is aa with the back of the tongue de- German (where it is always short, and may be pressed, a thicker, broader sound of aa, producible called e or ae, the latter being a vulgar native from au by opening the corners of the lips (p. 33). pronunciation), but unknown in Italian. Very in Common French, common (but not acknow- like English er with untrilled r, but the lips are ledged) in German, quite unknown in Italian. not rounded for er as they are for oe, Those who have a difficulty in pronouncing it may use aa. Four Nasal Vowels, peculiar to the French. confined to the aen' the uvula [3.] ao, diphthong 'oar"= [7.] ', produced by keeping away ao-u-(r'} in received English, but used provincially from the pharynx, as in diagrams 22, 23, 24, all before all consonants, p. 3oa. Common in German, the time that the speaker tries to say ae or a. Not Italian, and French before all consonants. Those to be confounded with ang, which consists of a, a who have a difficulty in sounding it may use oa glide, and ng, whereas aen' is one simple vowel on long and o short in German and French, and au which a note of any length can be sung. But this long and o short in Italian. aen' is sometimes heard during the glide, in [4.] ue may be immediately sounded by trying passing from a to ng, when the vowel is continued, to say ee or i when the lips are placed for oo, p. 29 a. even while the uvula is relaxed, as in diagram 24 Common in French it must be for the Practice ae-aen' -ae-aen' in (where rightly ng. saying , &c., pronounced to be intelligible), and German (where one continuous emission of breath, feeling the it called ee of may be or i, that being a vulgar native motion the uvula. Examine the effect of pronunciation), but unknown in Italian. In closing the mouth and nostrils alternately, by the French it forms a diphthong with the following hand only, while saying aen'. See p. 400. vowel, generating a sound much like an attempt [8.] ahn', produced by keeping the uvula away to pronounce w and y at the same time, giving the from the pharynx, as in diagrams 22, 23, 24, all tries greater predominance to the w, see p. 49 &, and the time that the speaker to say ah (or au, UI in the French Key, p. 210*. but try not to round the lips) . Differs from aang [5.] eo may be immediately sounded by trying as ang from aen'. Exercise ah-ahn'-ah, &c. as in to say ai when the lips are placed for oa, p. 31. [7]. Never call this ong or ang. See p. 40a. Common in French it oan' uvula as in all (where must be rightly pro- [9] , diagrams 22, 23, 24, the nounced to be intelligible), and in German parts of time that the speaker tries to say oa. Exercise Germany (where it is always long, and may be oa-oan' -oa-oan' &c., see [7]. Never say ong. Dis- called ai, that being a vulgar native pronuncia- tinguish clearly between ahn' and oan'. English tion), but unknown in Italian. At the end of speakers are apt to call both ong. See p. 40. words -tc, -me after consonants are oen' uvula as in -le, pronounced [10.] , diagrams 22, 23, 24, all in French with the faintest indication of the time that the tries to oe possible speaker say (or u.) 194 ALPHABETICAL KEYS TO GEKIU.N, ITALIAN, AND FRENCH. Sec. XIV. to Italian and Exercise oe-oeri'~oe-oen' &c., see [7], Never say Two Liquid Consonants, peculiar French. wig. See p. 41#. I at [17.] ly' is an attempt to pronounce and y the same time, so that the front of the tongue is Six German Consonants, of which two are pro- as in diagram 20, and the back as in diagram 1. other four be vincial English, and the may ' If in saying billion '==bil-yun we prolong the I pronounce^ with received English sounds. till we begin to say y, we produce ly' as an inter- mediate glide, thus bil-ly'-yun. It is not ly. [11.] M, lips open, tongue almost as for oo, Common in Italian and in the pronunciation of diagram 5, hut even a little closer to the uvula, so elderly Frenchmen, but within the last 50 years it tha't the breath escapes as a hawking, rasping hiss. has in France. Never use ' been replaced by y y The Scotch ch in Loch '=lokh. Never say k. " " 1 aeo for ly' in Italian. This is called mouille See p. 83 [14.] gy'h, the same as ky'h, [13], with the voice Two Consonantal Diphthongs, used finally, but laid on, so that it is very nearly y, but a little not initially in English. harsher and is a German ; y vulgar pronunciation. ts ; if in saying pats we pause at the t, This may be always called g in German, that [19.] keeping the tongue as in diagram 16, and then being the pronunciation of many persons in North t the explode from to s, thus pat -ts, we produce Germany. See p. 81a. initial ts. Common in German and Italian, but is with the in the [15.] f an/^made lips position unknown in French. See pp. 703 and 710. for w, as in diagram 12, but closer, taking care ' [20.] dz; if in saying pads '==padz, we pause that the lower does not touch the teeth. lip upper at the d as long as we can sound the voice in that I" is an attempt to say without using the teeth. / position, and then, while the voice is still sounding, But / always be used, that being a very may come suddenly down on z, thus pad-dz (taking care general pronunciation. See p. 65. not to drop from z into *, as Englishmen are apt 1 [16.] v is a v made with the lips in the position to do), we produce the initial dz. Not uncommon, for as in in Italian unknown in w, diagram 12, but closer, taking care but not very common, ; that the lawer lip does not touch the upper teeth. German and French. See p. 97. It is-/', [15], with the voice laid on; that is, it is an attempt to say v without using the teeth. But NOTES. v may be always used. Englishmen are cautioned [21.] In using the English sounds ai, oa in against saying w. See p. 65. foreign languages be extremely careful never to Sec. XIV. ALPHABETICAL KEYS TO GERMAN, ITALIAN, AND FRENCH. 195 is uvular trill l r but this is considered add after-sounds of short ee and oo. This trick (p. 83*) , always quite unknown abroad, and is extremely un- erroneous, even by those who use it. Be careful r' final pleasant, often unintelligible, to foreigners. never to introduce a trilled between the 00, w, of one word, and the initial vowel of the Cautions for English Speakers of German, Italian, next. This is quite unknown abroad. and French. [24.] The aspirate h is unknown in French and letters [22.] The t, d, n, s, I, r, are pronounced Italian, but is never dropped in German. The " " in German, Italian, and French, with the tip of French so-called h aspire aash aaspeer'ai is a the tongue rather more forward than in English, mere hiatus. so as to lie quite on the roots of the teeth, almost [25.] Diphthongs in German are very close, as for th. See but the first element than in as much English *', d\ p 700 ; w", being longer English, p. 770; s, *',p. 703; l\ p. 73i; r", p. 74*. sound very broad. In French and Italian the [23.] Vocal r is unknown in German, Italian, vowels are rather slurred together than united into and French, and Englishmen are therefore cau- a glide to form a proper diphthong p. 45). When tioned against using it, as they will be considered in Italian several vowels come together on one note to have omitted r altogether, and would hence in singing they are all to be distinctly heard, and 1 become unintelligible. A strongly -trilled r must are to be slurred together in this way. See always be used. Germans and French (not Section XV, p. 213. No written vowel must be Italians) often use the Northumbrian burr or left out in speaking or singing Italian. 196 ALPHABETICAL SET TO GERMAN PRONUNCIATION. Sec. XIV I. ALPHABETICAL KEY TO GERMAN PRONUNCIATION. Only one un-English sotnid is absolutely neces- C before A, O, U, is k, in which case it is often for but before it sary speaking German intelligibly, namely, kh, replaced by K ; AE, E, I, UE, EI, the Scotch ch in loch [11]. The bracketed numbers is ts, in which case it is often replaced by Z. refer to the explanations on p. 193, where it will be Before any other letters but H and K, C is only seen that 1 1 other new sounds, or combinations of used in foreign words, as Capital kaapeetaa'l, sound, are also in use. Of these ts [19], and dz Geder tsai'der'. [20], are only un-English by being used at the CH after A, 0, U, AU, is kh [11], and generally instead of only at the end of syllables. beginning, (not always) shortens the preceding A, 0, as use ai and e short for ao For ae [1] we may long, ; machen maakh'en,, pochen paokh'en, p$kh'e>/, but o for ue ee and i for short ; [4], long, short; [3], Buch bookh. CH after AE, E, I, EI, EU, AEU, eo ai for oe e short for it, ' [5], long ; [6], ; ky' [13], that is is h E, L, N ; generally, ky [13] (nearly in for either or ffh as h hue ; gh [12] gyh L 14], yh}, and also often shortens the preceding E, I, for and v' v. ' ; and /' [15] [16], simple/, dimple g as Pech paeky'h or peyk, ich eeky h or iyh, Dolch Persons so will be always well and easily speaking daolkyh or dolyh, manch maanky' h or maiiuyh, understood Germans, although the sounds are by durch door'ky'h or door''yh. In the final syllable incorrect, or, more properly, vulgar. frequently chen it is also ky'h, as Madchen mde'dky' hen or In the following alphabetical list, Italics mark mai-dyhen, the only German syllable in which the in Glossic characters. pronunciation CH is initial. In foreign words from Greek it A is long or short aa, never English ai, a, as Strasze is kh, ky'h, according to the following vowel, shtr'da'su, Mann moan. sometimes k, and from French it is s/i, as Chaussee is or short ae as shoasai'. CHS is always ks, as sechs zdeks or zeks. A long ( 1], sprachen shprae-ky'hen, mden'er' but be miscalled as Manner ; may ai, e, CK used for KK, which is often written, is k, shpr'di'yhen, men-er'. and shortens preceding vowel, as Miicke muek-u or mik'u, AA is always long aa, as Aal aal. is d at the of words or between two AE is precisely the same as A, and is often used D beginning vowels the but t instead of it in capitals. (lengthening preceding vowel), at the end of words, as das daas, Ader aa'der\ is the same as AU. AEU precisely stand shtaant. The Germans advance the tip of nearer the teeth than the AH is always long aa, chiefly used before L, M, N the tongue English [22], as Pfahl Rahm Ahnen da'nen R, p/'aal, r'dam, E is generally ai [21] when long, and may be Bahre. baa-r'u. always so called, but is sometimes ae [1] long, and before a consonant is ae short, but be AI is precisely the same as EI, and may be pro- may e short. final and unaccented it is nounced as ei. called When final in ' idea.' When practically u, as English A ATI is taken as and the aa be ou, aa-oo, may in a final with L, M, N, K, it is indistinct, distin- syllable made ; as Laut lout to be long (scarcely be called e, ' and may very lightly pronounced, from lout.') guished English and in case of el, en, the vowel is sometimes called oi as in North omitted. Some German writers on pro- AIT may be always Germany ; entirely nunciation allow ES, final to be ur\ it is professedly aa-ue [4], and is often confused ER, Eber ae-^r 01 hoi'zer haaue'zer' often us . heben, hai'ben, with AI, as Hauser ', or Examples, eine Adel da-del da.-dl, hei-zer'. See [25]. ai'ber', ei-nu, nearly offenen anf-enen or ofnen, Nudeln nwdeln (not B is b at the beginning of words or between the noo'del-n, or noo-dlen, as Englishmen often say). two vowels (lengthening the preceding vowel), ai as Beet bait. but p at the end of words, as bat bdat, graben EE always long [21], Grab the latter grda'ben, i/rdap. EH always long ai [21], or long ae [1], as rare used before L, M, N, R, as Ehre BB is b, and shortens the preceding vowel, Ebbe ; generally or di-r'u. aeb-u. di'r'u, compare Aehre de-r'u Sec. XIV. ALPHABETICAL KEY TO GERMAN T KONUNCIATION. 197 El is ei taken as any that is aa-ee, and the first MM is m, but shortens preceding vowel as kammen element be as rein, or r'ein. kdetn'en or hewen. may long ; raayn See [25] N is n except before K, when it sounds ng, as drin- or E U is precisely the same as AEU, and may be always nen dreen-en or drin-en, drinken dreengk'en called oi as in North German, but is professedly dringk-en. aa-ue and is often confused with AI or El, ' [4], NG is always ng, as in English long,' and never as Eule oi-l/t, or aane-lu, often ei'lu. See ' ' [25.] ng-g as English longer : thus, lang langer, after or not 01 F always /, but in some districts/' [15] p. laang laeng-er* , leng-er\ laeng-ger', leng-ger.' Final NG is sometimes erroneously FF always /"shortening preceding vowel, as Staffelei called ngk, as lang, laangk. is long oa and short ao [3], or short o (heard G may be always called g when at the beginning in North Germany), which may therefore always of syllables, or between two vowels, and k when be used in place of the more difficult short at the end of words, except in the syllable ig, no, as grosze groa'see, Ochs doks, or oks. which may be Cdlled eekif h [13] or \yh. In is eo and when short oe the middle and South of Germany (that is, more 6 when long [5], [6], but generally) G at the beginning of words is called may be called ai when long and de (or e) when are g, and in the middle of words gh [12] after short, as these common vulgar pronuncia- A, 0, U. AU, and gy'h [14] after AE, E, I, El, tions; thus, 'groszer' properly greo'ser\ vulgarly ' EU, AEU, R L,'but at the end of words kh, grdi-ser ; konnte,' properly koen-tu, vulgarly kyh after these letters respectively, and lengthens kden'tu or ken'tu. the vowel ; as taakh, or taak, preceding tag OE, (E the same as 0, usually employed in names or or tsook woge v'd'i'ghu, voa'qu, Zug tsookh, ; as Geo-tu Gdi-tu like 1 Goethe (vulgarly English Sage zae-gy'hu, or zdi-gu; Siege zee-gy hu, or 'gaiter'). zee'gu, feige fei'gy' hu, or fei'gu, augeln oi'gy'heln OH is oa as ohne oa-nu. or oi-geln. long 00 is oa as Boot boa't GKJ is g, but shortens the vowel, long (never oo). simple preceding ; as Koggen rdog'en, or r'oye-n. P is p as Pass pdas. Confused with B in Saxony, before a vowel h as heiser hei'zer' H [24], ', except PF properly pf [15], may be called pf (nevei in which see after a TH, ; vowel, mute, length- simple /), as Pfaffe pf'aafu or pfdaf-u, never the vowel. See ening AH, EH, IH, OH, UH. faaf-u. ee short * in North of I is long and short (and PP is p, but shortens preceding vowel as Pappe Germany, so that short i may always be used pdap'u. in place of the more difficult short ee), as Ver- QU is kv' [16], and may be called kv, but must fer'gees'-mein-neeky'ht, or fer'- giss-mein-nicht never be called kw, Quelle kv'ael-u or kvel'u ' (never kwel-u as in English queller '). IE is long ee, except when final in a few foreign E is properly r\ [23] with the tip of the tongue words where it is ee-u, or yu, as Liebe lee-bu, trilled, but is frequently made by trilling the Lilie let-iee-u, or leelyu. uvula, a practice condemned by those who follow is in eenen. IH long ee, as ihnen it. This r" never forms a diphthong with the in eer. J is in Gothic the I J are preceding vowel, as English air, oar, oor, if ; German print capitals and oa often occur before it, as Lehre lai'r'u, not distinguished. ai, as well as short vowels, as sterben shtder ''ben or K is k ; avoid middle German of pronunciation shter'-ben, murbe muer'-bu or mtr'bu. K, as k-h. when beginning a syllable, as komm as Pfar- k-haom, and say kaom or /com. ER is r\ shortening the preceding vowel, rer is pf'aar''er'. L I, as Luge lue'gy' hu or, intelligibly, lee'gu. 8 at the of a before a vowel LL is I, but shortens preceding vowel as lallen beginning syllable, z Idal'en. or between two vowels is always (never *) ; it is s. Tr M is m t as Mutter moofer\ at the end of a syllable always 198 ALPHABETICAL KET TO GEEMAN PRONUNCIATION. Sec. XIV. German Gothic and sometimes in Roman ' ' types, Germany ; thus, Muller properly Muel'er', types, a long f is used in the first two cases, and very often Meel-er' or Mtl-er' never Mul-u, a short 8 in the second : Ex. faufeln zoi-zeln, Moo-lu, Meu'lu, as English people barbarously genas genda-s. See sp, ss, at, tz. pronounce Prof. Max Miiller's name. SCH is always M, and often shortens the preceding HE is often used as the capital form of U. vowel, as rasch rdash, schiitteln shuet-eln or TJH is as Uhlan Oolda-n. shlfeln. long oo, TTJ is sometimes used as a capital form of U in SP at the of a is beginning syllable most generally Austria. called shp, as spiel thpee'l, but in Hanover it is as is some theorists called sp, speel. See p. 190* (5). V by German called /' [15], but is most usually f (never v], as von fdon or SS is *, and shortens the vowel, as preceding fon (never von). Those Germans who call W v' kiissen kues-en or kls-en, unless in German [16], have the greatest difficulty in pronouncing Roman it is used for which see. In types SZ, a true v. German Gothic types SZ is often used for SS at the end of words and before consonants (never W is v [16] throughout the middle and South ' ' before vowels) as ' nusz for ' nuss noos. of Germany. German theorists declare that v is always used in the North (though the present ST at the of a is most beginning syllable generally writer has never found a German who knew the called sht as stehen shtaien or shtdin, but in sound of v), and hence Englishmen may always Hanover it is called st. At the end of a sylla- this use easier v (but never M>), as wer weisz ble it is always st as ist eest, or ist, and never rider" v'eis or vaer' veis (vaer may be called sht. Seep. 190* (5). vairr', as in English 'vary' vai-rr'i). SZ is always s. and lengthens the vowel, preceding X is ks, but only occurs in non-German words. except when in German Gothic types it is used for SS, as is common at the end of words or before Y is always considered as a vowel, and to be, in consonants. In German Roman types SS is often the older German dipthhongs AY, EY, another used for SZ, and when this is done, SZ is not form of I. In later spelling AI, El are used, used at all. Compare 'Flusz Fliisze' with 'Nuss and Y is confined to non- German words, being ' called ee. Nusse that is floos jlue-s ee or flee-see, with noos long and short nues'u or nis'u. Z is always ts [19], never dz [20] or simple 2, T is t -with the tongue nearer the upper gums very common at the beginning of syllables as for t zuzuziehen tsoo-tsoo-tsee-n. than English [22], In Saxony it is con- fused with D. ZSCH is ch, often used at the beginning of TH is t lengthening the following vowel as That words, as Zschokke Chdok-u, or Ohok-u, Tshok-u. taat (never th or dh). See H. German words generally receive the accent on TSCH is ch, that is tsh, used at the end of words, the root syllable of native words, and on the last as Deutsch doich or doitsh. syllable of those taken from French and Latin. TZ is ts, used at the end of a syllable after a short Example of difficulties : Ach ! eine einzige iible Miicke konnte wohl auch vowel (but the T is frequently omitted), as nutz feurige mien bose noots. rnachen, was mir unendlich leid thate. Aakh ! ei'nu ei'ti-tseegy" hu ue^blu foi'r'eegtf hu muek'u TZSCH is is ch, and sometimes used at the end of - koen'tu voal oukh meeky 'h boe zu maakh'en, v'aas words, as Retzsch Edech or Retsh 1 (like "wretch"). meer oon-den' dleeky' h left tde^tu which would if is and short be ; Aakh ! ei'nu U long oo, but short uo may be said, intelligible mispronounced ee'blu as Putz pfiots or puots. ei'ntsigu foi-r'ign mifru ken-tu voal ouhk miyh bai-zu mdakh'n, vdas meer' oon-en'dliyh leit U is and short ue but be long [4], may called tdi'tu. (Ah! a single evil fiery gnat might indeed and long short ee, or ee long and i short, as even me angry make, which to me infinite sorrow this is a known all vulgar pronunciation over would do). See German Songs, pp. 217-224. Sec. XIV. ALPHABETICAL KEY TO ITALIAN PRONUNCIATION. 199 II. ALPHABETICAL KEY TO ITALIAN PBONUNCIATIOtf. Italian Tuscan^ be is (or properly, , may pronounced CCH, used only before E, I, k-k, like CC before intelligibly without introducing a single unusual A, 0, U. sound e English by simply using for ae, o or au for CCI before A, 0, U is t-ch, like CC before E, I, ao. for as braccia braafrchaa, caccio kaat-choa other- ly ly ', and ny for ny\ For more correct ; wise it is t-chee, as abbracci aab-braat'chee, speaking, study the vowels ae [1], on p. 193; 00, the consonants CH, used before I, is as chiave [3] ; ly' [17], ny' [18], and the only E, k, kyaa'vai, cheto kai'toa. consonantal diphthongs ts, & [19, 20]. Observe CHI before is also the cautions [21, 23, 25]. A, 0, U, nearly chy, chiodo kyao-doa. Italian vowels are shorter than generally English CI before A, 0, U, is ch, simply (see C), as ciancia and than short vowels. long, longer English chaan-chaa; before E it is always chy, as cielo have the same sound whether They precisely chyae'loa, as cieco chyai'koa, ciechesco chyaikae'- or and one be made long short, any may long ciera chyai'r'aa. in singing. Observe also that double consonants D is d with the of the the in Italian should be pronounced twice, to imitate tip tongue against roots of the teeth is never confused with the peculiar energy which they receive and which [22], t, as dato daa-toa. always distinguishes them from single consonants. is as in DD d-d, two words, as ma^-otfshes ; In the following Alphabet, Italics mark the English Ex., freddo fraid'doa. pronunciation in G-lossic. is ai E sometimes [22] and sometimes ae [1], the is aa ' A middle length, as raro r'aa'T'oa, fatto ' former is called chiuso kyoo'zoa close, and faat'toa, cassa kaas-saa. It is never indistinct, ' ' the latter aperto aapaer' 'toa open. The mean- as final 'a' in English. Never allow an r or r' ing of a word often depends on making this to be heard after it. The "a" when preposition distinction of sound, which is not marked in before a consonant always runs on to it, and spelling, and can be fully learned from a it doubles ; thus, a,\maal-loo-ee. Whenever a word dictionary alone. The following rules (derived ends in -a, with the accent on it, the following from Valentini) apply to numerous, very common consonant is also doubled in correct Tuscan. cases, and should be studied by those who wish to Italian well. B is b, never confused with p, as bardo baa-r'doa. pronounce Use ai in words like the BB is b-b, as if occurring in two words, as in (close e) ending ballads as following passEG-GrlO paas-said-joa, dEGrNO English, Ba ; gabbia gaab'beeaa. dai'ny'oa, civilMENTE cheeveelmain'tai (only C before U, is k ; and before E, I is ch, A, 0, when adverbs), aliMENTO aaleemain-toa, bur- but when CE, 01, CIA, CIO follow immediately IESCO boor'lais-koa, caprETTO kaapr' ait'toa (only a vowel, the t of ch -tsh is not so distinctly when diminutives), colpEVOLE koalpai-voalai, so that to ears the sound is heard, English bellEZZA bail-laittsaa, avERE avai-r'ai (only but is that modification of nearly sh, really when verbs in ere long), and cedEI, cedE\ sh heard in prolonging the hiss of English tEnne, prEse, crEbbe, &c. ; credEVA, cedESSI, as as but ch "hatch, fetch, long possible, pure credESSERO, &c., chaidai-ee, chaidai', tain'nai, m is better than pure sh. Ex., acerbo aach aer''boa, &c. kr 1 pr'ai-zai, kr'aib'bai, ; aidai-vaa, chaidais'see, face faa'chat. kraidais-sair'oa, &c., in the past tenses of all " CC before A, 0, U is k-k, as if in two words, verbs, in the monosyllables me, te, se, ne, ce, is &c. ; and its com- as boo-<-ase ; and before E, 1 ve, le, re, tre, fe," "che," English " t-.ch as English fa^-cAeese, as accendere aat- pounds perche, benche," called mai, tai, sai, chaen'dair'ai, facce faat'chai. nai, chai, vai, lai, r'ai, tr'ai, fai, kai, pair'kai\ 200 ALPHABETICAL KEY TO ITALIAN PBONTHSTeiATION. Sec. XIV, bainkai- in ALL UNACCENTED SYLLABLES; and ly, as paglia paa-ly'aa, aglio aa-ly'oa, figliuccio when E replaces a Latin I, as cetera chai-tai- fee-lyoot-choa, dagliene dan-ly'ainai, &c. The 1 raa, neve nai-vai, peace pai-shai, GN is always ny [18], or nearly ny, never gn ; as 'and' is also but adverb "e" meaning ai, gnocco 'ny'aok-koa, bisogno beezao'ny'oa, pugni doubles when occurring before a consonant poo-ny'ee. as e lui ail-loo-ee; this is also the case for it, GU not before a vowel is goo, but before A, E, I, all words in -e in Tuscan. ending proper 0, is almost gw, the vowel being rather more Use ae e} in other words ending as heard, as it were as (open " distinctly goo, guai gwaa-ee, its inflections bELLO bael-loa (with bella, sangue saang-ywai, tregua trae-gwaa. dENTE daen'tai, semENZA belli, belle"), H is never pronounced as h ; it is now used only mestiERE maisteeae'r" ai saimaen'tsaa, (not verbs"', in the combinations CH, G-H, which see. When desidERIO daiseedae-r' eeoa, eccESSO ait-chaes'soa; ' formerly written before vowels as ho hai, ha, accented in the last but generally when syllable it was mute these words are ' havere,' entirely ; TWO and in the monosyllable e ae, meaning is '; * now written 6, ai, a, avere', and read ao, aa-ee and when E stands for Latin E, JE, generally aa, aavai'rai. (E, as bene bae'nai, mesto maes'toa. I is always ee, except in the combinations CI, GI, F is /, as ferro faer-r'oa. CHI, GHI, which see, and generally before vowels, where it is y, or ee. Final i FF is /-/, the hiss of / prolonged, and some- nearly makes the consonant to be what relaxed in the middle, as in English following pronounced double in correct Tuscan. sti/-/oot. Ex., affatto aaf-fctat-toa. J final stands for II, and is called as is as ee-ee, studj G before A, 0, U is g ; before E, I j't gara stoo-dee-ee. At the beginning of words it is gaa-raa, gorgo goa-r'goa, guscio goo'shoa ; gesto written for I, and pronounced nearly as y, but jaes'toa, gigante jeegaan'tai. the vowel is more distinct, as if ee, as jeri yae'r'ee. in GG before A, U is as ; 0, g-g, English bi^oat lui in L is always I, as loo-ee, except GL which see. before E, I is d-j, as in English ba^/est; as is as in as distraggo deestr'aag'goa, fuggono fooff-yoanoa. LL always l-l, English sou^ess, ballo baal-loa. GGH, only used before E, I, is g-g. as in English M is always m, as mano maa-noa. "big yeese, as sogghigno soag-gee'ny'oa [18]. MM is m-m. as in sham as is as always English moans, GGI not before a vowel d-jee, oggi aod-jee [3] ; fiamma fyaam-ma. before A, O, U, d-j as scheggia skaid-jaa* N is always n, except before C, G, followed by A, used before E, I, is simple g, as piaghe GH, only O, U, or before CH, GH, foUowed by E, I, in pyaa'gai, laghi laa'gee. which cases it is nq, as vincere veen-chair 'at, GHI before A, E, is almost gy, but the vowel ee fingere feewjair' at. but bianchi byaang-kee, see is more distinctly heard, as it were gee, as NG, NGH. ghiaccio gyaat'choa, ghiozzo gyaot'tsoa [3]. NG before A, O, U is always ng-g, as in English is before as but before I GI not before a vowel jee ; A, 0, U, "finger," lungo loong-goa, E, as is j, as gi&CQTQ jaachai'r' ai, Giacomo Jaa'koamoa, is always n-j, piange pyaan-jai, giugno joo'ny'oa. NGH only used before E, I is always ng-g as in " is before it as GL before A, O, U always gl ; E, I, English stronger," lunghi loong-gee. is in the words ONLY : gleba glae'baa gl following when close is oa (if anything rather more [1], Egle A.i'glai, glenoide glainao'eedai [3], inclined to ud), and when open is ao (or very naiglee'jair' ai, negletto naiglaet-toa, o negligere nearly or au, which may be used for it). As gleekao-neekoa, glitto- glifo glee-foa, gliconico in case of E, (which see), the meaning often grafia gleet' toagr'aafee'aa, gleet' toagraa'feekoa, depends on the distinction, although it is not before I in ALL OTHER anglico aang'gleeJcoa / marked in spelling and can be fully learned is or as WORDS it ly' [17 J, nearly ly, gli ly'ee, from a dictionary alone. The following rules quegli kwai-ly'ee, scogli skao-lyee, cespugli (also derived from Valentini) apply to numerous very common cases, and should be studied by to Italian well. GLI before A, E, 0, U is always ty [17], or nearly those who wish pronounce Sec. XIV. ALPHABETICAL KEY TO ITALIAN PEONUNCIATION. 201 Use oa in words like the : of a before the ending following ning word sounds b, d, gr, v, or ?, filatOJO fee-laatoa-yoa, biONDO byoatrdoa, buf- m, n, r', as sbaglio 8&6aa'Zy*oa, sdegno szdai-ny'oa, fONE boof-foa-nai, cONTE koan-tai, amORE sgarbo szgaar'-boa, svanire szvaanee'r' ai, smorto aamoa'r'ai (English people should especially szmaor''toa, snello sznael'loa, sradicare szraa i dee- note this as are to kaa'rai and z case, they apt say u-mau-r'i), ; (nearly zs) between two vowelb with their inflections in all as as 1 - gelOSO jailoa'soa, ; (except before), rosa raoz'sa, esatto aizaat words where replaces Latin U, and IN ALL toa, spasimo spaaz'seemoa, esito aez'seetoa; and ' UNACCENTED SYLLABLES. simple z short, in the prefixes dis-, mis-, be- fore a or the sounds of or Use ao in words ending like the following : vowel, /, d, g, v, I, m, as disonore sciolto shaol'toa (unless they correspond to Latin n, r\ deez-oanoa-rai, dis-detta deez- ' ULTUS, as volto voaltoa, countenance '), dait'taa, disgrazia deez-graa'tsiaa. oratORIO oar aatao'r eeoa glORIA glao'r' eeaa, ; SS is s-s as in English mis-sent, as assenza aas- aUORO '(Ml-lao-r'oa, confORTO koanfaor'-toa, saen'tsaa. appOSTO aap-paos-toa, galeOTTO gaaiai-aot'toa, SC before is sk, but before it in all words it A, 0, U, simply E, I, cagnOLO kaany'ao-loa ; where is a very strongly sh, as scena shoe'- follows U in an accented syllable, as uomo pronounced naa, pesci pai-shee. wao'moa ( in all in nearly) ; words ending 6 SCI before a (causing the following consonant to be doubled A, 0, U, very strongly pronounced sh, as in pronunciation in correct Tuscan), as amo sciocco shoak-ka, cresciuto kraishoo'toa. aamao- in all words where it Latin ; replaces T is t with the tip of the tongue against the roots as and no means AU, poco pao-koa ; generally (by of the teeth, see D, as tasto taa'stoa. always), where it replaces Latin as moto TT is t-t as in English boo-ree, as f&ttofaat'toa, inao "toa, but voce voa'chat. quite different from fato faa'toa. P is as always p, pianta pyaan-taa. U before a consonant, simple oo, as uno Unno oo-noa Oon-noa before a vowel but PP is p-p as in English slop-pail, as troppo traop'poa. ; nearly w, the vowel sound it is more distinct, nearly oo ; QTJ is but the vowel is more nearly kw, distinct, after a vowel it is short and slurred on to so almost as or more it, koo, quale kwaa'lai, nearly as to be counted as a but sometimes kooaa'lai. diphthong, forms a distinct syllable as : uovo wao'voa, Laura is even before R always r', very strongly trilled, Laaoo'-r'aa, paura paa-oo-r'aa. See pp. 47, 49. a even more than in consonant, strongly Scotland, V is v, never /, as in vico vee-koa. and always with the tip of the tongue, never VV is v-v, as in English Tve vowed, as avvi aawvee. with the uvula Carefully distinguish carne Z is either ts [19] or dz [20], and ZZ is either t-tt kaar^'nai 'meat,' from cane kaa'nai 'dog.' or d-dz. The ts sounds are far the most fre- S has two sounds s and the s is a z, very sharp quent. About 100 words, which must be learned hiss, but the z has the voice held for a dz pure only from dictionary, take ; of these the most a short time, and either falls into a '- rapidly frequent are : manzo maan'dzoa, garzone gaar as in 'that's hi*!' dhats gentle s, English hizs, dzoa-nai, amazzone aamaad-dzoa'iiai, azzurro or at the of words with a beginning begins aad-dzoor*V oa, brezza braed-dzaa, bizzarre beed- gentle s. dzaar''r'oa, bozzo baoddzoa, caprezzo kaapraid'- Use a at the beginning of a word before vowels, dzoa, dozzina doad-dzee'-naa, gazza gaad dzaa, and the sounds k, f, t, and in the middle of ga,zzetta,gaad-dzait-taa.la,zza,roiielaad-dzaaroa-nai, words after the sounds of I, m, n, r', sano saa'- mezzo maed'dzoa, pozzo paod'dzoa 'a hill/ poat'- * noa\ scala skaa'laa, schermo skair^'moa sfinge tsoa a well,' razzo raad'dzoa, rozzo road'dzoa. sfeen'jai, spillo speel'loa, squama skwaa'maa, stelo No rules can be given for the place of the stai-loa censura accent not written a ; polso poal-soa, chainsoo'r'aa, (when by grave accent on verso vaer'"soa; also in words ending like the last syllable). In singing the musical accent amorOSO aamoar'oa'soa, bramoSIA braamoasee'aa, marks it sufficiently. animosita aa-neemoa-seetaa- ; in the past tenses Most of the preceding rules and examples in -esi, -ese, -esero, and after the prefixes di-, have been adapted from F. Valentini's Gruend- ri-, corresponding to Latin de-, re-. liche Lehre der italienischen Aussprache, Berlin, Use z (very short or nearly sz) at the begin- 1884. 202 ALPHABETICAL KEY TO ECCLESIASTICAL LATIN. 5. XIV. ECCLESIASTICAL LATIN, confluent vowels, as in Italian (see introduction to Or that used in Masses and Mediaeval Hymns, Section XV) and this confluent character also must be treated precisely like Italian. The classi- referred to words ending in m, which was never cal pronunciation of Latin, from one century "before pronounced before a vowel beginning the next to one century after Christ, differed materially word. In ecclesiastical Latin there were no con- from Italian, but much more materially from the fluent vowels, and final m was regularly pronounced. pronunciation which till very recently was preva- Double consonants must be distinctly pronounced lent in all, and is still prevalent in most, English twice, as in Italian. classical schools. The classical of pronunciation In the following Alphabetical Key, italics mark the vowels and consonants was probably the same the pronunciation to be adopted, in Glossic charac- as the of Italian, except as pronunciation regards ters. The old length of the vowels is marked in the letters H, C, G-, and occasionally Y, Z. The all Latin words, and the length of da aa, ae ae, H was probably always pronounced as h in classi- ee, ee, do ao, do, do, which may be used in singing cal Latin, in the combinations CH, except GH, ecclesiastical Latin, is also marked for convenience. where it was so PH, RH, TH, usually omitted, is No use made of the substitute vowels di e, ee ?, that these combinations sounded as k, g, p, r, t. da o, do no, which are more convenient for English Occasionally, however, purists may have pro- organs. The pronunciation usually adopted in nounced them as k-h, g-h, p-ti, r-h, t-h. The English schools for the examples, is for were The distinction subjoined C, G always k, g. principal contrast and avoidance. between classical and mediaeval Italian pronuncia- A or never never tion lay in the strict observance of long and short long short, da, aa, ai, a, indistinct; rarus rda-roos, factum fata vowels, and long and short syllables (p. 103a), by fdak'tdom, fda-tda as in the ancients, and in their use of a musical pitch (not rair'r'us, fak'tum, fai-tu, English . accent (p. 104). Those who wish to enter upon schools) a consideration of these are referred to points my AE, JE, long, de, aetas de'tdas, aestlvus destee'voos, " Hints on the Pronuncia- practical Quantitative musae mdo'sde (not ee'tas, estei'vus, meu'zi, as in tion of for the use of Classical Teachers Latin, English schools). If de'is found difficult, ai and But Linguists" (132 pp., Macmillan, 1874). may be used, but there must be no suspicion of the singer has no concern with them. From the the vanish ary. end of the third century A.D. the distinction of ATT as aaw, that is, as aaod, audivi aawdee-vee (not long and short vowels was lost in Latin, and the audei-vei, as in English schools). pitch accent had sunk to the ordinary English and bacca abies Italian force accent (p. 104), the only remnants of B, always b, bdak'kda, aa'bee-des (the the old pronunciation being the sounds of the original short a- becoming long under the ac- letters and the position of the stress. This position cent), abjectus dabydek'tdos (not bak'u, ab-ieez, requires even now a knowledge of the laws of abjek'tus, as in English schools). There is an old of quantity to fix, but it occasions no trouble to the custom pronouncing the prefix OB- as singer, because it has been already fixed for him aop- before t and *, which may or may not be by the music. In the following examples of words, followed, as obtinuit doptee-ndo-eet or dobtee- and in the Stdbat Mater, hereafter given at length, noo-eet (not obtiweuit as in English schools). the vowels, which are not marked in long usually BB always bb, subbib5 sdob'beebdo (not sub-iboa as our Latin will present orthography (itself modern) in English schools). be marked by doubling the initial capital, or by before L before u. C, A, o, u, R, (not AE, OE, E, i, Y , a, e, I, o, They probably sounded as da, ae, ee, as k, cano, cano kda-ndo (ecclesiastical do, do, and always formed long syllables. Other pronunci- ation does not distinguish these collum vowels are short, but if they are followed by two words), cursus crinis consonants in the same word, or one in one and the kdol-ldom, kdor'-sdos, kr'ee-nees, clamo klda-mao next in the following word, they formed long (not kai'noa, kol-um, ker-sus, kr'ei'nis, klai'moa, as in English syllables. The old versification depended entirely schools). these The ecclesias- upon long syllables. modern C before AE, OE, E, i, Y, but not in the final syl- tical verse depends entirely on strong and weak lables -do, cius, always ch, as Caesar Ghde'sdar\ 1 syllables like English. In old verse there were coena chde'nda, cedo chde'ddo, circumcisus cheer ' Sec. XIV. ALPHABETICAL KEY TO ECCLESIASTICAL LATIN. 203 koomchee'soos, cynicus chee-neekoos (not See'zer, GH, if found, is simple g. as in see'nu, see'doa, ser'kumsei'sus, sin'ikus, Eng- H before h after in vowels, ; consonants the same lish schools). syllable, omitted; habeo haa-bde-do, mini mee-hee C before see also T before these com- -10, -lus, &c., hujus hoo-yoos (not hai'bioa, mei'ei or mei'hei, binations, ts, contio jaci5 yda'tsee-ao, concio, heu-jus, as in English schools). kaon-tsido (not jai-shioa, kon-shioa as in English I, long and short, ee, ee, but if ee is found too schools). difficult, i may be used : ire ee'r'de, exitus CC before A, o, u, R, L, as k-k, before AE OE, E, i, Y aek'seetoos, clivi klee-vee (not eir-r i, ek-situs, as t-ch, before -10, &c., as t-ts, sacculus saak-- klei'vei, as in English schools). kooloos, occo dok'kdo, occulte dok-kool-tde, accrevi a aak-kr de'vee, acclamo dak-klda'mdo, accendo J, medieval letter, introduced to replace I when it acted as a aat-chaen'ddo, occisos aot-chee'saos, Accius, Attius consonant, always y, as Janus Adt'tsee-oos (not sak-eulus, ok'oa, okul'tee, akr'ee-- Yda-noos, jejunus ydeyoo-noos, jocus ydo-koos, vei, aklai'moa, aksen-doa, oksei'soas, Ak'sius or jucunditas yookoon'deetdas, judicium yoodee'- tsee-oom At'ius, as in English schools). (not Jai'nus, jijeu-nus, joa'kus, jeukun-- ditas,jeudish'ium, as in schools . CH as simple k (never ch), as chorus kdo-roos, English Bacchus Bdak'koos (not kau'rus, Bak'us, as in K, always k, but not used except in one or two English schools). words, as kalendae kdalden'dde (not kulen 'dee, as in D as d, do ddo, ad dad (not doa, ad, as in English English schools). schools). Ide-toos L, always I, laetus (not lee'tus, as in English f J>D as d-d, add5 aad'ddo (not ad oa, as in English schools) . schools). LL, always l-l, as illaudatus eel-laawdda-toos (not and as ae but if these sounds E'long short, de, ; ilaudai'tus, as in English schools). are found difficult, ai, e may be used, provided M, always m, even when final, as mecum mde-koom there is no suspicion of the vanish aiy, et det, f (not mee'kum, as in English schools). etiam de-tsee-dam, eja de yda, evocare de-vdo- kda-rde (not ee'shiam, ee-jaa, evoakair'ri, as in MM, always mm, as immunis eem-moo-nees, gemma English schools). jdtm-mda, (not imeu-nis, jem-u, as in English if be treated as I but it is schools). El, found, must ; only an ancient form. N, always n except before c, G, when these have ETJ, as aew, that is, aeoo ; Europa Aewrdo'pd (not the sound of k, g, in which case it becomes ng : Euroa-pu, as in English schools). narn ndam, nanis nda'nees, junctus yoongk'toos, 1 but ae F fero lucifer loo-cheefder jungo yoong'gao, jungere t/oon'jder' (not as/, fde-rdo, (notfeer'- % as in nam, nai'nis,jungk tus,jung-goa,jun-juri, as in roa, leu-si/er i English schools). English schools). FF as /-/, offa aoffae, officina aof-feechee-nda (not as in NN, always n-n, as Cannae Kdan-nde (not Kan-i, ofu, of-isei-nu, English schools). " like canny," as in English schools). before A, o, u, B, L (not before AE, OE, E, i, y) as > and but those who g; gaudium gaaw dee-oom, gavisus gdavee'soos, 0, long short, always do, ao, find these sounds too difficult gobio gdo-bee-do. gula goo'lda, gratia gr' datsee-da, may say oa, o, however, of the vanish gloria gldo'r'ee-da (not gau'dium, gaivei'sus, goa,'- without, any suspicion oa-w : ovum do-voom, ovis, ovis do'vees, do-vees bioa, geu-lu, grai-shiu, glau'r'iu, as in English of course, are medieval mispronuncia- schools) . (these, tions), obolum^ do'baoloom (not oa'vum, oa'vis, before i, as jde'rdo, AE, OE, E, Y, j, ger5 gibbus ob-oalum, as in English schools). jeeb'boos, gyrus jee'roos (not jeer-r'oa, jib-us, (E, often interchanges with AE, andjhas the jeirrus, as in English schools). OE, M, same sound : Camoenae, Camaenae; or Camenae GG before A, o, u, B, L, as g-g; before AE, OE, E, i, Y Kdamde'nde (not Kumee-ni, as in English schools) . as d-j, as aggregavi dag-gr'degda'vee, agger 1 1 dad-jder (not ag'r igai'vei, aj-er, as in English P, always p, pater paa'taer\ Appius Adp-pee-oos as in schools) . (notpai'ter, Ap-ius, English schools). 204 ALPHABETICAL KEY TO ECCLESIASTICAL LATIN. Sec XIV. either or which came in the Italians PH, simply/?, p-h ; but/, TH, always t, cannot pronounce th : later, may be also used in words from the Greek, theatro tae-da'tr do, thesaurus tdesaawr' oos ^not thus Philippus Peeleep'poos or Feeleep'poos, but thiai'troa, thisau-rus, as in English schools). triumphaMs tree-oompda'tdos or -p-hda-- (not Filip-us, trei'umfai'tus, as in English schools). TT, a distinct t-t, attulit dat'tooleet (not at'eulit or ach'eulit, as I have heard occasionally in English PP, always p-p, as mappa mdap'paa (not map'u, as schools . in English schools). kdo- or kw- as in Italian: QU, always quantum U, long or short, do, do, or if this is too difficult, kwdan-toom as in (not kwon'tum, English schools). do, uo, as mutus moo toos (not meu'tus, as in This is a mediaeval E, always r* very strongly trilled, as in Italian, as English schools). letter, 1 introduced as the consonant of mare maa'r'ae, marceo mdar^'chde-oa, servo saer '- which Y was the vowel. In mediaeval and vda (not mair'r'i, maa'shioa, servoa, as in English print manuscript we find for the consonant schools). generally U and V for the vowel, but in modern books the converse EH, simply r\ as Rhenus R'de'ndos (not Ree'nus, usage prevails. as in English schools). ER, very distinctly doubled as in Italian r'-r' : V, always as English v, as vivo vee'vdo (not vei'voa, terris tder'-r'ees (not ter'-is, as in English schools). as in English schools). This was the original Latin letter, used for the vowel do or do (see S, always s, never z, or sh, or zh : aves da'vdes, U) and for the related consonant, which some con- musas mdo-sdas, v5s vdos, nostrds naos-trdos, op- sider to have had the sound of w, and others posuit dop-pao'sdo eet, repositorium reepdo'see- (with whom I agree) of v' 646). tdo'r'ee-dom, occasio aok-kda- see-do, mentior (p. 1 mden-tee-dor (not ai'veez, meu-zas, voa-s, nos'tr'oas, not used in not a Latin letter if W, Latin, ; found opozh'euit, ripoz'itau'rium, okai'zhioa, men'shiaur, in mediasval Latin, to be treated as V. as in English schools). before L, sk ; before SC, A, o, u, n, simply AE, OE, X, always ks, never gz or ksh : examen eksda-maen, a sh : scena E, i, Y, strong scapulae skda-poolde, exeunt eks'ee-oont (not egzai'men, ek'shiunt, as in shde'nda in (not skap'euli, see'nu, as English many English schools. schools). The old pronunciation was always sk. and to be treated like SCH, always sk: schola skdo-laa, schema skde'mda Y, long short, precisely I, that as introduced to (not skoa-lu, skee-mu, as in English schools). is, ee, ee, originally repre- sent the sound of a Greek vowel, probably ue : SS, distinctly s-s, as missus mecs-soos (not mis-us as Cyrus Chee-rdos, Cybele Chee'bdelae (not Seir-r'us, in English schools). Sib'ilee, as in English Schools). in T, always t, except the terminations -tius, -tio, &c., where it becomes ts : totalitas todtda-leetdas, Z, always dz [20] as in the less usual Italian form, nuntiare noon-tsee-da-rde, ambitio dambee'tsee-do originally introduced to represent the sound of a (not toatal-itas, nunshiairr'i, ambish'ioa, as in Greek letter, the pronunciation of which is dis- English schools). puted. Sec. XIV. ALPHABETICAL KEY TO FRENCH PRONUNCIATION. 205 III. ALPHABETICAL KEY TO FRENCH PROISUNCIATIOK The French language offers great difficulties to without themselves attempting to imitate the an English speaker. It has six new non-nasal sounds, till their ears are thoroughly familiar with vowels, ae [1] of the explanations on p. 193, flA [2], them. By attempting to imitate too early and not oe ao [3], ue [4], eo [5], [6], and although a listening sufficiently, pupils scarcely hear any- speaker would remain intelligible who confused ae thing but their own failures, and generally pro- ah with ao with and oe with he nounce is so with if L or R follow the E, as chaine chainette ! Laonnaise Laanaez. shden shainaet, il enchainera ahn' shdinr aa. ATI is almost always da, [21], as autant oatahn\ but AI a vowel is as kaa-eek ao as Aurore Aor'aor' . not before aa-ee, caique ; | sometimes [3], before a vowel is almost or as ai'eul aa-y ei-y, | AW found in fpund in foreign words is treated faience or only aa-yoel [6], faa-'/ahn's fei-yahns. as ATI. AIE is ae when final as vraie vr'ae, (EXCEPT not before vowels in 1) [1], AY is 1) aa-ee as a diphthong la taie and in the gaie gai, paie pae-ee, tae-ee,} baye baa-ee, Biscaye biskaa-ee, and fia-y before of words not of as middle being parts verbs, vowels as Bayard Baayaar', Mayenne Manyaen, gaiete gaetai, 2) ae-ee final in verbs as je paie pae-ee, que j'aie zhae-ee 3), ai-ee as a diphthong in the middle of as substantives, paiement paiee- 'pernay mahn' 4), ai-ee as two syllables in the middle of or before &c., 3) ae-ee as a diphthong, ae-y verbs as pai-eerai. je paierai vowels, in je paye theo pae-ee, layette laeyaet, ai-ee in two in AIENT 1) as the termination of the third person and many words, 4) syllables aabai-ee plural of the imperfect indicative and conditional pays pai-ee, paysanne pai-eezaan, abbaye Sec. XIV. ALPHABETICAL KEY TO FBENCH PRONUNCIATION. 207 B, BB are generally b, as babil baabee, abbe, aabai, Aem ; ce que je lui demande seo keo-zh lue-ee-d Abbeville Aabreel ; but B is not pronounced in mahn'd ; je ne le retrouve pas zheo-n leo-r' troov plomb, aplomb, surplomb, ploan' [9], aaploan' pah [2], que je me repente keo zheo-m raipahn't suer'ploari, and Colomb koaloan', Lefebvre [8]. In all these cases it is fully pronounced as Leofaevreo. eo in singing, where it is never mute, and may is be lengthened or have as much force on it as we C 1) Jc before consonants, and before A, 0, U, please even in cases where it must be mute in EXCEPT in cicogne see'/aony' [18], prune de speaking, with the sole exceptions of the termina- reine-claude gldtfd, czar gzaar* and its deriva- tion and of a second its derivatives AIENT, E ending word which is tives, seogoan and ; 2) run on to the with a and also k when final, as bee back, EXCEPT in following beginning vowel, as frere aine ainai. In it counts accroc uakroa, almanach aalmaanaa, bane bahn' fraer' [1 J poetry for a syllable where it is in [8], bec-jaune bai-zhoan, broc broa, clerc klaer\ pronounced singing. The rule in " omit E when eric kree, echoes aishae, escroc aiskroa, estomac general speaking is, its omission will not bring three consonantal aistoamaa, franc fr'ahn' [8], instinct aen'staen' ' sounds otherwise it together ; sound as eo." The [7], jonc zhoan [9], lacs lah [2] nets,' Saint complete study of all the cases is em- Marc Saen' Maur' [7], pore poar, tronc tr'oan' ; extremely barrassing. Final-ite, -bre, -sme, &c., must have 3) A- before E, I, Y, M, (E, as ceux seo [5], eo as aimable aimaableo, cieux see-eo ; 4) sh in words taken from the [5] Septembre Saeptahn'- breo, rhumatisme ruemaateesmeo, and NEVER a* in Italian where they are pronounced ch, as ver- rheumatism.' micelle vaer meeshael, violoncelle veeoaloan'shael English 'amiable, September, 2) E is ae before final consonant, followed or [9]. [1] not by an unpronounced E, as belle baet, duel only used before A, 0, U, is always $, as fa9on due-ael, Joseph Zhoazdef, il est eel ae ; EXCEPT faasoan' J. [9 avec aavaik, clef klai; 3) E is ae also in the CO is k in places where the second C would be k, middle of a word before several consonants, and ks where the second C would be and t-sh s, EXCEPT ennui ahn'nue-ee [8, 4] solennel saolaanael, in words from the Italian where would be indemnite aen' daamneetai is ai they [7] .; 4) E [21] t-ch. as accord acces aaksae Piccini aakaor\ [1], in the verbal terminations ez, er, and many other peet-sheenee. cases, which cannot be here enumerated. (The rules for six CH is 1) sh in all old French words, as chercher E occupy royal octavo pages, in double shaer'shai [1], 2) k in most words taken re- column, with small print, in Theriat's cently from Latin, Greek, or modern languages, book,of which the above is a very meagre abstract) EXCEPT Reichstadt R aish-staad, poan'sh punch E is 1) properly ai [21], as bonte boan'tai, 2) ae Chiron Sheer 'oan' sheer uer'- [9], [9], chirurgie before a consonant, followed by unpronounced zhee and its derivatives, catechisme kaatai- [4], E or eo, as college kaolaez/i, orfevre fror'faevreo, sheezmeo drachme [5]', draagmeo. 3) before the sound of r, in the middle of a word, as misericorde meezaer'eekaor'd ae D is 1) d generally, as donner daonai, 2) unpro- [1, 3], 4) [1] in nounced when final in the nasal terminations j'etais, etant zhaetde aetahn, preteur praetoer\ AND, END, OND, or when preceded by several preture praetuer'. vowels or R, as grahn' froid by grand [8], fr'waa, E is 1) properly ae [1] as deces daisde, breve brdev, sourd and in Madrid Maadree t when soor', ; 3) 2) ai before two consonantal sounds which can one of the words in (2) is run on to the a as following begin syllable, reglement raigleomahn [5,8], vowel, as grand homme grahn' -t-dom [3], froid il lechera eel laishraa. accueil frwaa-t-aak-oe-ee [6], but grande ame E is 1) properly de [1] as guepe gdep, pret prde, grahn* d-ahm [8, 2], 2) ai [21] before MI, TI, TU, as blemir blaimeer'. 1 DD is d-d (as in ba(f bucks') after E, and in most vetir vaiteer 1) , vetu vaitue, and in the verbs feler, as reddition foreign words, raed-dee-syoan' [9], gener, meler, fdilai, zhdinai, mdilai ; when the Adda Aad-daa. next syllable has not an unpronounced E, and in some other cases. E 1) is very frequently not pronounced at all, and when pronounced may be eo or oe, for authori- El is 1) ae [1] at the end of words, before a ties differ Ex. Je vous aime mieux consonant and before ; que lui, mute E, any consonant zheo [5] vooz-aem [1] myeo-k lue-ee [4J, or zhvooz- but GrN, M, N, in the middle of words, as neige 208 ALPHABETICAL KEY TO FRENCH PRONUNCIATION. Sec. XIV. Abeilard almost as osuf naezh, pleinement pldenmahn' [8], F 1) always /; un oen'-n-oef [10, 6,] Aabaelaar' ai in other as un beuf oen' v in [1] ; 2) [21] cases, boef; 2) NEUF (the numeral, eider aidder', peineux painoe [6], j'enseignerfti not the adjective) before a vowel or mute, as zhahn'sainy'rai [8, 18.] neuf hommes noev-aom ; 3) is mute in NEUF before a as neuf EIL final is de-ee forming a diphthong, as conseil (the numeral) consonant, femmes noe also in le boeuf leo bue- koan'sae-ee [9], soleil saolae-ee, vieil vi/ae-ee. faam, gras clef grda [5, 6], une uen Mat [2], des cles dae EILL "before E mute final, is ae-ee [1] forming a klai un chef-d'oeuvre [1] ; shai-doevreo [5], un but before other vowel ai-y, as diphthong, any cerf, des cerfs sder', un nerf de boauf oen'naer deo abeille aabae-ee, merveilleux maer'vaiyoe. boef, des nerfs dae naer' ; un ceuf frais oen'-n-eo des oeufs frais EIM not before a vowel is aen' [7] as Rheims frde> daez-eo-frde. FF is always /simple, as difficile deefeeseel. BIN not before a vowel is aen' as dessein [7], G 1) before A, 0, U, and before any consonant but daisaen''. N, S, T, is ff, as gage gaazh, fatigue faateeg, EM not before a vowel is akn' Akn' aen' it 1) [8], as empire globe glaob [1], Eughien ff [8,1] ; 2) ahti'peer', emmenager ahn'mainaazhai, remmener is g before N at the beginning of a word, aa in and in a few rahn'mnai, except sempiterne saen'peetaer'nael gnomonique gnaomaoneek [3] ; new, [7], and most foreign names, as Wiirtemberg and chiefly technical words, the most usual being Vtter'taen'6aer' aem it is in [4), 2) [1] at the end of agnat aaf/naa, stagnant staagnahn' ; 3) g names as Jerusalem Zhairuezaalaem, and before foreign words ending in g, as whig weeg, bang n, as belemnite bailaemneet, EXCEPT indemnite bahn'ff [8], pouding poodaen'g [7], and also in aen' daamneetai, solemnel saolaanael, and its de- joug zhoog (but not in conversation unless a rivatives, vowel it is k in follows) ; 4) brig br'eek, bourg boor'k, except as a termination, as faubourg EN 1) generally a Tin' [8], and when a vowel or N" ; it is zh before E, I, Y, as zhaen ; follows ahn'-n as enfle ahnflai, enivrvahn'neevr'ai, foaboor 5) gene 6) it is unpronounced before S and T, as sangsue ennui ahn'-nue-ee, 2) occasionally aen' [7], espe- sahn'sue [8,4]; vingt vden't [7] (observe only cially in the syllables IEN, YEN, not before a kdatreo vaen' without when final or as bien aen' chretien quatre vingt t] ; vowel N, by , kr'aityaen', after a nasal vowel, as long loan' [9], poing in the syllable PENTA, as pentateuch paen'- pwaen' [7], and in the following words Clugny taateok, pentagone paen'taagoan, appendice Kluenee, seenae, aapaendees, Ma- Compiegne JZoan'pyaen, signet precenteur praisaen'toer [6], and a few other names rengo Mnaraen' goa, examen aigzaamaen\ Mentor GG is before A, 0, U. and gzh before E, T, as Maen'tdor, and many proper names, 4) it is aen g before NENT as chienne aen aggraver aagr' navai, suggerer suegzhaer'ai. [1] NE, mute, shy ; GN is in the cases under 5) it is also often aen in foreign names and words, always ?/' [18], except G, 2 and as as amen aamaen, Beethoven Baitoavaen [German Nos. 9, signe seeny\ sometimes before as Bai-t-hoa-fen] ; 6) aan, n, GUE final is 1L after A, E, EU, (E, 0, OU, has the same effect is generally ao short [3], and da [21] long a? as simple I. See tnose combinations. hoiiime nrn, chose shorn. See combinations of O with other letters below. ILL in the middle of words, following A, E, EU, (E, OU, or any consonant, or CU, GU, QU, has is always da [21]. as apotre aapoatr'eo [6], I is. is ee the same effect as simple ; that or eey, fantome fahntoam [8]. except in a few words. See those combinations. OA is generally O-A, but is waa in foarre fwaar', ILLE final following any consonant except V, acts joailler zhwaa-eeyai, and its derivatives. as simple I. and is called ee or eey, as famille OE is wae in moello mwael, and its derivatives. faamee, except in Achille, codicille, distille, [1] a instille, mille, tranquille, and few other words OE is wae [1] in Noel Nwael, and waa in coeffe where it is eel. kwaaf, goelette gwaalaet, and their derivations. before is aen' 1M B or P [7], as impossible is in and its derivatives. ' OE waa ipoele pwaal, aen otherwise eein as paoseebieo [5] ; generally (E is ae [1] or ai [21] in foreign words only. immense eem-mahn's [8]. 1 j (EIL is oe-ee as a in this one word. IS not before a vowels. or is [6], diphthong //, regularly aen [7]. as bassin baame-t. instinct nenstaen is as ceillade ; otherwise (EILL oe-eey [6 , oe-eeyaad. generally een colline k>iotee . innocent eeuaosahn' (EU is oe [6] or eo [5], precisely, as EU which see. [8]. 01 is regularly waa, as roi rwaa, but in a few J is always zh, as in juste zhutst, and never un- words it is occasionally pronounced wai [21]. It pronounced. was often ae [1], but in these words AI is now K is but is in always k, only used foreign words. generally written, as foible (or faible) fdebleo [5]. L is generally /, but is unpronounced in the OIN 1) not before a vowel is waeiC [7], as loin terminations ' -anld. -ault, -aulx. -eulx, -ould, Iwam ; 2) before a vowel is waan, as avoine -emit, as Arnauld Aarnoa, faulx foa, and in aavwaan, moineau tnwaanoa. chenil sheouee, baril bar'ee, courtil koor'tee, coutil OM 1) not before a vowel is oniS [9], as nom kootee, tnsilfuezee [4j, gentil zhalm'tee sourcil [8], comte koan" before as autom- aoor'.-ee, and a few others. ttoan', tj except N nale oataomnaal, omnibus aomneebues ; 2) before LL is but in an generally ', increasing number of a vowel aom, as Rome Rnom. words I- 1, as illegal eel-laigaal. See also ILL ON 1) not before a vowel is oari [9], as non noan' ; M is m when it to form a nasal vowel except helps 2) before a vowel (ton [3]. as colonie kaolaonee. see AIM, AM, EIM, EM, IM, OM, UM. YM 00 oa-ao as but in and is sometimes mute. Observe the words generally cooperer koa-aopair'ai, da as automne oat.aon foreign words Waterloo Vaataer'loa. [3], eondamner koan'daaitai [9], Eeims Rden's [1]. Abraham Anbraa-aam, Adam OU always oo, long or short, as fou foo, poule A>Hl,t/m' [8]. pool, or w before a vowel, as douane dwaan, but is never MO, and never ou. MM generally m, but m-m in initial IMM as immodere eem-maodairai, and in AM MA, in OU always do long, as gout goo. Gramrnont Grdam-moan' [9], and a few other OUI, OUIL final. OUILL before a vowel, wee or words, and never helps to form a nasal vowel. we y (properly oo-ee as a diphthong), as oui wee, N is n, except when it helps to form a nasal vowel fouiller fweeyai. - see T AN. AIN , EIN EN. IN, ON. UN, YN. OY, not before a vowel, the same as 01, waa ; but It is unpronounced in final ENT, which see. before a vowel some speakers say aniy [3], or NN is as nvaot-t/otun but others generally //, sometimes n-n, and does not ivaoiy, royaume ; prefer as help to form a nasal vowel except in ennoblir ioaay rwaa-yoam. ahn'naobleer [8, 3J, ennoie ahn'/iwaa, ennui P is when it is not p pronounced ; pronounced in aJin'Hiir-tf a and (with diphthong), their de- a final syllable after M, as champ shahu' rivatives. [8], prompt proan' [9], temps tahn, compte kant% 210 ALPHABETICAL KEY TO FRENCH PRONUNCIATION. Sec. XIV. kdor and also in bapteme baataem [11, corps [3], generally not pronounced at the end of words or coup koo, drap draa, galop gaaloa, loup loo, before another consonant, but it runs on to a sculpteur skueltoer [4,6], trop troa, and some following vowel as z,as trois hommes tr'wda-z-aom. others. SC initial before E, I, Y, is simple s, as scene saen, PH is always /, as phrase fraaz. sceptique saepteek [1], unless a vowel precedes, and then it is often s-s, as ascendant a-us-sahn'- PP is always p, except in appetence appeter, where dahn' [8] it is p-p, as ap-paitahn's [8], ap-paitai. SCH, used in non-French words only, is sh. Q always k, never mute, but is always followed by U, except when final as coq kaok [3], cinq saen'k SH, used in non-French words only, is sh. [10]. SS almost always simple *, but s-s in sessile saes- QU generally &, as qualite kaaleetai. qui &, as in quadr- kwaadr (except T initial is t. In those words where it quadrat ka-adraa, quadrille kaadree], adequat always becomes sh in it is s in as aadaikwaat, aquarelle aakwaar' ael, equateur English French, f essential aisahu'syael s, aikwaatoer [6], quoi ku-ac, quartz kwaar'ts, [8 l]. patience paasyahn condition T final is most loquace laokwaas, and some other not very koan'deesyoan' [9]. common words. frequently not pronounced, but observe brut br'uet [4], but buet, un fait oen [10] faet [1] R r' when with a smart ue-eet always pronounced, 'fat faat, huit [4 ] (diphthong), vingt trill of the of the the pronuncia- tip tongue; vaen't [7.]. (but vingt sous vnen sooj. tion with the uvular trill is very common, but is as the tai. is considered a fault, and not allowed at the TH always t, Theatre It never forms a diphthong Fra^ais. TT is almost always t, but is t-t in litteral leet- with the preceding vowel as In English dear. taeraal [1], and a few uncommon, chiefly non- R final is not pronounced in the terminations . French, words -GER,-CHER, -IER, -ILLER, -LER, -YER, infinitives of verbs U is or short ue as connu kaonue -ER (in the , -IER, IERS, always long [4], hier in and except cher shaer' [1], fier fyaer\ adjective, [3,] except occasionally G-U, QU, always '. in see those ee-aer, Thiers Tyaer At the Theatre FranQais UM, UN ; groups. the final -R in the termination of verbs is run U is always ue long [4] . on to the following vowel, as aimer une fille the usual aemaer'-uen [4] feely' [17], but pro- TJEIL, UEILL are oe-ee [6,] or oe-eey, as accueil nunciation leaves it mute, as aemai uen fee. aakoe-ee, cercueil sder, koe-ee, ecueil aikoe-ee, orgueil aorgoe-ee, recueil reckon ee, nous cueillous EH is always r\ as rhubarbe ruebaarb. but in a few words r'-r' as il RR is generally r\ so ue HI is ue-ee [4], forming a diphthong, that courrait eel koor'-r'de fl], arrogant aar'-r'oagahn' a and 1 becomes nearly consonant, resembling w y habit of r'-r is ; the saying increasing. [8] pronounced at the same time. It is better to tie as a vowel than S is s at the beginning of words, and, when pronounce distinctly separate words, as aloes to substitute which is the usual bad pronounced at all, at the end of w, very cens sdhn's Thus lui lue-ee aaloa-aes [1], as das, bis bees, [8], gens English mispronunciation. (not or zhdhn's, helas aildas, lis lees (but lee in fleur de loo-ee or IweeJ, puis ptie-ee (not poo-ee pweej. mars maar's, ours oors, vis vee, except lis), UM is 1) oen in humble oen'bleo, parfum is some- [10] obus aobuez [4]. In plus, sens, tous, S paar'foen' ; 2) oan [9 , in rumb roanb, Humboldt times heard and is sometimes mute. S is gene- Oan'baold ffuom'baolt), lumbago as rose rdoz (in Germany rally z between two vowels, [3], loan'baagoa; 3) aom [3] in factotum /aaktaotaotn, beozwden' and before D, R, V, besoin [7], B, G, te Deum. tai Daiaom. and other 1 album aalbnom. as shire zbeer\ Sganarelle Zgaanaar ael, Israel Latin words uem before as 1 ; 4) [4] vowels, Eezr svelte zvuelt and in trans, followed aa-ael, ; allumette aaluemaet, fumeron fuemr oan\ by a vowel, as transaction trahn'zaaksyoan' 1 oen' as brun transir trahn' seer S is UN not before vowels, generally [10], [8, 9], (except , &c.) Sec. XIV. ALPHABETICAL KEY TO FRENCH PRONUNCIATION. 211 Lundi Loen'dee in a few words oan' taux chevaux br'oen', ; [9], AeksJ , faulx/0 [21], toa, sheovoa, as &c. cheveux sheovoe Dunkerque Doan'kaerk, Undine Oarideen, &c., Bordeaux Baor'dda, ; &c. before vowels uen as unite ueneetai. heureux voix croix ; [4] [6], eor'oe, &c., vwaa, krwaa* epoux ijt?00, doux doo, perdrix paerdree, prix UY now only used before vowels, ue-eey the [4], reflux and a few others. fie-ee forming a diphthong, see UI, as appuyer pr'ee, reqflue [5, 4], La Laa . napue-eeyai, Bruyere Brue-eeyaer Y is ee, and is treated precisely like Y. V is always v, and always pronounced, as vive Z is always z, as gaz gaaz, except in German veev. final TZ, and Spanish final Z, when it becomes is in W only used foreign words, and is generally s, as seltz saelz [1], Cruz Kr'ues [4]. Z final in v, as Weber Valbaer [1], waggon vaagoari [9], the -EZ of verbs is not pronounced, as soyez but sometimes tv, as whig weeg, whist weest, swaoyal or swaayai, and in assez aasai, chez Windsor Wnendzoar [7]. It is not pronounced shai, nez n, rez r'at, riz r'ee. in Newton Noetoan' [6], New York Noe Yaork. ZZ is boxeur baoksoer' aoneeks : but "I"I.[6], onyx. ~*[3];[3] XC, XS, are also ks, as exces aiksae [1], X is gz in Example of difficulties. Et puis une vieille 1 Xenophon Gzainoafoan [9], aiijzahripleo [8, 5], carogne et un enfant borgne out vendu de mauvais exameri vin au bete devant la foule aigzaamaerf [1], hex.a,wetoeaiffzaamaetr'eo peuple ; y etes-vous, [1, 5], coexister koa-aigzeestai. X is s in final mon ami ? Ai pue-ee (diphthong) uen vyai-ee 1 dix '- six sees, ^m-, and in soixante swaasahnt [8]. kaar 'ao^y ai oen'-n-ahn'fahn' baor mj oan' valiri is z in run to moavae vueri oa baet deovalut It/a X six, dix, when on a vowel, as due-d poepleo fool , six ans seezahn', dix oeufs deezeo [5], and dixhuit ee aet-vou, maon-aamee ? And then an old hag and deezue-eet [4] (diphthong), deux apotres deozaa- a child, one-eyed, have sold of (some) bad wine to &c. final is not the before the crowd there poatreo, deuxieme, dixieme, X people stupid ; are you pronounced in faix fde [1], paix pde (but Aix (do you understand), my friend ? NOTE ON "LIAISONS." The final consonant, though it may be mute at and connected final consonants is merely indicated. the end of a word which closes a sentence, or pre- But to know what words are to be treated in thie cedes a word beginning with a consonant, is very way and what are not, reference must be made to a vowel follows thus a which attention to frequently elective when ; dictionary pays particular chez lui ou chez elle shai lueee oo shaiz ael. This the subject. John Bellows in his beautiful little " " " is called a liaison" lee-aizoari or for the French and , connection," Dictionary Pocket, English, and is, of course, most important in all French English and French, both divisions on the same speaking and singing, and for French versification page," second edition, 1877 (London, Truebner), (p. 214a, at bottom). But unfortunately no general indicates every case where the final consonant rules can be to those words which is no mark where the final given distinguish pronounced by adding ; will form a liaison. The diversity of usage may be consonant is pronounced before a vowel, but not seen such as: un one turned as chez- and by examples pas pahz oen\ pas otherwise, by period, ; un ami pahz oerin aamee, cent &mis.sahn't aamee, where the final consonant is never pronounced at cent pas et un sahn' pah ai oen\ mon pere moan' all, by two turned periods, as coup". But space did ami de son deo soan' not allow him to the cases where the paer , mon maon aamee, sang distinguish saJm et sahn'k ai so on. Gener- consonant is connected and occasion- ', sang eau oa, and occasionally elle ally C runs on as Jc, avec aavaek ad ; D as t, ally unconnected with the following vowel. More grand homme grahn't oam ; G as k, rang eleve information on this difficult point will be found in 1 r' ahn" k ailvni ; S as z, les orgues Inez aor'g ; X as z, Feline's Pronouncing Vocabulary (p. 1926), and six hommes seez aom. in Littre s great French Dictionary. But in soma Tn the above Alphabetical Key the case of mute cases usage is not entirely fixed. 212 EXAMPLES OF SOXOS IX HERMAN, ITALIAN, AND FRRNCH XV. EXAMPLES OF SONGS IN GERMAN, ITALIAN, & FRENCH. Arrangement. In order to exemplify the pre- and then in Italian. French with false nasal ceding Alphabetical Keys, a few songs have been vowels, sounds very bad indeed. It will be selected by Mr. Curwen in German, Italian, and observed that the position of the accent is indi- French, to which I have added the pronuncia- cated in German and Italian, where it is strong-ly tion in Glossic, and also a verbal translation into marked by the speaker, but not in French, where English, which, at Mr. Curwen's request, has also it is less strongly marked, and is variable. The been put into Glossic. The single system of length of vowels is indicated by the positions oi thus used serves to make the difference the ) spelling accent mark ( after a long vowel, or after the between and dis- first consonant a short and ia English foreign pronunciation | following vowel, tinct to the The is as fol- eye. arrangement I strictly observed in German The same position lows : of the accent mark in Italian marks the and i long I. hand short as felt Left column, Original Orthography. | vowel usually by English speakers, of the are The words songs arranged according but as already observed (p. 147) the Italian vowels to the plan of their versification, without any of are naturally of medial length, and their actual the repetitions which occur in the music, and, for length varies with the expression. When, how- ease of reference, the alternate lines are numbered. ever, they alter their length they preserve their No particular order or classification has been at- quality. Thus aa, ee, oa, when short* never become are o. tempted, but the German songs placed first, the English a, i, then the Italian, and lastly the French. The 1. In German, aa, ee, are used in closed syl- name of the composer, and, when known, that lables to guide the reader, as it would be quite that of the writer is added to the both in to haand for hdand in- title, | wrong say eekyh eekyh; the native orthography. deed, decidedly worse than to say hand iyh. II. Right hand column, Pronunciation in Glossic. In German also it will be found that many The indications of the preceding Alphabetical Keys words seem to vary their final consonants at are carried out without making any of those Eng- pleasure. The theory of German pronunciation are indicated at the at lish substitutions, which begin- is that b, d, ginning with any of them, or with a vowel, tho musical note (unless there is a pause in the sense) former consonants are retained, but in other cases and are reckoned as a single syllable in the verse they are altered. Englishmen, however, may (even when there is a break in the sense, so follow their own custom a of pronunciation in this that there is an absolute silence between them in sase without offending a German ear, which would reading), but they very rarely form anything ap- be scarcely conscious of the alteration. Through- proaching to a real English diphthong like ei, out a large section of Germany speakers and writers oi, ou. Thus in Diserto sulla Terra, v. 2, Col seem unable to distinguish^ from b, t from d, ky'h rio destino in guerra, Koal ree-oa daistee'noa^,een from gyh, and occasionally k from g, but they gwaer'-raa, there are only seven syllables, which usually distinguish 5 from z. ought to be pointed out by slurs in music. (The The German versification resembles the English English edition of the music gives, by mistake, so closely as to occasion no difficulty to the reader two notes to ...noa^een.) Again (ibid. v. 3', who observes the place of the accent. e sola speme un cor Ae soa-laa spae-mai^oon cao'r' has six the music the 2. In Italian it is always possible for an Eng- only syllables. (In fall to one for lishman to use i, e, o, uo, for ee, ae, do, do, in closed ...mai^oon semiquaver.) Thus, these two the music is divided : syllables, but it adds much to the beauty of the cases, properly pronunciation not to do so. In open syllables he may use du for do, but ae must have a so and quite distinct from di, and da (not du or do} must be pro- koal ree'oa dai - stee noa^een gwaer nounced, where marked, before r'. A difficulty arises from the confluent vowels which take the place of English diphthongs, but r'aa ae soa- laa are in Italian pronounced much more distinctly spae'tnai^oon kao'r'. separate. When these occur within the same " " In other respects Italian versification offers no word as in rio," ree-od, ei,'' ai'ee, the short difficulty to English speakers. mark indicates that the od or ee forms only one acknowledged syllable with the previous ee, and 3. French versification is founded upon an older that the two are sung to one note of music without system of pronunciation which prevailed when its " " attacking the od or ee separately, so that there is laws were established, and which is carried out in no cessation of voice between the ee and the 3d. In music. In modern French speaking the final -e, the cases where come and w frequent ee, do, first, y -ent, of so many French words, is not pronounced are as the sounds are almost the but written, same, at all, although it may count as a syllable in the are no means the same in as they by quite Italian, verse. Even on the stage, in declaiming tragic in Thus would " " English. gwaer'-r'aa poassyai'dai verse, these mute Frenchmen I seem to hear vowel in the which are far among ; generally eo, examples, generally which I have therefore written, and many French- from classical, and in most of those cases the con- is written : v. : men agree with me. Others do not distinguish sonant (La Manola, 28, raipoan'dee v. Zhootaa v. consciously between eo and oe. Both sounds, when wee; 12, Aaraagoanaizaa ; 18, ae. Partant la v. 21 final bear so close a resemblance to our final -u or Maadree(d) pour Syrie, ; fee -er (when no trill r is added to the vocal r), that Eezaabaeleo.} either sound to trill the (carefully avoiding r) may In colloquial French the final -0, mute, is almost be used for it Thus in "Ou by Englishmen. always (not always) omitted, but an emphatic ut- " vou ez-vous aller ?" ma which dites, jeune belle,'' terance calls it faintly to life. In reading poetry in would be maa zhoen is to prose deet, bael, sung (as distinguished from singing) this vowel is also omitted, but as the line would then be too short by one or more syllables, many French readers seek to dee - teo maa zhoe - tieo bael - eo. supply the missing syllable by lengthening the the omitted -e. In the (In the English edition one note only is wrongly consonant preceding pro- " nunciation marked the Italic eo out assigned to belle," clearly on account of the below, points these cases. In the omit the English translation.) As Englishmen in singing rending poetry, then, " eo on the French songs try to avoid pronouncing the mute and dwell somewhat preceding consonant, " or a little after as dit laazhoenn e as much as possible, and thus produce a very make pause it, ' strange effect on ears accustomed to French sing- baell, for dite? la jeun? belL?. ing, they should be very careful, to observe this In the alphabetic table the length of the vowels characteristic usage. is marked as assigned by M. Theriat. In M. To this pronunciation of final -e (not of -ent] Tarver's edition of Tardy's dictionary the length there is one remarkable exception. If a vowel of the vowels is also much dwelled upon. In follows, the e is perfectly mute, being entirely M. Feline's dictionary almost every vowel is elided. This is the only case in French poetry in indicated as short, and the tendency of modern which a word is allowed to end with a written French pronunciation is to shorten all vowels. In vowel when the next word begins with one. these examples I have left the length of the " " Hence, there are no confluent vowels between vowels unmarked, because in listening carefully words in French singing or versification as there when they were read over to me by two French are in Italian. Open vowels do occur, however, gentlemen, I found no certainty in the use of occasionally, but then there is generally some long and short. In singing, of course, the written, but unpronounced consonant interposed, length of the vowel is determined by that of " or the word changes its sound. Thus, la voile the musical note assigned to the syllable, and the " " " ouvre son aile," elides the e of voile," before extreme variability of French usage in this respect the "ou" of "ouvre;" the "son,' which would has been taken so much advantage of by musical end with a pure vowel as soan' changes its pro- composers, that when a French song is sung to nunciation and becomes saon, so that the line is English words, it is often extremely difficult to get to the notes above written as laa : vwaal out our with numerous conso- sung | \ syllables, hampered : and when we do oo-vreo saon ae-leo j. The word "un" before nants, with sufficient rapidity, so, a vowel becomes oen'n in the same way. Many the alteration of rhythm, quantity, and accent, makes consonants not usually pronounced at the end of the result much more unintelligible than usual. words are brought to life again by a following Even in Italian translations of French operas (as vowel. There are very few cases of an open Gounod's Faust) the same evil is greatly felt. Sec. XV. EXAMPLES OF SONGS IN GKB.MA.M, ITALIAN, AND 1'HENCH. 215 " z 3 The French syllable is supposed theoretically to Maigloeckchen," v 11, luoks dhem fren-dlili l terminate in a vowel whenever the next consonant at, means luoks at dhem fren'dlili. or consonants can be pronounced without the Sometimes the literal translation of a word preceding vowel. Thia plan may therefore be would be unintelligible or misleading, and in always followed in singing. But the actual that case another interpretation is added in par- usage of Frenchmen (as laid down by the late enthesis preceded by a hyphen, as (ib. v. 1.) : " M. Jobert, in his Colloquial French,") is to Mai-bel (lili ov dhi val'ij, which shows that what to the run the vowel on following consonant is translated "May-bell" (a translation necessary wherever it is practicable, and, of course, also for the whole thought of the little poem), is the " to unite that consonant with the vowel of flower in is following ; name a which England called lily thus : belle bael-eo, not bae-leo. French singers of the valley." also seem to me to follow this practice where Sometimes it is necessary to use more than one convenient for them. English singers are there- word to translate what is either one word, or is to fore at full liberty use either plan, in any word written as one word in the original, such words are as it best suit them. In may speaking, however, then connected by a hyphen, as (ib. v. 3) : ZUDQ and reading, they should follow the latter plan, tsoom is rendered too-d/ti, and allzumal aal'tsoomaa'l and call pacifique paas-eef-eek, and not paa-see-feek. is rendered aul-at-wuns. As already indicated no proper diphthongs occur Sometimes it is necessary to insert a word in but in French (pp. 45, 49), 00, ?, occasionally English for which there is no foreign equivalent in run on to the following vowel, and are then the text, although it is implied by the usage of the written in these as : soit is w, y y examples, swaa, language. Such a word inserted in parentheses oui wee, yeux yeo, for which sooaa, odee, eeeo, would which are not hyphened to another word, as in " be more correct. In the case of ue this notation Wie kann ich froh," v. 3, dhat too-mee soa deer to remain as lui suis nuit and ibid v. hoo hens ! had lueee, sueee, nueee, (iz) , 8, (iz) faar where there zhueaanaetaa and for ee is iz. Juanetta ; similarly final, no German word corresponding to as : gouvernail goovaernaaee, cueillir koe-eeyeer'. Sometimes, on the contrary, a word, such as the French singing has altogether a different style definite article, is found in the original where no from English. The pronunciation given is not equivalent word would be used in English, and in intended to do more than enable a Frenchman to this case it is duly translated and placed in square " " recognise his' own language in an Englishman's brackets, as in In diesen heiligen Hallen v. 2, mouth. To acquire the true French delivery in [dhi'] ven-jens, in German, die Rache dee Eaakh-u. talking or singing, is a labour of many years to Finally, sometimes it might prove difficult to an Englishman, and complete success is very rare make sense of several words, or of a whole phrase, indeed. Frenchmen find the same difficulty with and in this case an equivalent is added in hy our language. phened parentheses placed after the last word, III. Bottom of page, Translation. This transla- while a hyphen is also placed before the first word tion is arranged to serve as a glossary for those of the phrase. Thus: "Maigloeckchen," v. 21, quite unacquainted with German, Italian, and -Nou hoaldz-it au'lsoa mee -not moar-fnoa long'ger) French. It follows the original, line for line, -too hous-fat hoa'mj -(Nou ei, too, Jean stai noa long'- for in the same which at shews that the whole and word word, order, is^ ger hoa-mj, long phrase of course, often not the English order. When, from -Nou to -(Nou is reconstructed in the last However, the foreign order of the words threatens parenthesis, and also that within the long phrase, to render the passage unintelligible, a little pre- two short ones have required re -writing, for not fro hous fixed figure points to the English order, thus : moar means noa long-ger, and means at hoa'm 210 EXAMPLES OF SONGS IN u I KM AN, ITALIAN, AXD FRENCH. Sec. XV. By these simple means the real meaning of the or." The final unaccented "-age" of "pillage,'' passage is so fully indicated that it has hot ap- is written -ej, as pil'ej, &c. The unaccented " " ' peared necessary to add a free translation. e," when not before r, or in the same is In the mode of rendering the English into syllable with a consonant, written i, as beloved Glossic, I have been more exact than would be biluvd, rejoiced rijoi'st. See Glossic Index. necessary for ordinary purposes. The place of the The names of foreign composers are given with accent is marked in every word, and the position the proper native pronunciation in the column of the accent mark shows whether the vowel of pronunciation, but in the translation they is long or short. The trilled r' is everywhere are fitted with thoroughly English sounds. The distinguished from the vocal r which forms a French take the liberty of pronouncing all names diphthong with the preceding long vowel, and which occur in French speaking according to tho with er forms a peculiar indistinct sound already rules of French orthography. There is no fixed spoken of. But vocal r is never written except rule in English. Thus we say Han-dl, Moazaccrt, where it may be followed in speech by a trilled r'. for the German Hen-del, Moa-tsaart, sometimes The diphthongs ei, oi, ou, eu, are left unanalysed. even Wag-ner for Vaa-yhner, and so on. While The final a, and often the initial a, is generally other names, as Goethe Geo-tu, Miiller Mueler, pronounced obscurely like u or er (without any often entirely puzzle the speaker, although such permission to trill) but it has been preserved as in thoroughly English sounds as Gai-tu, Mil'er, would ordinary glossic. The final el, em, en, when not bo perfectly intelligible to every German. It does the vocal consonants that Men-dlsen is acknowledged to be simply I, not appear more objectionable m, n, are written in this manner, whatever the than Jon-sen, although, of course, there is no " vowel have as -al, -ol; -om to Men-dels -zoa-n at full original may been, } objection using length. " -en and er all This of the -um, -em ; -an, ;" replaces ur, er, conception anglicising pronunciation " ir," and unaccented -ar, -er, -ir, -or, -our, of foreign names is carried out in Section XVi 217 IN ITALIAN, AND FRENCH Sec. XV EXAMPLES OF SONGS GERMAN, I. GERMAN SONGS. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. X 1 Maiglockchen und die Blumelein. 1 Maay gloek'kyhen uond dee Blue'mulaayn. Musik von Mendelssohn. Moozee'k faon Men- dels- zoan. Maiglockchen lautet in dem Thai, Maaygloek'ky'hen loHet in darm Taa-1, 2 Das klingt so hell und fein : 2 Daas kleengkt zoa hel uont faayn : " " So kommt zurn Reigen allzurnal, Zoa kaomt tsoom R'aaygy'hen aal"tsoomaa'l, 4 Ihr lieben Blumelein !" 4 Ee-r' lee'ben Blue-mulaayn !" Die Blumchen blau und und gelb weiss, Dee Blue'mky'hen blaaw uond gelb uond v'aays, 6 Die kommeii all herbei, 6 Dee kaonren aal' her'baay, und Vergissmeinnicht, Ehrenpreis, Fer'gees-maaynneeky'ht', uond Ai'r'enpraay '8, Veilchen sind dabei. 8 Und 8 Uont Faaylky'hen zee'nd daabaay. Maiglockchen spielt zum Tanz im Nu, Maay gloek'ky'hen shpee'lt tsoom Taants eein 1 Und alle tanzen dann. > 10 Uond aal-u taan-tsen. daan-, [Noo, Der Mond sieht ihnen freundlich ogu, Der Moa-nd zee-t ee-nen frorndliky'h tsoo, 12 Hat seine Freude d ran. 12 Haat zaaynu Froi'du draan. Den Junker lleif vordross das sehr, Dai-n Juong-ker Raayf ferdraos- daas zai'r', i4 Er kommt in's Ttfal hinein. 14 Er' kaomt eens Taa-1 heenaayn. Maiglockchen spielt zum Tanz nicht mehr Maaygloek'ky' hen shpee It tsoom Taants neeky'ht 16 Fort sind die Bliimelein. 1 6 Faor' t zeend dee Blue mulaay n . [marr' Doch kaum der Reif das Thai verliisst, Daokh kaawn der Raayf daas Taa'l ferles't, 18 Da rufet weider schnell 18 Daa roo'fet v'ee'der' shnel Maiglockchen zu dem Friihlingsfest, Maaygloek'ky'hen tsoo dai'm Frue leengksfes't, 20 Und lautet doppelt hell. 20 Uond loi'tet daop'elt hel. [Haaws, Nun halt's auch mich nicht mehr zu Haus, Noo'n hel'ts aawkh meeky'h neeky'ht marr' tsoo 22 Maiglockchen ruft auch mich. 22 Maaygloekky' hen roo-ft aawkh meeky'h. Die Bliimchen gehn zum Tanz hinaus, Dee Blue'mky'hen garn tsoom Taants heenaawa, 24 Zum Tanze geh' auch ich. 24 Tsoom Taan-tsu gai aawkh eeky'h. VERBAL GLOSSIC TRANSLATION. .1 Mai-bel and dhl Flou-rrets. 14 He kums in'too-dhi val'i hens-in, Meu-zik bei Men-dlsen. Mai-hel plai-z faur-dhi daans -not moar-(noa long-ger, Mai bel-(liH of dhi val'i cheim/s in the val'i, 16 -Foa-rth aar- (gon awai' aar) dhi flou'rr'ets. Dhat soundz soa br'eit and fein-(el'igent) : " Soa kum too-dhi daan'sing aul-at-wuns Yeo deer flou rr'ets." -Hauever skai'rsli dhi Hoa-rfr'aust dhi val'i leevz - az dhi left dhi (Yet az soon hoa'rfraust haz vaH ) , Dhi nou-rr'ets bloo and yel-oa and wheit, 3 4 5 18 ^hen kauls->,inverts^ again kwik'li 6 Dhai kum aul hidh'er-bei, 2 Mai-hel too dhi spr'ing-feest Faurget'-mee-not and spee'dwel, 20 And cheimz dnb'li br'ertli-(klee*rli), 6 And vei'oalet aar dhair-bei. faur-dhi daans in-a Mai-bel plaiz twingkling, -Non hoaldz-it au'lsoa mee-not moar-(noa long-, 1 And aul daans - dhen, ger -too hous- at hoa m)-(Nou ei, too, kan luoks 2 dhem 3 fren - dlili ! Dhi Moon at, stai no long-ger at hoa-m). 12 (It) haz its joi dhairr'at'. 22 Mai-hel kaulz au-lsoa mee, 3 Dhi 4 skweir 5 Hoar-fraust 2 anoi'd ! dhat 6soar Dhi flou'rr'ets goa too-dhi daans hens-out, -(much), 24 Too-dhi daans goa au'lsoa ei. 218 EXAMPLES C7 SONGS IN GERMAN. Sec. XV. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 2. Ich wollt' meine Lieb''. 2. Eeky'h v' aolt maaynu Lee-b. Musik von Mendelssohn. Moozee k faon Men-delszoa-n. v'oalt' Leeb Ich wollt' meine Lieb ergosse sich Eeky'h maaynu ergoes'u zeeky'h 2 Aal een h 2 All in ein einzig Wort, aayn aayntseegy V'aor't, Daas dain Veen Das gab' ich den lust' gen Winden, gae-b eeky'h luos-teegy'hen den, 4 Dee es faor't. 4 Die triigen es lustig fort. tr'ue-gy'hen luos'teegy'h Zee tsoo Gelee Sie tragen zu Dir, Geliebte, tr'aa-ghen Deer', ptu, 6 Daas lee berfuel'tu 6 Das lieberfiillte Wort, V'aor't, Doo heo-rst es tsoo der Du horst es zu jeder Stunde, yai Shtuon-du, 8 Doo heo rst es aan Aor't. 8 Du horst es an jedem Ort. yardem Und hast du zum nachtlichen Schlummer Uont haast doo tsoom naeky'h'tleeky'hen 10 Geschlossen die Augen kaum, 10 Geshlaos'en dee Aawghen kaawm, [Shluorrrer Zoa v'eert Beeld So wird mein Bild dich verfolgen, maayn deeky'h ferfaol'gy'hen, 12 Bis in den tiefsten Traum. 12 Bees een dain tee-fsten Tr'aawm. 3. V'ee kaan 3. Wie kaun ich froh. eeky'h froa. Musik von Mendelssohn. Moozee-k faon Men dels-zoa-n. V'ee kaan froa luos ? Wie kann ich froh und lustig sein ? eeky'h uond teegy'h zaayn 2 V'ee kaan meet Baand uont 2 Wie kaun ich gehn mit Band und Strauss ? eeky'h garn Shtraaws ? [leep, Wenn der herz'ge Junge, der mir so lieb, V'en der' her'-tsgy'hu yuong-u, dair' meer' zoa 4 1st iiber die weit hinaus ! Berge 4 Best ue-ber dee Ber'-gy'hu v'aayt heen-aaws. Veen 'terv 'S 1st nicht der frost' ge Winter wind, S-eestneeky'htder' fr'aos'tgy'hu Sent, 6 S- eest neeky'ht der' Shnai uont Shtuor'm uond 6 'S ist nicht der Schnee und Sturm und Grauss, Graaws, in 's Doch immer kommen mir Thranen Aug', Daokh eenver' kaom'en meer' Trai nen een -s 8 Denk' ich an ihn, der weit hinaus ! Aawgh, 8 Dengk eeky'h aan ee'n, dair' v'aayt heen-aaws ! Der lange Winter ist vorbei, Der' laang-u Veen-ter eest faor'baay, 10 Der die Birken aus, Friihling putzt 10 Der Frue-leeng puotst dee Beer' -ken aaws, Es grunt und bliiht und lacht der Mai, Es grue'nt uond blue't uond laakh't der Maay, 12 Dann kehrt er heim, der weit hinaus ! 12 Daan kai'r't er haaym, dair' v'aayt heen-aaws ! VERBAL GLOSSIC TRANSLATION. 2. Ei wuod mei luv, 3. Sou kan ei chee'rfuol ? Meu'zik bei Men-dlsen. Meu zik bei Men dlsen. Ei wuod mei luv wuod-poa'r itseli Hou kan ei chee rfuol and mer'-i bee ? 2 Aul in-too a sing-1 werd, 2 How kan ei goa widh r'ib en and noa-zgai ? 1 3 2 Dhat wuod- giv ei too-dhi mer'-i windz, When dhi chaa rming euth, dhat too mee soa deer 4 Dhai wuod-bair it mer'-ili foa'rth. 4 Iz oa-ver dhi mou-ntenz faar hens ! (iz) Dhai kar'-i too dhee, biluvd, It iz not dhi fr'os ti win -ter- wind, 6 Dhi luv-fil-d werd, 6 It iz not dhi snoa and staurm and hor' er, - Dhoxi hee-rr'est it at evri our, Yet ever kum too-mee tee rz in too-dhi ei, 8 Dhou heerr'est it at evri plai'8. 8 Thingk ei on him, hoo (iz) faar hens ! And hast dhou faur-dhi nei'tli slunrber Dhi long win-ter iz paast, dhi 10 dhi 10 Shut -(eur) eiz skai-rsli -(only lately), Dhi spr'ing deks berches out, f [dhi] ^ai, 6 - 2 3 4 5 laafs Soa in dhat kai-s) wil mei invej dhee perseu- [Dhair] groa-z-gr'ee'n and bloomz and J faar hens ! 12 "Ontil- in-too -(soa faar az) dhi dee-pest dr'ee-m. 12 Dhen Viternz hee hoa'm, hoo (iz) Sec. XV. EXAMPLES OF SONGS IN GERMAN. 219 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 4. Isis und Osiris. 4. Oa JEe'sees uond Oasee'rees. Musik von Mozart. Moozee-k faon Moa-tsaar't. Isis und Osiris, schenket Oa Ee'sees uond Oasee-r'ees, sheng-ket - Der Weisheit Geist dem neuen Paar ! 2 Der Vaayz'haayt Gaayst daim noi-en Paa r'. Die ihr der Wand'rer Schritte lenket Dee ee'r' der' V'aan-dr'er' Shr'eet'u leng-ket, Starkt rait sie in ! 4 Geduld Gefahr Miter' kt meet Geduol'd zee een Gefaa-r ! ' Lasst sie der Priifung Friichte sehen Laast zee der Prue-fuong Frueky'h'tu zaren ! 6 Doch sollen sie zu Grabe gehen, Daokh zaol'en zee tsoo Graa-bu gai-en, So lohnt der kiihnen Lauf loa'nt der Tugend , Zoa Tuo'ghent kue-nen Laawf Nehmt sie in eurem Wohnsitz auf ! 8 Narmt zee een orr'em V'oa'nzeets aawf. 5. In diesen heiligen Hallen ! 5. Een dee'zen haayleegy' hen Haal'en. Musik von Mozart. Moozee'k faon Moa tsaar't In diesen heil'gen Hallen, Een dee'zen haaylgy'hen Haal-en, Kennt man die Rache nicht, 2 Kent maan dee Raakh'u neeky'ht, Und ist ein Mensch gefalien, Uond eest aayn Mensh gefaal-en, Fiihrt Liebe ihn zur Pflicht. 4 Fue'r't Lee'bu ee-n tsoor' Pfleeky'ht. Dann wandelt er an Freundes Hand Daan v'aan-delt ai*r' aan Froi-ndes Haant froh ins bess're ! Vergniigt und Land 6 Fer'gnue'ky'ht uont fr'oa eens bes-r'u Laant ! In diesen heil'gen Mauern, Een dee'zen haay Igy'hen Maawer'n Wo Mensch den Menschen liebt, 8 Voa Mensh dain Mensh'en lee'pt, Kann kein Verrather lauern, Kaan kaayn Fer'r'ai'ter laawer'n, 10 Weil man dem Feind vergiebt. 10 V'aayl maan daim Faaynt fergee'pt. Wen solche Lehren nicht erfreun, Warn zaol'ky'hu Lai T' en neekv'ht erfroi'n, 12 Verdieuet nicht ein Mensch zu seyn. 12 Ferdee'net neeky'ht aayn Mensh tsoo zaayn. VERBAL GLOSSIC TRANSLATION 4. Oa Ei'sis and Oasei'rr'is. 5. In dhee z hoa'li haulz. Meu-zeik bei Moazaa rt. Meu-zik bei Moazaa'rt. In dheez hoali Oa Ei'sis and Oaserrr'is haulz, giv, - 2 z : 4 3 3 4 l 2 2 Noa wun [dhi] ven*jens not, 2 0v- [dhi] wiz-dum (the) Spir -it too-dhi neu And if (dhair) iz a man fau'ln, pair! 2 - x 3 5 Lee ds luv him in deu-ti. 2Hoo 6 ov-dhi 7 won'der'erz 4 3 4 too-[dhi] *yee (dhi) steps geid, 2 - J Dhen wau ks hee at (a)-fr'endz hand, 4 Str'eng'kthen with pai'shens dhem in dai'njer ! 6 R'ijoi'st and glad in too-dhi better land. J 2 6 5 3 Let dhem ov-dhi "tr'ei'el *(dhi) fr'oots see! 6 Yet, -shal dhai too gr'arv goa-(if dhai must In dheez hoa'li wau'lz, dei), Whair man [dhi] man luvz, 4 5 Soa-^in dhat kai'Si riwau-rd ov-[dhi] ver-teu Kan noa tr'arter lour, 2 3 J 3 4 2 !(dhi) boald koa rs, 10 Bikau-z wun dhi en'imi faurgivz. 8 Tai'k dhem in eur dwel-ing-plai-s up! (tai'k up Hoom such dokir'inz not r'ijors, =risee'v). I 12 Dizer'vz not a man too bee. 220 EXAMPLES OF SONGS IN GERMAN. Sec. XV. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 6. Der 6. Der Erlkonig. JSr'l-keo'neeky'h. Gedeeky'h't faon Geo'tu, Moozee'k faon Shoo'ber't Gedicht von Goethe, Musik von Schubert. V'ai-r' r'aaytet zoa shpae't duor'ky'h Naakht Wer reitet so spat durch Nacht und Wind ? uond V'eent ? 2 Es eest der' Faaier' meet Keent. 2 Es ist der Vater mit seinem kind. zaaynem Er' haat dai-n Knaa'ben v'oa'l een dai-m Aar'm, hat den Knaben wohl in dem Er Arm, 4 Er' faast een zeeky'lrer', er' helt een v'aar'm. 4 Er fasst ihn sicher, er halt ihn warm. Zoa'n, v'aas doo zoa "Maayn beer'ky'hst" baang daayn Gezeeky'ht ? - 6"Zee st, Faaier', doo dai-n " Er'1-keo'neegy'h Mein Sohn, was birgstdu so bang deinGesicht?" ? | neekyht " "Dai-n meet Kr'oa-n uont 6 Siehst. Vater, du den Erlkonig nicht ? Er'len-keo-neegy'h" " " Shv'aayf ? Den Erlenkonig mit Kron' und Schweif ? I " - 8 Maayn Zoa n, est eest noo'r' aayn Nai'bel- " 8 Mein Sohn, es ist nur ein Nebelstreif." shtraayf." " Doo lee'bes Keent, kaom, gai meet mee r' ! " 10 Gaar' sheo'nu Shpee'lu shpeel' eeky'h meet " Du liebes Kind komm, geh mit mir ! dee-r' ! " " buoniu Bloo men zeend aan dai'm 10 Gar schbne Spiele spiel' ich mit dir ! Maanky'h Shtr'aant. " Manch' bunte Blumen sind an dern Strand. " 12 Maaynu Muot'er' haat maanky'h guol'den " 12 Meine Mutter hat manch' gulden Gewand." Gev'aant." " Maayn Faa'ter', maayn Faa'ter', uont heo'r'est doo neeky'ht, " mein und horest du Mein Vater, Vater, nicht, 14" V'aas Er'-lenkeo'neegy'h mee'r' laayzu fer'- " " 14 Was mir leise ? shpr'eeky'ht?"- Erlenkonig verspricht " r'oo'eeky'h, " bleibe mein Kind Zaay r'oo'eeky'h, blaaybu maayn Sey ruhig, ruhig, ; Keent " " " ' 16 In diirren Blattern sauselt der Wind ! 16 Een duer'-en Blet'er'n zorzelt der' V'eent! VERBAL GLOSSIC TRANSLATION. " 6. Dhi ov dhi au-lder dee-r widh mee ! Er'lking-(k\n.g gr'oa'v.) Dhou cheild, kum, goa wil Poa'em bei Gai tu, meu'zik bei Shoo'bert. 10"Ver'-i beu'tifuol gai-mz -plai ei-(ei plai) widh dhee ! Hoo r'eidz soa lai't thr'oo neit and wind ? " 2 It iz dhi faa-dher widh hiz cheild. Men-i kul'urd flourz aar on dhi str'and. " Hee haz dhi boi wel in dhi- (hiz) aarm, 12 Mei mudh-er haz men-i (a) goa-lden r'oa-b."- 4 Hee hoa Idz him sarfli, hee hoa'ldz- (keeps) him "Mei faa-dher, mei faa-dher, andhee-rr'est dhou not, "Mei sun, whei hei'dst dhou soa fr'ei'tend dhei " 14 What too-mee in-loa-toa-nz pr'om-- fai-s?" Er-lking " " isez ? 6 See-st, faa-dher, dhou dhi Er-lking not ? " " " r'imai-n mei Dhi Er Iking widh kroun and skaarf ? Bee kwei-et, kwei-et, cheild, " '* wind.' 8 Mei sun, it iz oa-nli a fog-str'ip." 16 In dr'ei lee-vz r'us'lz dhi Sec. XV. EXAMPLES OF SONGS IN GERMAN. 223 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. Der Der Erlkoniy Fortsetzung. Erl-keo-neekyh Faor't-zets'uong. " V'eelst, faayner' Knaa-bu, doo meet Willst, feiner Knabe, du mit mir gehen, gai-n, 18 Tochter sollen dich warten schb'n v'aar'-ten, Meine ; 18 "Maaynu Toeky'h'ter' zaol'en deeky'h sheo'n nachtlichen ; Meine Tochter fiihren den Reihn, " Maaynu Toeky'lrter' fue-r'en darn neky'h't- 20 Und undtanzen und dich ein." wiegen singen leeky'hen R'aayn, " 20 Uond v'ee-gy'hen uont taan-tsen uont zeeng-en deeky'h aayn.'' Mein mein und siehst du nicht Vater, Vater, " Maayn Faa'ter', maayn Faa'ter', uond zee st dort, doo neeky'ht daor't, " " 22 Erlkonigs Tochter am diistern Ort ? 22 Er'1-keo'neeky'hs Toeky'h ter' aam dues'ter'n Aort?" Mein Sohn, mein Sohn, ich seh' es genau, " " Maayn Zoa*n, maayn Zoa'n, eeky'h zai es- die alten Weiden so ! 24 Es scheinen grau genaaw, 24 " Es dee aal'ten zoa shaaynen" V'aayden gr'aaw ! Ich liebe dich, mich reitzt deine schone "Eeky'h lee'bu deeky'h, meeky'h r'aaytst Gestalt, daaynu sheo'nu Geshtaal-t, 26 TTnd bist du nicht willig, so branch' ich 26" Uond beest doo neeky'h v'eel'eeky'h, zoa ' br'aawkh eeky'h Gev'aaH '. Gewalt!" " Maayn Faa'ter', maayn Faa-ter', yetst faast er' Mein mein fasst er mich an ! Vater, Vater, jetzt meeky'h aa-n ! " 28 " h haat mee'r' 28 Erlkb'nig hat mir ein Leids gethan ! Er'1-keo'neeky" aayn Laayts getaa-n! Dai-m Faa'ter' gr'aawzet-s er r'aaytet ge- Dem Vater grauset's er reitet geschwind shv cent 30 Er halt in Armen das achzende Kind, 30 Er' helt een aar'nien daas eky'h'tsendu Keent Er' r'aaky'ht dai-n Hoa'f meet Mueu uondi Er reicht den Hof mit Miihe und Noth Noa-t 32 In seinen Armen das Kind war todt ! 32 Een zaaynen Aa/*men daas Keent v'aar' toa't! VERBAL GLOSSIC TRANSLATION. " Dhi Er'lking Kuntin-euai'shen. Ei luv dhee, me atrak ts dhei beu-tifuol form, " " 26 And aart dhou not wil ing, soa- (in dhat kais) Wilt, fein-(jen-tlj boi, dhou widh mee goa, " euz ei foa'rs ! " (wil) 18 Mei dau'terz shal dhee tend beu-tifuoli " ! 3 - 2 ; Mei faa-dher, mei faa-dher, nou see zez hee " 5 4 Mei dau'terz (wil) lee'd dhi nei'tli daans, mee on ! " 20 " r'ok and daans and dhee 28 -haz too mee a mis*cheef And (wil) sing in-(too Erlking " dun-(haz. kild ! slee'p)." mee) " - 3 dhi 4faa dher 2hor'-ifeiz- 1 Mei faa dher, mei faa'dher, and seest dhou not (Too) it-(dhi faa-dher shud-er/) hee r'eidz swif-tli dhair, - 30 Heehoa gT'oa-ningcheild 22 dau'terz at-dhi ?" ldzin(hiz)aarmzdhi "Erlkingz gloo-mi piai-s Hee r'ee-chez dhi faarm-hous widh-lai'ber and " Mei mei ei see it sun, sun, per-fektli ; nee'd-(pain and dif ikelti) (i " 24 Dhair shein dhi oa-ld wil'oaz soa gr'ai ! 32 In hiz aarmz dhi cheild woz ded ! 222 EXAMPLES OF SONGS IN GERMVX. Sec. XV. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 7. Der Wanderer. 7. Der Vaan'derer. Musik von Schubert. Moozee-k faon Shoo'ber't. Eeky'h kaonru faom Ich komme vom Gebirge her, Gebeer'-gv'hu harr', 2 Es daampft daas Taa-1, es br'aawst daas Mai-r'. i Es dampft das Thai, es braust das Meer. Eeky'h v'aan'dlu faor't, been Ich wandle fort, bin wenig froh, v'arneeky'h fr'oa, 4 Uond eenrer' fr'aa-kht der' Zorftser', v'oa? t Und immer fragt der Seufzer wo ? Eenver'. v'oa? Immer, wo ? 6 Dee Zaon-u dueng-kt meeky'h hee-r' zoa kaalt, Dee Blue-tu daas > Die Sonne diinkt mich hier so kalt, v'elk, Lai-ben Salt, 8 v'aas zee r'ai Die Bliithe welk, das Leben alt, Uond den, lai'r'er' Shaal! been J Und was sio reden, leerer schall ! Eeky'h aayn Fr'enrdleeng ue'ber'aal. 10 V'oa beest doo ? Ich bin ein Fremdling iiberall. maayn gelee-ptes Laant ! 10 Wo bist du ? mein geliebtes Land! Gezoo-kht, ge-aa-nt, uond nee gekaan-t ! 12 Daas daas Gesucht, geahnt, und nie gekannt ! Laant, Laant, zoa haof-nuongz-gr'ue'n, 12 Das Land, das Land so hoffnungsgriin, Daas Laant v'oa maaynu R'oa'zen blue'n, 14 Das Land wo meine Rosen bluhn, V'oa maaynu Fr'orndu v'aan-deln gai'n, 14 Wo meine Freunde wandeln gehn, V'oa maaynu Toa-ten aawf-er'shtai-n, Wo meine Todten auferstehn, 16 Daas Laant daas maaynu Shpr'aa'khu 16 Das Land das meine Sprache spricht shpr'eeky'ht O Land ! wo bist du ? Oa Laant! v'oa beest doo ? 18 v'aan-dlu Eeky'h shteel, been v'arneeky'h fr'oa, 18 Ich wandle bin still, wenig froh, Uond eem'er' fr'aa'kht der' Zorftser', v'oa? Und immer fragt der Seufzer, wo ? 20 Eenrer' v'oa ? 20 Immer, wo ? Eem Gaayster'haawkh teo'nt-s mee'r' tsoo- Im Geisterhauch tont's mir zuriick : ruek : " " 22 Dort wo du nicht bist. ist das Gliick ! 22 "Daor't v'oa doo neeky'ht beest eest daas Gluek'!" VERBAL GLOSSIC TRANSLATION. 7. DM Won-derer. 12 Dhi dhi kun-tr'i, kun'tr'i, soa hoa-p-gree-n- (soa Meu-zik bei Shoo'bert. gree-n widh hoa-p). Dhi whair inei Ei kum from-dhi mou'nten-land hidh'er, kun-tr'i, r'oa-zez bloa, 3 - x 2 3 ! 14 Whair mei fr'endz 2 [Dhair] vai perz dhi val'i, [dhair] roa'rz dhi wau'king goa, 2see. Whair mei ded-wunz r'eiz-agarn, 16 Dhi kun-tr'i dhat mei Ei wau-k foarth, am -lit'l joi-us-(ver'-i sad), lang-gwej spee-ks Oa kun-tr'i! 4 And ever aasks dhi sei, whair ? whair aart dhou ? Ever, whair ? 6 Dhi sun seemz-too mee heer soa 18 Ei wau-k koa'ld, sei-lent, am lit'l joi us, Dhi bios uni fai ded, [dhi] leif oa-ld, And ever aasks dhi sei. whair ? 8 And whot dhai ! spee-k, em ti sound 20 Ever, whair ? Ei a am str'arnjer evr'i- whair'. -In-dhi if bei goast-breth-'az spoa-kn spir'-its) 10 Whair aart dhou ? mei biluv d kmrtr'i ! soundz-it too-mee bak : " Saut, foarfel't, and never noa-n ! 22 Dhair whair dhou not aart, iz [dhi] hap-ines !" Sec X7. EXAMPLES OF SONGS IN GERMAN. ORIGINAL ORTHOGRAPHY GLOSSIC PRONUNCIATION. ; &. Adelaide. 8. Aadailaa-ee'dii i Moozee-k faon Bart-hoa-fen. Musik von Beethoven. ! Aaynzaam v'aan-delt daayn Fr'oind eem Einsam wandelt dein Freund im Friihlingsgarten, I Fr' ue -leengzgaa'r' ten, 2 Mild vom lieblichen Zauherlicht umflossen, 2 Meeld faom lee'bleeky'hen Tsaawber leeky'ht uomflaos-en. Das durch wankende Bliithenzweige zittert, j Daas door'ky'h v'aang'kendu Blue 'ten- tsv'aay - 4 Adelaide ! gy'hu tsit'er't, 4 Aadailaa-ee'du 1 Een der' shpee-gy'helnden Floo't, eem Shnai In der spieg elnden Fluth. im Schnee der Alpen, ; der' Aal-pen, [ku, In des sinkenden 6 Tages Goldgewolke, 6 Een des zeeng-kenden Taa-ghes Gaol'd-gev'oel'- Ee'm Gefeel'du der' Shter' nu shtr'aa'lt Im Gefilde der Sterne strahlt dein Bildniss I daayn Beel-dnees 8 Adelaide ! 8 Aadailaa-ee'du ! Aa-bendluef-tky'hen eem tsaar -ten Laawbu Abendliiftchen im zarten Laube fliistern, flues'tei-'n, 10 Zeel'bergloek-ky'hen des Maayz eem Graa-zu 10 Silberglockchen des im Grase sauseln, Mays zoi'zeln, Wellen rauschen und Nachtigallen floten, V'el en raawshen uond naak'teegaal'en fleo'ten, ' 12 Aadailaa-ee-du ! 12 Adelaide ! Aaynst, oa V'uon'der' ! entblue't aawf maaynem Gr'aa'bu Einst, Wunder ! entbliiht auf meinem Grabe, 14 Aay-nu Bloo'mu, der' Aaslru maaynes Her'-- tsens der meines ; 14 Eine Blume, Asche Herzens ; Dortleeky'h sheem-er't aawf yai'dem Poor'- Deutlich schimmert auf jedemPurpurblattchen, poor'blet'ky'hen, 16 Adelaide ! 16 Aadailaa-ee-du ! VERBAL GLOSSIC TRANSLATION, Ee'vning-lit'1-airz in-dhi ten-der foa'liej whis - per, Meu-zik bei Bee't-hoa'ven. 10 -Sil-ver-lit-1 belz ov [dhi] Mai-(lil-iz ov dhi in-dhi Sol-iter'i wau-ks dhei fr'end-(luver) in-dhi val'i) gr'aas r'us-1, Wai'vz and gaa-rden-ov-spr'ing, br'aul, nei'tdnggailz peip, 2 Jen'tli boi-dhi luvli maj'ik-leit surou'nded 12 Ad-ilaid! Which thr'oo nod'ing nour-br'aa nchez tr'emblz 4 Ad ilaid ! Heerr'aa-fter, oa wurrder-(mir'akl), (wil - blos'um-up upon' mei gr'ai'v 14 A dhi ov mei In dhi mir'-ur'ing flud, in-dhi snoa ov-dhi Alps, flour, from) ash-(ded-r'imarnz) x 4 5 6 2 3 - haa'rt 6 ln ov-dhi sing-king dai (dhi goa ld-kloudz ; Klee-rli shein evr'i In-dhi feeld ov-dhi staarz beemz dhei im-ej, (wil) upon* per'pl-lit'1-leef, S Ad-ilaid \ 16 Ad-ilaid ! 224 EXAMPLES OF SONGS IN GERMAN. Sec. XV.. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 9. LebewohL 9. Lai-buv'oa-l. Musik von Schubert. Moozee-k faon Shoo'ber't. Schon naht, um uns zu scheiden, Shoa'n naa't, oom uons tsoo shaayden, 2 Der letzte Augenblick, 2 Der' let'stu Aawghenbleek-, In's Paradies der Freuden Een-s Paar'aadee-s der' Fr orden 4 ! 4 Kehr' ohne mich zuriick ! Karr' oa'nu meeky'h tsoor'uek- Der Tod kann Freiheit geben Der' Toa-t kaan Fr'aayhaayt gai'ben 6 Hit milder Freundeshand ; 6 Meet meel'der' Fr'orndes-haan't ; Geh' ein zu neuem Lebeu Gai aayn tsoo nor em Lai -ben, 8 In jenes bess're Land. 8 Een yai-nes bes-r'u Laan-t. Nicht lang' sind wir geschieden Neeky'ht laang zeend v'ee-r' geshee den, 10 Bald werd' ich bei dir sein, 10 Baald v'er'd eeky'h baay deeV zaayn. Die kurze Frist hienieden Dee kuor' 'tsu Fr'eest hee-nee'den, 12 Denk' ich in Liebe dein. 12 Dengk eeky'h een Lee-bu daayn. Leb'wohl denn, bis der Morgen Lai'bv'oa-1 den, bees der' Maor'-gy'hen 14 Des neuen 14 Des noi'en Taa-khs Tags erscheint, er'shaaynt, Der, fern von Erdensorgen, Dai-r', fer'n faon Er'-denzaor'-gy'hen 16 Auf ewig uns vereint. 16 Aavvf ai-v'eegy'h uons fer'aay'nt. VERBAL GLOSSIC TRANSLATION. 9. Fair'wel-. Not long -aar wee-(shal wee bee) sep'ur'aitod, Meu-zik bei Shoo'bert. 10 Soo'n shal ei widh dhee bee, too Dhi shaurt in*tervel-ov-teim heer-biloa Aulr'edi aproa-chez, in-au-rder us sep'ur'ait, , 2 Dhi laast moa-ment, 12 -Thingk ei- ei shal thingk) in luv ov-dhne In-too-dhi par'-adeis ov joiz 4 R iter-n widhou't mee bak ! Fairwel* dhen, til dhi J 2 4 3 mau-rning [Dhi] deth iz-ai'bl-too fr'ee-dum giv 14 Ov dhi neu dai apee'rz, 6 Widh jen-tl frendz-hand. leif Which, faar from erth-sor'oaz Goa in, faur dhi neu , 8 In-too dhat bet - er-land. 16 Faur ever us eunei'tR. Sec. XV. EXAMPLES Of SONGS IN ITALIAN. 225 II. ITALIAN SONGS. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 1. Diserto sulla Terra. 1. Deesaer^'toa sool'laa Taer'r'aa. Musica di Verdi. Moo-zeekaa dee Vaer'-dee. Diserto sulla terra Deesaer' -toa sooHaa Taer' -r'aa 2 Col rio destino in guerra 2 Koal r'ee-oo daistee-noa_een gwaer'-r'aa ( - E sola speme un cor Ae soa'laa spae-mai_oon kao r' 4 Al Trovator. 4 Aal Troa-vaatoa-r'. Ma s'ei quel cor possiede, Maa s-ai-ee kwail kao-r' poassyardai 6 Bello di casta fede, 6 Baelioa dee kaas-taa fardai E' d'ogni re maggior Ae d-oa-ny'ee r'ae- maad-jyoa-r' 8 II Trovator. 8 Eel Troa-vaatoaV. 2. II balen del suo sorriso. 2 Eel baalai'n dail soo'oa soar'r 'ee'zoa. Musica di Verdi. Moo-zeekaa dee Vaer'-dee. II balen del suo sorriso Eel baalai-n dail soo-oa soar'-r'ee-zoa 2 D'una stella vince ii 2 D-oo-naa stai'1-laa vee-n-chai_eel raggio ; r'aa'd-jyoa; 11 fulgor del suo bel viso Eel foolgoa'r' dail soo oa bael vee-zoa - 4 Novo infonde me corraggio. 4 Nao'voa^eenfoa-ndai mai koar'-r'aa d-jyoa. Ah! 1'amor, 1'amore onde ardo Aa! 1- aamoa-r', 1- aamoa-r'ai_oa-ndai_aa-r'-doa, Le favelli in mio favor, Lai faavael'lee een mee'oa faavoa-r', Sperda il sole d'un suo sguardo Spaer'-daa eel soa'lai d-oo-n soo-oa sgwaar'-doa La tempesta del mio cor. Laa taimpaes-taa dail mee-oa kao'r'. VERBAL GLOSSIC TRANSLATION. l.Dizer-ted upon'-[dhi] Erth. 2. Dhi Lei-tning ov-[dhi] her Smeil. Meu-sik bei Verdi. Meu-zik bei Ver-di. her smeii Dizer-ted upon'-[dhi] Erth, Dhi lei'tning ov-[dhi] 4 5 6 2 3 2 0v a staar ^ong-kerz (serpaa-sez) dhi rai, 2 -Widh-[dhi] gil-ti-(kr'oo-el) fait in- at) waur Dhi br'ei'tnes her beu'tifuol fais - ov-[dhi] Conten-ding agai-nst kr'oo-el fai't) 2 4 3 - 4 Neu Unfeu'zez (in;-mee kur' ej. 3 4 5 - 6 ! 2 Iz ^the) oa nli hoa-p a haart 4 Too-dhi Tr'oo'baadoo-r. 2 3 4 Aa! dhi luv, dhi luv, whens- (widh- which) *ei 6burn, 8 9 10 n 12 6 her in mei fai-ver, But if-hee dhat haart pozes-ez, (Too) Jmai-'speek 2 dhi 3 sun 4 ov 5 wun 6 luok 6 '-Mai^disper-s [her] Beirtifuol widh chai-st farth, 8 9 10 n 12 8 Dhi tem-pest ov mei haart, 3 Iz 5 dhan- 6 ever'i 7 4 king gr'ai'ter -(Mai dhi sun ov wun ov her luoks 8 l l)hi 2 - Tr'oo baadoo r. Dispers dhi tern-pest ov mei haart). 226 EXAMPLES OF SONGS IN ITALIAN. Sec. XV. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 3. Stride la Vampa. 3. Str'ee'dai laa Vaam'paa, Musica di Verdi. Moo'zeekaa dee Vaer' Stride la vampa Str'ee'dai laa vaanrpaa 2 La folia indomita 2 Laa faoHaa eendao-meetaa Corre a quel foco Koar'-r'ai^aa kwail fao'koa 4 Lieta in sembianza. 4 Lyae-taa^een saimbyaan tsaa. IJrli di gioja Oor'-lee dee jyao-yaa 6 Intorno eccheggiano, 6 Eentoar'-noa_aik-kaid jyaanoa, Cinta di sgherri Cheen-taa dee zgair'-r'ee 8 Donna s'avanza. 8 Daon'naa s- aavaan'tsaa. Sinistra splende Seenee'str'aa splaen-dai 10 Sui volti orribili 10 Soo'ee voal'tee_oar'r'ee'beelee La tetra fiamma Laa tae'tr'aa fyaaui'maa 12 Che s'alza al ciel. 12 Kai s- aal'tsaa^aal chyaei. Stride la vampa, Str'ee'dai laa vaanrpaa 14 Giunge la vittima, 14 Joon-jai laa veet'teemaa, Nero vestita, Nai'r'oa vaistee'taa, 16 Discinta e scalza. 16 Deesheen-taa_ai skaal'tsaa. Grido feroce Gr'ee-doa fairoa'chai 18 Di morte levasi, 18 Dee maor''tai lae'vaasee, L'eco il repete L-ae'koa_eel reepae-tai 20 Di balza in balza. 20 Dee baaKsaa een baal'tsaa. Sinistra splende Seenee'str'aa splaen-dai 22 Sui volti orribili 22 Soo - ee voal'tai_oar'r'ee-beelee La tetra fiamma Laa tae'tr'aa fyaanvmaa 24 Che s'alza al ciel. 24 Kai s-aal -tsaa_aal chyae'l. VERBAL GLOSSIC TRANSLATION. 3. Krak'lz dhi Flai'm. Krak'lz dhi flai-m, Meu'zik bei Verdi. 14 Ar'ei'vz dhi vik tim, Kr'ak Iz dhi flai'm, -Blackly kloa'dhd-(dr'est in blak) 2 Dhi kr'oud untai md- roo'd' (ruf , 16 and shoo'les. R'unz too dhat feir Unger't t Glad in apee'rr'ens. Kr'ei feer'oa-shus 18 deth r'ai'zez- Shouts ov joi Ov itself, 2 6 Ar'ou-nd ek'oa, Dhi- ek-oa it Vipee'ts Sur'oun-ded bei gaardz 20 Fr'om r'ok too r'ok. 2 8 (A.) lai'di [herself] ^dvaan-sez. II oa'mend sheinz Il-oa'mend sheinz 22 On dhi kou'ntenensez hor''ibl 10 On-dhi kou-ntenensez hor''ibl hid us flai'm Dhi hid'yus flai-m Dhi -y 2 l 2 12 Which itself r'ai-zez too-[dhi] hern. 24 Which itseH Varzez too- [dhi] hevn. Sec. XV. EXAMPLES OF SONGS IN ITALIAN. 227 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 4. Soave Imagine. 4. Soa-aa'vai Eemaa'jeenai. Musica di Mercadante Moo zeekaa di Maer'kaadaan'tai. Soa-aa- eenai Soave imagine vai_eemaa- j 2 D'arnor, di pace, 2 D- aamoa-r', dee paa-chai, Tu spiri all' anima Too spee-r'ee^aall aa-iieemaa 4 Dolce vigor. 4 Doa'lchai veegoa-r'. Se tal delizia Sai taal dailee-tsee-aa - 6 M'invidi, o Cielo, 6 M- eenvee dee,_oa chyaeHoa, E' troppo barbaro Ae traop-poa baa-rbaar'oa 8 II tuo rigor. 8 Eel too-oa reegoa-r'. 5. Lascia cliin pianga. 5. Laa'shyaa k-ee'oa pyaan'gaa. Musica di Handel. Moo-zeekaa dee Haerrdel Armida dispietata Aar'mee-daa dee-spyaitaa'taa 2 Colla forza d'abisso, 2 Koal-laa faor' tsaa d- aabees-soa Rapimmi al caro ciel Raapeem-mee_aal kaa*roa chyae'l 4 De' miei contenti. 4 Dai myai'ee koantaen'tee. E qui con duolo eterno Ai kwee koan dwao'loa_aitaer' - noa 6 Viva mi tiene. 6 Vee'vaa mee tyae-nai, In tormento inferno. Een toar'main-toa^eenfaer' noa. 8 Signor, deh per pieta, 8 Seeny'oa r', dae! paer' pyaitaa, Laseiami piaugere. Laa'shyaamee pyaan'jairai. 10 Lascia ch' io pianga 10 Laa-shyaa k- ee oa pyaang-gaa La dura sorte, Laa doo-r'aa saor -tai, - 12 E che sospiri 12 Ai kai soaspee -r'ee La liberta. Laa leebaer'taa'. 14 II duol infranga 14 Eel dwaol eenfr'aan-gaa Queste ritorte Kwai-stai r'eetaor'-tai 16 De' miei martiri 16 Dai myai'^e maar'tee-r'ee Sol per pieta. Soal paer' pyaitaa*. VERBAL GLOSSIC TRANSLATION. 4. Sweet Im'ej. And heer widh disee-t iter-nel Meu-zik bei Merkadan-ti. 6 Alei-v mee keeps, Sweet im-ej In tau-rment infer-nel. 2 Ov luv, ov pee-s, 8 alas ! faur Dhou br'ee-dhest too-dhi soa'l Ser, pit'i - 4 Swee't vig er. Alou mee too-wee-p. J If 5 such Milei-t 4 3 10 Alou- dhat ei 6 Mee en-viest- 2 dhou, Oa hevn, mai-wee-p 3 Iz 4 too 5 baa 4 rbur'us Dhi- (mei) haa-rd lot, 8 [Dhi] r'g er. 12 And dhat (ei mai-sei-faur [Dhi] lib-erti. 5. A.IOIC dhat ei mai-wee'p. Meu-zik bei Han-dl. 14 (Mai) [dhi] disee-t br'aik Aarmee-daa pit'iles Dheez bondz 2 Widh-dhi foars ov abis- (hel) - Kar'id-mee of-foa rsibli from-dhi deer hevn 16 Ov mei suf-ur'ingz 4 Ov mei konten-ts (hap-ines). Oa-nli faur pit'i- 228 EXAMPLES OP SONGS IN ITALIAN. Sec. XV. ^ ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 6. Noan aandr aa'ee, 6. Non piu Andrai. pyoo Moo-zeekaa dee Moa'tsaar't. Musica di Mozart. Noan pyoo_aandr' aa'se, faar' faal-loa -nai_aamoa - Non farfallone piii andrai, amoroso, r'oa-zoa, [doa, 2 Notte e d'intorno giorno girando, Naot'tai_ai jyoa-r'noa d-eentoa-r'noa jeer'aan-- Delle belle turbando il riposo, DaiHai baeHai toor'baan-doa^eel r'eepao'zoa 4 Narcisetto, Adoncino d'amor. Naar'cheesaet toa,_Aadoanchee-noad-aamoa-r'. Noan pyoo_aavr'aa-ee kwai'stee bae-ee pain- naakee-nee, Non piu avrai questi bei pennachini, [tai 6 Kwail kaap-pael'loa gaalaan*- 6 Q,uel cappello leggero e galante, laid-jae'r'oa_ai Kwail'la kyao-maa, kwaiH- aa-r'yaa br'eel- Quella chioma, quell' aria brillante, laan-tai, 8 Quel vermiglio, donnesco color. 8 Kwail vaer'mee-ly'oa,doannai - skoakoaloa-r'. Tr'aa gwair'-r'yae-ree pwao'ee t'aar' Baak-koa, Tra guerrieri puoi far Bacco, 10 Gr'aan moostaak'kee, str'ait'toa saak'koa, 10 Gran mustacchi, stretto sacco, Skyaop'poa_een spaaHaa, sb.yaa-blaa_aal Schioppo in spalla, sciabla al fianco, fyaang-koa, 12 Collo dritto, muso franco, 12 Kaol'loa dr'eet'toa, moo-zoa fr'aang-koa, Un gran casco, o un gran turbante, Oongr'aankaas-koa,_ao_oongraantoor'baan t tai. 14 Molto onor, poco contante. 14 Moa-ltoa_oanoa-r', pao-koa koantaa'ntai. Ed in vece del fandango Aid een vai'chai dail faandaang'goa, 16 Una marcia per il fango, 16 Oo'naa maar'-chyaa paer' eel faang-goa, Per montagne, per vafioni, Paer' moantaa-ny'ai, paer' vaal-loa-nee, - 18 Con le nevi, e i sollioni, 18 Koan lai narvee,_ai_ee soal-leeoa nee, Al concerto di tromboni, Aal koanchaer' -toa dee tr'oamboa-nee, 20 Di bombarde, di cannoni, 20 Dee boambaar'-dee, dee kaan-noa-nee, Chi le palle in tulli i tuoni Kai lai paaHai_een toot-tee twao-nee 22 A 1'orecchia fan fischiar. 22 Aa 1-oar'aik'kyoa faan feeskyaa'r'. Cherubino, alia vittoria ! Kair'oobee-noa. aal'laa veet-toa'-r'iaa ! 24 Alia gloria militar ! 24 Aal'laa gloa'-r'iaa meeleetaa-r'. VERBAL GLOSSIC TRANSLATION. 6. 10 Gr'ai't teit sak No moar d/iou-wilt-goa. moostaa-shoaz, bag (nap , Meu-zik bei Moazaart. Mus-ket on shoa'lder, sai-ber at-dhi seid. 12 Nekstr'ait,fiz-(ridik-eulus werdfaur fai's) boald, Noa moar dhou-wilt-goa, but-erflei anrur'us, A gr'ait hel'met, aur a gr'ait terben, 2 Neit and dai [ov] ar'ou-nd ser-kling, 4 5 - 2 3 14 Much on'er, lit'l r'edi-muni. 0v-[dhi] beu tiz dhi ^ister'bing r'ipoa'z, And in ov-dhi daans 4 Lit-1-Naarsis'us, lit'1-Adoa-nis ov luv. plai-s fandang-goa- 16 A maarch thr'oo dhi mud, Thr'oo thr'oo Noa moar dhou-wilt-hav dheez beuiifuol ploomz, mountenz, laarj-vaHz, 18 and dhi 6 Dhat hat leit and galaa-nt, Widh-dhi snoaz, dog-daiz, Too-dhi kon-sert of Dhat hed-ov-hair, dhat air bril-yent, tr'omboa-nz, 20 Ov ov Dhat vermil-yen, lardi-leik-(efem-raet) bum-berdz, kan-enz, kul'ur. Which dhi baulz in aul toanz 22 3 Too 4 dhi 5 ear ^ai'k 2his. ' Amung- wor'-ierz dhou-kanst maik-(plai-dhi- Ker'oobee-noa, too-[dhi] vikiur'i 2 paart-ov) Bak-us, 24 Too-Too-Tdhil[dhi] gloagloa-r-r'i 'mil'iter'i ! Sec. XV. EXAMPLES OF SONGS IN ITALIAN. 229 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 7. Non e ver ? 7. Noan ae vai-r ? Musica di Tito Mattel. Moo-zeekao dee Tee-toa Maat-tae g ee. Non e ver P Noan ae varr ? 2 Quando assiso a te vicin Kwaan-doa aas-see-soa_aa tai veechee-n Ti parlai, ben mio, d'amor, Tee paar'laa-ee, baen mee-oa, d- aamoa-r', 4 Ti ricordi, angel divin, Tee reekaor'-dee, aan-jel deevee-n, Palpitaro i nostri cor. Paalpeetaa-roa^ee naos-tr'ee kao'r' ? 6 Ah ! No, non e ver ! No, nd. 6 Aa ! nao, noan ae vai-r' ! Nao, nao ! No, none ver! Ah! Nao, noan ae vai'r' ! A a ! 8 Tu dicesti, ti sovvieu ? 8 Too deechai-stee, tee soav-vyae-n ? " " " " Per la vita io t'amero ! Paer' laa vee-taa_ee-oa t- aamairao- ! 10 Ma mentisti, indegna, appien, 10 Maa maintee-stee,_eendai-ny'aa,_aap-pyae-n, Non fu il cor che tel detto. Noan foo^eel kaor' kai tail dait-tao-. 12 Ah ! N6, non e ver ! No, no ! 12 Aa ! nao, naon ae varr' ! Nao, nao. 8. Pur dicesti. 8. Poor' deechai-stee. Musica di Antonio Lotti. Moo'zeekaa dee Aantao'nee-oa Laot'tee. Pur dicesti, bocca bella ! Poor' deechai-stee,_oa boak-kaa baeMaa ! " " " " Quel soave e caro si ! Kwail soa-aa-vai_ai kaa-r'oa see ! Che fa tutto il mio piacer. Kai faa toot'toa eel mee-oa pyaachai-r'. Per onor di sua facella Paer' oanoa'r' dee soo^aa faachael'laa Con un bacio Amor t'apri, Koan oon baa'chyoa_Aamoa r' t- aapree*, Dolce fonte del goder. Doa'lchai foa'ntai dael goadai r'. VERBAL GLOSSIC TRANSLATION. 7. Not iz-fit) tr'oo? 10 But dhou-didst-lei, unwerdhi wun, toa-teli, Not woz dhi haart dhaat too-dhee-it sed ! Meu-zik bei Tee-toa Mataree. 12 Aa ! no, not iz-(it) tr'oo ! Noa, noa. Notiz (it) tr'oo? "When see-ted too dhee neer 2 (To) dhee (ei)-spoa-k, guod-(deer) ^ei, ov 8. Never-dhi-les dhou- sai'dest. luv; [divei-n, -Dhee r'imeindest-(dust dhour'ekolek't), ai-niel Meu-zik bei Antoa-nio Lot'i 3 2 Pal-pitated [dhi] ^ur haarts ? Never-dhi-les dhou-sai'dest, Oa mouth beirti- Aa ! noa, not tr'oo ! noa. iz-(it) Noa, fuol! " " 2 Dhat swee-t and dee-r yes ! Noa, not iz-(it) troo ! Aa ! Which mai-ks aul [dhi] mei plezh-er. 8 Dhou sai'dest, dhee dust-dhou-r'imei-nd-(dust 4 Faur on-er ov hiz feir, 2 J dhou rimenvber) ? Widh a kis Luv dhee oa-pend "Thr'oo [dhi] leif ei dhee wil-luv!" 6 Swee-t fou-nten ov dilei't ! 230 EXAMPLES OF SONGS IN ITALIAN. Sec. XV. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 9. Possenti Numi. 9. Poas-saen'tai Noo'mee. Musica di Mozart. Moo-zeekaa dee Moa-tsaar't. Possenti Numi, Iside, Osiri, Poas-saen-tai Noo-mee,_Ee-seedai,_Oasee-r'ee, valor ! 2 Daa-tai_aa kwai ! 2 Date a que'petti senno^e paet-tee sai-nnoa_ai vaaloa-r I vostri lumi la coppia miri Ee vaos-tr'ee loo-mee la kaop'pyaa mee-r'ee - 4 E non 1'alletti ombra d' error ! 4 Ai noan 1- aal-laet'tee^.oa mbr'aa d-air'r'oa-r' ! Del bei sentier giunga alia meta, Dail bael saintyae-r' joong-gaa_aaHaa mae'taa, 6 se a lei fier destin lo vieta, 6 Ao sai__aa lae-ee fyae-r daistee-n loa vyae-taa, Numi, o date degna merce Noo'mee, oa daa'tai dai-ny'aa mair'char 8 Delia virtude lor e fe. 8 DaiHaa veer'too'dai lao r' ai fai. 10. Qui sdegne non s'accende. 10. Kwee zdai'ny'oa noan s- aat-chaen'dal. Musica di Mozart. Moo'zeekaa dee Moa'tsaar't. Qui sdegno non s'accende Kwee zdai ny'oa noan s- aat-chaen'dai 2 E soggiornar non sa, 2 Ai soad-joar'naa-r noan saa, La colpa non offende, Laa koal-paa noan oaf -faen dai, eta ! 4 Trova Terror pi 4 Trao'vaa 1- air'r'oa-r pyaitaa- ! Fraterno amor unisce i cor, Fraataer''noa^,aamoaT' oonee*shai_ee kao*r', 6 In pace i di passiam cosi. 6 Een paa-chai_ee dee paas-syaa-m koasee-. non ride L- kwee noan ree'dai L'inganno.qui ' eengaan-noa 8 Nel mascherare il ver : 8 Nail maaskairaa-rai_eel vai-r' : Fra noi ciascun divide Fraa noa'ee chyaaskoo'n deevee'dai 10 L'affanno ed il piacer. 10 L- affaan-iioa_aid eel pyaacharr'. In pace i di passiam cosi. Een paa'chai^ee dee paas-syaa'm koasee', 12 Finche si vien d'Osiri in sen. 12 Feenkhai- see vyae-n d- Oasee-r"ee_een sai-n. VERBAL GLOSSIC TRANSLATION. [See Jermen Songz, n. 4, p. 219.] [See Jer'men Kongz, n. 5, p. 219.] 2 l 9. Pou-rfuol Dee-itiz. 10. Hee'r ang'ger not "^itself inflai'mz. M^u-zik bei Moazaa*rt. Meu-zik bei Moazaa'rt. 2 J Hee-r ang-ger not 3itsel-f inflai mz, Pou'rfuol Dee'itiz, Ei-sis, Oasei'rr'is, 2 And too dwel not noaz-(kan-ot dwel), 2 Giv too dhoaz br'ests sens and kur' -ej. [Dhi] fault- (sin) not ofen-dz, 5 eur 6leits 2 dhi 3 1 mai- 4 2 2 [Dhi] kup-l see, 4 Feindz [dhi] 'er-er pit'i ! : 7 9 2 8 3 4 5 4 And not it mai aleu-r (dhi) shad-oa ov Fr'ater-nel luv eunei ts dhi haarts, 6 6 In dhi- dai-z dhus. er'er ! pee's v our) wee-paa-s 3 2 -[Dhi] disee-t heer not Uaa-fs Ov-dhi beu tifuol paath mai-it-r'eecb. too-dhi 8 In-dhi maa-sking-ov dhi tr'ooth- (disee-t moks men not hee - r bei goal- (end), konsee-ling tr'ooth) 6 7 2 3 5 us eech-wun, shai rz 6 Aur Hf too it-(dhi pair) fee-rs fai't Amung- it-(diris) sor-oa 4 10 [Dhi] and [dhi] joi. faurbid-z, In pees dhi darz wee-paa-s dhus, oa wer-dhi r'iwau-rd Dee-itiz, giv 12 Until --itsel'f kumz-(wun kumz) ov Oasei-rr'is 8 ^v-dhi 3 ver-teu 2dhair and fai'th. in'too buoz'em. Sec. X7. EXAMPLES OF SONGS IN ECCLESIASTICAL LATIN. 231 ECCLESIASTICAL LATIN ITALIAN PRONUNCIATION. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 1 ll.Stabat Mater. 11. Staa'baat Mda'taer . Rossmius cantum invenit. Raossee-nioos kaan-toom eenvae'neet. Stabat Mater dolorosa Staa'baat Maa-taer' dao'laor'ao'saa Juxta crucem lacrymosa Yooks-taa kr'oo'chaem laa-kr'eemao'saa, 3 Dum pendebat Filius. 3 Doom paendae'baat Feeleeoos. Cujus animam gementem, Koo'yoos aa-neemaam jaemaen-taem Contristantem et dolentem Kaon-tr'eestaan-taem aet daolaen'taem 6 Pertransivit gladius. 6 Paer'tr'aansee-veet glaa-dioos. quam tristis et afflicta Ao! kwaam tr'ees'tees aet aaffleek'taa Fuit ilia benedicta Foo'eet eel-la bae-naedeek'taa 9 Mater Uunigeniti. 9 Maa-taer' Oo neejae-neetee, Quae moerebat et dolebat, Kwae maer'ae-baat aet daolae-baat Et tremebat cum videbat Aet tr'aemae'baat koom veedae-baat 12 Nati poenas inclyti. 12 Naa-tee pae-naas eeng-kleetee. Quis est homo qui non fleret, Kwees aest hao'mao kwee nao-n flae-r'aet Christ! Matrem si videret Krees-tee Maa-tr'aem see veedae-r'aet 15 In tantS supplicio ? 15 Een taaniao soopplee'tseeao ? Quis non posset contristari Kwees nao-n paos-saet kaon-tr'eestaa-r'ee Piam Matrem contemplari Pee'aam Maa'tr'aem kaon'taemplaa-r'ee 18 Dolentem cum Filio ? 18 Daolaen-taem koom Fee-lee-ao? Pro peccatis suae gentis Prao- paekkaa-tees soo-ae jaen-tees Vidit Jesum in tormentls, Vee'deet Yae-soom een taor'maen'tees, 21 Et flagellis subditum. 21 Aet flaajael'lees soob'deetooni, Vidit suum dulcem Natuin Vee-deet soo-oom dool-ch^em N Morientem desolatum MaoT'ee-aen-taem dae-saolaa-toom, 24 Dum emisit splritnm. 24 Doom aemee'seet spee-reetoom. VERBAL GLOSSIC TRANSLATION. _3 3 2 4 11. Woz-*standing ^(dh Hoo' iz (dhi)-man ^oo not wuod- wee-p 6 6 2 3 4 - 2 3 4 Kreists Mudh-er Hf shuod see Rossee ni (dhi)- voa-kel- meu-zik ^nven'ted. (hi)- 2 15 In 3Woz- 4 1 Mudh-er soa-grai't pun-ishment- aflik-shen) ? standing (dhi)- fuol-ov-gr'eef, a 5 2 3 4 6 7 8 Neer Hoo- not wuod- bi- ai-bl too- bee- aflik'ted (dhi)-kros, fuol-ov-tee-rz, n 12 13 9 10 3 4 1 2 Mudh-er too- 3 Wheilst woz- hang-ing (her)- Sun, (Dhi)- pei'us kon-templait- 2 3 4 at Hoo-z-(dhi Mudherz) soa-l groa-ning kon-templai-ting), 5 6 7 18 widh -Sun ? Aflik-ting and gree-ving Gree-ving (her) IO 1 8 9 6 Haz-"paat- throo [a]- soa-rd. Oa! hou sad and aflik'ted Faur (dhi)-sinz ov-hiz pee pi Woz that bles-ed (Shi)-sau' Jee-zus in tau'rments, 9 Mudh-er ov-(dhi)-0a-iili-bigot'n, 21 And bei skerjez subdeu d, Hoo woz-moo-rning and woz-gr'ee-ving (Shi)-sau- her swee t Sun And woz-tr'em-bling when (shi)-woz-see-ing Dei -ing faursarkn 3 4 6 2 s 12 Ov- (her)- Sun Mhi- pai-nz [ov]- sel-ibraited. 24 Wheil (hi)-eemit-ed (hiz)-breth. EXAMPLES OF SONGS IN ECCLESIASTICAL LATIF. Sec XV. ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 1 Stabat Mater Supplementum. Staa'baat Maa'taer Soop'plaemaen room. EEja, Mater, fons am5ris ! Ae-yaa ! Maa-taer', faons aamao'r'ees ! Me sentire vim dolSris Mae saentee-r'ae veem daolao-r'ees 27 Fac et tecum lugeam. 27 Faa'k, aet tae'koom loo jae-aam. Fac ut ardeat c5r meum, Faa'k oot aa-r'dae-aat kao r ! mae oom In amandd Christum Deum, Een aamaan-dao Kr'ees'toom Dae'oom 30 Ut sibi complaceam. 30 Oot see-bee kaomplaa-chae-aam. Sancta Mater, istud agas, Saangk-taa Maa'taer', ees-tood aa-gaas, Crucifix! fige plagas Kr'oo'seefeek-see fee-jae plaa'gaas 33 Cordi meo valide. 33 Kaor'dee mae-ao vaa-leedae. Tu! Nat! vulnerati, Too'ee Naa-tee vool-naer'aa-tee, Jam dignati pro me pat!, Yaam deegnaa-tee pr'ao mae paa'tee, 36 Poenas mecum divide. 36 Pae-naas mae-koom dee-veedae. Fac me vere tecum flere, Faa'k mae vae-r'ae tae-koom flae'r'ae, Crucifixo condolere, Kr'oo-seefeek'sao kaon-daolae r'ae, 39 Donee vixero. 39 Dao'naek veek-saer'ao ego ae'gao ; Juxta crucem tecum stare Yooks'taa kr'oo'chaem tae'koom staa'r'ae, Me libenter sociare Mae leebaen'taer sao'tsee-aa-r'ae 42 In planctu desidero. 42 Een plaangk-too daesee'daer'ao. VirgS, virginum praeclara, Veer'-gao veer'-jeenom praeklaa-r'aa Mihi jam non sis amara Mee-hee yaam nao - n sees aamaa'r'aa 45 Fac me tecum plangere. 45 Faa'k mae tae'koom plaan jaer'ae, Fac ut portem Christ! Mortem, Faa'k oot paor''taem Krees'tee maor'*taem Passionis fac consortem, Paas'seeao'nees faa-k kaonsaor'-taem, 48 Et plagas recolere. 48 Aet plaa'gaas r'aekao'laer'ae. VERBAL GLOSSIC TRANSLATION. 8 l 2Mudher Woz-^stdnding (dhi] Kuntin'euai'shen. Kau-z mee tr'oo li widh-dhee too-wee'p, Hoa' ! Mudh-er, fount ov-luv ! (Dhi)-Kr'oo-sifeid-Wun too-gr'ee-v widh, 2 Mee too-fee 1 39 ei shal-liv (dhi)-foa'rs ov-gree-f Az-long-az ; 27 ^au-z, and widh-dhee- mai-ei-moorn. Neer (dhi)-kros widh-dhee- too-stand, Kau-z dhat mai-bern 2haa'rt ^ei Mee wil-ingli (widh-dhee) too-asoa'shiait In luv ing Kr'eist God, 42 In lam'entai-shen (ei -dizei'r. 30 Dhat himself- (ei mai-pleez. Hoali Mudh-er, dhis doo-, 5 6 - 7 oosifeid - 8 2 3 8 3 0v- (dhi> Kr Wun fiks (dhi)- 4 Ver-jin ov-ver-jinz str'eips 4 Too- 5 mee 6nou 2not : bee 3 n 9 10 bit'er, 33 [Too]- haa'rt too- mei ^ao-rsibli, 45 z 6 7 9 8 Kau mee widh-dhee too-lumen't, 0v- dhei [ov] Sun [ov]- woo-nded, 10 n 12 13 16 17 Kau-z dhat Kr'eists ( Hoo haz) aulr'ed-i dai'nd faur mee (ei)-mai-kar'-i deth, 14 15 too- suf'er Ov-(hiz -pash-en kauz-(mee-too-be) asoa'shiet, 36 4 5 2widh- 3 (Dhi)- pai-nz mee Miverd^shai-r). 48 And (hiz -str'eips too-kuHivait-unetr. SeC. XV. EXAMPLES OF SONGS IN ECCLESIASTICAL LATIN. 233 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. Stabat Mater Supplementum. Staa-bdat Maataer' Soop-plaemaen'toom. Fac me plagis vulnerari, Faa*k mae plaa-jees vool-naer'aa'r'ee, Cruce hac inebriari Kr'oo'chae haa k eenae'br'eeaa'r'ee 51 Ob amorem Filii. 51 Aob aamao r'aem Fee-lee-ee. Inflammatus et accensus Een-flaammaa-toos aet aatchaen-soos, Per te, Virgo, sim defensus Paer' tae-, Veer'-gao, seem daefaen-sooa 54 54 In die judicii. Een dee-ae yoodee-tsee-ee. Fac me cruce custodm, Faa'k mae krocrchae koos-taodee'r'ee, Morte Christ! praemuniri, Maor'-tae Kr'ees-tee prae-moonee-r'ee, 57 Confoveri gratia. 57 Kaonfaovae'r'ee gr'aa'tseeaa. Q,uando corpus morietur, Kwaan-dao kaor'-poos mao'r'eeae'toor', Fac ut anima donetur Faa-k oot aa'neemaa daonae'toor 60 Paradisi gloria. 60 Paa-r'aadee-see glao-r'eeaa. AAm en ! Aa-mae'n ! In sempiterna saecula, Een saenvpeetaer'-naa sae'koolaa, AAmen. Aa-mae-n ! VERBAL GLOSSIC TRANSLATION. 8 l Kau-z Woz-^standing (dhi)-*Mudh-er Kuntin-euai-shen. mee bei-(dhi)-kros too-be-gaa'rded, Bei- dhi)-deth ov-Kr'eist too-bee-proatek ted, 57 Too-bee-much-cherisht Kau-z mee widh- hiz)-str'eips too-be-woo'nded, bei-gr'ai's. When shall -dei 3 Kros 1 widh- 2 his too-be-inee'briaited (mei)-bodi Kau'z dhat (mei)-soa*l mai-bee-prizen-ted 51 On-ukou-nt-ov 4 5 (dhi)-luv ov-(eur)-Sun. 60 0v- I III. FRENCH SONGS. Sec. XV. EXAMPLES OF SONGS IN FRENCH. 235 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 2. Snir'ainaad 2. Serenade (Berceuse). (Baer'soez). Poa-aizee deo Veektaor' muezeek deo Poesie de Victor Hugo, musique de Gounod. Ue-goo, Goonoa. Quand tu chantes bercee Kahn' tue shahn'teo baer'sai-eo 2 Le soir entre mes bras, 2 Leo swaar ahn tr'eo mae Entends-tu ma pensee braa, Ahn'tahn' tue maa 4 Qui te repond tout bas ? pahn'sai-tfo 4 Kee teo r'aipoan' too baa ? Ton doux chant me rappelle 6 Les beaux de mes Toan' doo shahn' muo r'aapaeLw plus jours ; 6 Lae plue boa deo mae zhoor' : Ah ! chantez ma belle, Aa ! shahn'tai, maa baelew, 8 Chantez, chantez, toujours. 8 Shahn'tai, shahn'tai toozhoor'. Quand tu ris, sur ta bouche Kahn' tue r'ee, suer' taa boosht'o 10 L' amour s'epanouit, 10 L-aamoor' s- aipaanoo-ee, soudain le farouche Et Ai soodaen' leo faar'oosheo 12 s'evanouit. Soupqon 12 Soopsoan' s- aivaanoo-ee. Ah! lerirefidele Aa ! leo r'eer eo feedaeleo 14 Prouve un coeur sans detours ; 14 Proov oen' koer' sahn' daitoor' ; Ah ! riez. ma belle, Aa! r'ee-ai, maa baebfl, 16 Riez, riez toujours. 16 R'ee-ai, r'ee-ai too-zhoor'. Quand tu dors calme et pure, Kahn' tue daor' kaalm ai puereo 18 Dans 1'ombre, sous mes yeux, 18 Dahn' 1- oan'breo, soo inaez yeo, Ton haleine murmure Taon aalaeneo maer'muerVo 20 Des mots harmonieux 20 Dae moaz aar'maonieo ; ; Ton beau corps se revele Toan' boa kor' seo r'aivaeleo 22 Sans voile et sans atours, 22 Saan' vwaal ai saan'z aatoor, Ah ! dormez, ma belle, Aa ! daor'mai, maa baeleo, 24 Dormez, dormez toujours. 24 Daor'mai, daor'mai toozhoor'. VERBAL GLOSSIC TRANSLATION. 2 2. Ser'-inaid (R'oking Song, Lul-ubi). Aa! [dhi] laa-f 'farthfuol haart widhout weilz : Poa-em bei Vik'ter Heugoa, meu-zik bei Guon'oa. 14 Pr'oo'vz a Aa ! laa-f, mei beu'ti, When dhou sing-est, rokt - 16 Laa-f, -laa-f for' ever- (goa on laa-fing). 2 (In) dhi ee vning, bit wee TI mei aarmz, Hee-rr'est dhou mei thau't, 4 Which (too) dhee r'iplei'z aul-(kweifi loa ? When dhou slee'pest, kaam and peur, Dhei soft song (too) mee r'ikau'ls 18 In dhi shaid, under mei erz, 6 Dhi moa-st beu-tifuol ov mei daiz ; Dhei br'eth mermerz Aa ! mei sing, beu'ti, 20 2werdz ^aarmoa-nius [Ov-dhi] ; 8 Sing, -sing for'-ever (goa on 2 singling). Dhei beu-tifuol fig-eur itsel-f ^'iveeiz When dhou laa'fest, upon- dhei mouth 22 Widhou-tkonsee-lment and widhout adau-ra. 10 [Dhi] luv itsel'f ekspan-dz, ment, - sud-enli ! And [dhi] fee rs Aa sleep, my beu-ti, 12 Suspish-en [itself] van-ishes. 24 Sleep, -sleep for' ever- (goa on slee-ping). 236 EXAMPLES OF SONGS IN FRENCH. Sec. XV ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 3 Robert ! toi que faime ! 3. Raobaer' ! twaa keo zh-aimeo ! Poesie de Scribe, musique de Meyerbeer. Poa-aizee deo Skreeb, muezeek deo Maayerbarr' Isabelle. Eezaabael. Robert ! toi que j'aime R'aobaer' ! twaa keo zh- aimeo, foi 2 Ai kee r'eosue 2 Et qui re9us ma ; maa fwaa, Tu vois mon effroi, Tue vwaa maon aefr' waa, 4 Grace pour toi-meme 4 Gr'aaseo poor twaa-maem^o Et grace pour moi ! Ai gr'aaseo poor' mwaa! Robert. Raobaer' . 6 Non, non, non, non. 6 Noan', noan', noan', noan'. Isabelle. Eezaabael. Grace pour moi, pour toi. Gr'aaseo poor' mwaa, poor' twaa. 3 Quoi ? ton coeur se degage 8 Kwaa ? toan' koer' seo daigaazheo Des sermens les plus doux ! Dae saer'mahn' lae plue doo! 10 Tu me rendis hommage, 10 Tue meo rahn'deez aomaazheo, Je suis a tes genoux ! Zheo siieeez aa tae zheonon ! 12 Grace pour toi-meme 12 Gr'aaseo poor' twaa-maemeo, Et grace pour moi. Ai gr'aaseo poor' mwaa. Robert. Raob'ier . 14 Non, non, non, non. 14 Noan', noan', noan', noan'. Isabelle. Eezaabnel. Grace pour toi, pour moi. Gr'aasw poor' mwaa, poor twaa. 16 mon bien supreme 16 Oa moan' byaen' suepr'aemw Toi que j'aime, Twaa keo zh- aimeo, 18 Tu vois mon effroi, 18 Tue vwaa maon aefr' waa, Grace pour toi-meme Gr'aastfo poor' twaa-maemeo 20 Et grace pour moi. 20 Ai gr'aaseo poor' mwaa. VERBAL GLOSSIC TRANSLATION. 3. Rob'ert ! dhou hoom ei Ittv ! 8 Whot? dhei haart itsel'f disengai'jez From-dhi vouz dhi moast soft- Poa'em bei Skree'b, meu'zik bei Mei'erbair. luving) 10 Dhou too-mee didst-ren-der hom-ej, Izabel'. - Ei am at dhei nee z. ' Rob'ert dhou hoom ei luv, 12 Paa'rden faur dhei-sel-f, 2 And hoo r isee-vd mei farth, And paa'rden faur mee' Dhou see'est mei dr'ed, Rob-ert. 4 Paa'rden faur dhei-seH, 14 Noa, noa. noa, noa. And faur mee ! paa'rden Izabel-. Paa'rden faur mee, faur dhee 2 16 Oa mei guod ^eupree'm, 6 Noa, noa, noa, noa. Dhou hoom ei luv, 18 Dhou see-est mei dr'ed, Izabel'. Paa'rden faur dhei-sel'f, Faa'rden faur mee, faur dhee. 20 And paa'rden faur mee. Sec. XV. EXAMPLES OF SONGS IN FRENCH. 237 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. 4. La Manola. 4. Laa Maanaolaa (dhi Spanish werdz aar hecr proanou-nst az French werdz.) Musique de Paul Henrion. Muezeek deo Poal Ahn'ree-oan'. De 1'Aragon, de la Castille, Deo 1- Aar'aagoan', deo laa Kaasteey^o, 2 Toi que Ton dit la plus "-entille, 2 Twaa keo 1- oan' dee laa plue zhaan'teeyew, Accours vers nous sous ta mantille, Aakoor' vaer' noo soo taa maan'teeyeo, 4 Pourquoi tarder, O Juanetta! 4 Poor'kwaa taar'dai, oa Zhueaanaetaa. N'entends-tu pas les farandoles ? N-ahn'tahn' tue pah lae faar'aan'daoleo ? 6 Les vives danses Espagnoles, 6 Lae veeveo dahn'seoz Aespaany'aoleo, Des Manolas jeunes et folles, Dae Maanaolaa, zhoeneoz ai faoleo, 8 Au loin chantant, dansant deja ? 8 Oa Iwaen' shahn'tahn', dahn'sahn' daizhaa? Allons, ma belle, allons, ma reine, Aaloan', maa bael; aaloan', maa r'aeneo, 10 Vite au prado, chacun est la, 10 Veet oa pr'aadoa, shahkoen n ae laa, Pret a feter la souveraine Pr'aet oa faitai laa sooveor'aeneo 12 De la Jota Aragonesa ! 12 Deo laa zhoataa Aar'aagoanaezaa ! Ne sais-tu pas que la Murcie, Neo sae-tue pah keo laa Muer'see-00 14 Que Grenade et 1'Andalousie, 14 Keo Gr'eonaad ai 1- Ahn'daaloozee-^o, Ont envoy e la plus jolie Oan't ahn'vwaayyai laa plue zhaolee-eo 16 Des Manolas pour la Jota ? 16 Dae Maanaolaa poor laa Zhoataa ? Allons, enfant, la nuit nous gagne, Aaloanz, aan'faan', laa nue-eet noo gaany'eo, 18 Deja Madrid est en campagne 18 Daizhaa Maadr'ee aet aan' kaan'paany'eo, Pour voir danser la fleur d'Espagne, Poor' vwaar' dahn'sai laa floeur' d-Aespaany'* 20 Qui ne vaut pas ma Juanetta ! 20 Kee neo voa pah maa Zhueaanaettaa ! Allons, ma belle, allons, ma reine, Aaloan', maa bael; aaloan', maa r'aen^o, 22 Vite au prado, chacun est la, 22 Veet oa pr'aadoa, shahkoen'n ae laa, Pret a feter la souveraine Pr'aet oa faitai laa sooner aeneo 24 De la Jota Aragonesa ! 24 Deo laa zhoataa Aaar'aagoanaezaa ! VERBAL GLOSSIC TRANSLATION. 2 1 > 4. Dhi Maanao-laa (daa-nsing gerl--dhi Span-ish 12 Ov dhi Khao*taa-(pikeu-lyer daans) Arag - werdz aar heer restao-rd too dhair Spanish oaneez. soundz, eksept when naimz ov plarsez, which Not noa'est-dhou [at-aul] dhat [dhi] Mer-shia, hav dhair' Ing- glish soundz). 14 Dhat Gr'enai-da and [dhi] Andaloo'shia, Meu-zik bei Paul Hen'r'ien. Hav sent dhi moast beu-tifuol Fr'om [dhi] Ar'-agen, fr'om [dhi] Kaastee'l, 16 Ov-dhi Maanao-laaz faur dhi Khao'taa : 3 2 Dhou hoom [dhi] wun kau-lz dhi moast darnti, Kum-on, (mei) cheild, dhi neit us ^ai-nz-^n, Run-too toardz us un-der dhei maantee'ly'aa- 18 Aulr'ed-i Madr'id- iz-in dhi kun-tr'i-(out o\ (huod , doarz) 4 dilai dhi flour ov Whei , Khwaanaet'taa Too see daans Spai-n, 3 2 4 Not-hee'rr'estdhou [at-aul] dhifaar'aan-doolaaz- 20 ^oo not iz- werth [at-aul] mei Kwhaanaet- (Span-ish kurn-puniz ov komee'dienz), taa. 6 Dhi lei-vli daansez Span-ish, Kum-on, mei beu-ti; kum-on, mei kwee n, Dhi Maanao'laaz, yung and mad, 22 Kwik too-dhi pr'aa-doa-(publik gaar'denz^ 8 At dis'tens sing-ing, daan-sing aulr'ed'i? eech-wun iz dhair, mei beu-ti a fes'tiv dhi Kum-on, ; kum-on, mei kwee-n, Red'i too fai-t-(giv risep-shen too) - 10 Kwik too-dhi pr'aa doa-(publik gaar'denz), sovren 2 1 l eech-wun iz dhair, [sovren 24 Ov dhi Khao-taa- (pikeu-lyer daans ! Arag'- Red'i too fai't-(giv a fes-tiv risep-shen too) dhi oaneez. 238 EXAMPLES OF SONGS IS FRENCH. Sec. XV ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. La Manola Suite. Laa Maanaolaa Siieeet. Mais tout se tait dans ta demeure Mae too seo tae dahn' taa deomoer'^o, 26 La brise seule arrive et pleure, 26 Laa br'eezeo soel aar'eev ai ploerVo, Sous les grands arbres qu'elle effleure Soo lae gr'ahn'z aar'br'eo k-ael aefloer'00 28 Tout est silence, et je suis la ! 28 Toot ae seelahn's, ai zheo sue-ee laa ! Quand une voix, douce et gentille, Kahn't ueneo vwaa, doos ai zhaan'teeyeo, 30 Sortit au fond de la charmille, 30 Sor'teet oa foan' deo laa shaar'meey 5. Paar'taan' poor' laa Seer'ee. 5. Parlant pour la Syrie. Poa-aizee ai muezeek deo Aor'tahn's deo Poesie et musique de Hortense de Beauharnais. Boa-aar'nae. Partant pour la Syrie Paar'tahn' poor' laa Seer'ee-eo 2 Le jeune et beau Dunois, 2 Leo zhoen ai boa Duenwaa, Alia prier Marie Aalaa pr'ee-ai Maar'ee- VERBAL GLOSSIC TRANSLATION. DM Maanao'laa Kuntineuarshen. 5. Lee'ving faur [dhi] Sir'ia. But all itsel'f keeps-kwei'et in dhei dwelling, Poa'em and meu'zik bei Aurtahn's Boa'haarnai. 26 Dhi br'ee-z aloa n ar ei-vz and seiz, "Under dhi gr ai t tr eez which it gr'ai'zez Lee'ving faur [dhi] Sir' ia, 28 Aul iz seiiens, and ei am dhair ! When a vois, soft and dai-nti, 2 Dhi yung and fair Duenwaa, 30 Kumz-foarth from-dhi depths ov dhi elm- Went too-pr'ai Mai-rr'i aa-rber, 4 Too bles hiz Sud-enli apee-rd dhi yung gerl, ek-sploits. " 2 " 32 Hoo r : mee ^ee-'dhair ! " iplei-d Yes, Kau-z, Kwee-n imau'rtel," Dhen too- dhi pr'aa doa kwik'li wun her kar'-iz- 6 Too her sez hee in lee'ving, of, " 34 And Kwhaanaet'taa dhi Maanaoiaa, Dhat ei mai-luv dhi moast beu'tifuol Az r'imarnd dhi kwee*n ever, 8 " And bee dhi moast val-vemV'' 36 Ov dhi Khao-ta Arag-oaneez. Sec. XV. EXAMPLES OF SONGS FRENCH. 239 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. ' 1 Partant pour la Syrie Suite. Paar'taari poor' laa Seer ee Sueeet. II grave sur la pierre Eel gr'aaveo suer' laa pyaer't-o 10 Le serment de I'hoimeur, 10 Leo saer'mahn' deo 1-aonoer', Et s'en va suivre en guerre Ai s ahn' vaa sueeevr' ahn' gaerVo 12 Leo Koan't ai soan' 12 Le Comte et son seigneur; Saeny'oer' ; Au noble voeu fidele Oa naobleo veo feedaebo 14 II crie en cornbattant, 14 Eel kr'ee ahn' kaon'baatahn', "Amour a la plus belle, "Aamoor" aa laa plue baebo, " oa 16 "Et gloire au plus vaillant ! 16 "Ai glwaar' plue vaayyahn'." On lui doit la victoire ! Oan' liieee dwaa laa veektwaar'eo ! " 18 "Dunois," dit son Seigneur, 18 Duenwaa," dee soan' Sainy'oer', " fais " Puisque tu ma gloire, Piieeeskeo tue fae maa glwaar eo, " 20 Je ferai ton bonheur ; 20 "Zheo ieor ai toan' baonoer', " " De ma fille Isabelle, Deo maa fee Eezaabaeleo " " 22 Sois 1'epoux a 1'instant, 22 Swaa 1- aipoo aa 1- aen'stahn', " " Car elle est la plus belle, Kaar' ael ae laa plue baeleo, 24 "Et toi, le plus vaillant." 24 "Ai twaa, leo plue vaayyahn't." A' 1'autel de Marie Aa 1- oatael deo Maar'ee-eo 26 Us contractent tous deux 2(5 Eel koan'tr'aakteo too deo Cette union cherie Saet ueneeoan' shairee eo 28 seule rend Qui beureux ; 28 Kee soeko r'ahn t oer eo ; Chacun a la chapelle Shaakoen' aa laa shaapaeleo 30 S' eerie en les 30 S- aikr ee ahn' lae voyant; voayyahn' (vwaay vahn' ); "Amour a la plus "Aamoor" aa laa " belle, plue baeleo, 32 Honneur au plus vaillaint.' 32 "Onoer' oa plue vaayyahn't.'' VERBAL GLOSSIC TRANSLATION. " Lee-ving faur Sir-ia Kuntin'euarshen. Ov mei dau-ter Izabel- [dhi~\ " 22 Bee dhi huz-bend at (on) dhi in'stent, Hee engr'ai'vd upon* dhi stoa*n " Faur shee iz dhi moast beu'tifuol, 10 DM oath ov [dhi] luv, 24 " dhou dhi moast And himsel-f hens went too-fol'oa in waur And val-yent." 12 Dhi Kount and hiz Laura. Too-dhi noa'bl vou farthfuol At-dhi au-lter ov Marrr'i 14 Hee kr'eiz-in kum'buting-(az hee feits}, " 26 Dhai kontrak-t -aul too-(boa'th) Luv too dhi moast beu'tifuol, " " Dhat eu-nyen cher' -isht 16 And too-dhi moast ! gloa-rr'i val-yent r'en-derz 28 Which aloa-n hapi ; Eech-wun at dhi chap-el 5too-him 2 3 4 kr'eiz -in hee oaz dhi vik'ter'i ! 30 [Himself] dhem see-ing- (az 18 "Duenwaa," sez hiz Laurd, seez dhem) " Sins dhou mai'kest mei gloa-rr'i Luv too dhi moast beu tifuol ! " " " 20 Ei wil-mai-k dhei hapunes. 32 On-er too-dhi moast val-yent ! 240 EXAMPLES OF SOXGS IN FRENCH. Sec. XV. ORIGINAL ORTHOGRAPHY. W GLOSSIC PRONUNCIATION. 6. La Marseillaise. 6. Laa Maar' saiyaez. Poa-aizie ai muezeek deo Roozhae d Leel. Poesie et musique de Rouget de Lisle. Aaloan'z, ahn'fahn deo laa Paatr'ee-eo ! enfans de la ! Aliens, patrie 2 Leo zhoor' deo glwaar' aet aar'eevai, 2 Le jour de gloire est arrive, Koan'treoa noo deo laa teeraanee-^o Centre nous de la tyrannie 4 L- aitahn'daar' sahn'glahn' ae k'ovai. 4 L'etendard est leve. sanglant Ahn'tahn'dai-voo, dahn' lae kahn paany'eo les Entendez-vous dans cumpagnes 6 Muezheer' sae fair'aoseo saoldaa ? 6 ces feroces soldats ? 1 Mugir Eel vyaeneo, zhueskeo dahn voa br'aa Us viennent, dans vos bras, jusques 8 Aigaor'zhai voa fees, voa koan'paany'eo ! 8 vos fils. vos ! E'gorger compagnes Oaz aar'meo, seetwaayaen' ! Faor'mai voa baa- Aux ! Formez vos bataillons ! armes, citoyens ! taayyoan' [noa seeyoan' ! 10 Marchez ! abreuve nos sillons ! qu'un sang impur lOMaar'shai! k-oen sahn'k aen'puer' aabr'oeveo Keo veo saet?o aor'deo d- aesklaav Quoi ! des cohortes etrangeres Kwaa! dae kao-aor'teoz aitr'ahn'zhaer'^o, 22 Feraient la loi dans nos foyers ! 22 Feor'aelaalwaadahn'noafaoyyai fwaayyai)! Quoi ! ces phalanges mercenaires Kwaa! sae faalalm'zheo maer'seonaer'?o 24 Terrasseraient nos fiers guerriers ! 24 Taer'aasseor'ae noa fyaer' gaer'yai ! VERBAL GLOSSIC TRANSLATION. G. -Dhi Maarsailz Maarch. Whot wil-(mee'nz) dhat hoard ov slai-vz, 12 Ov ov Poa-em and meu-zik bei Roo-zhai du Lee'l. tr'ai'terz, kingz konspei-rd-too- gedh'er ? Faur hoom dhoaz f Kum on ! chil'dr'enov dhi-(oui-) kmrtr'i ignoa'bl fet'erz, [pr'ipai-rd 14 Dhoaz chai-nz -from long teim-(long sins) 2 Dhi dai ov gloa'rr'i iz ar'ei'vd, Fr'en'chmen! for' -us aa ! whot ! ; (an) ou-tr'ej 8 9 us 4 ov 5tir'-eni Agai-nst [dhi] 16 Whot ov it too traa-nspoarts v pash'en) aut 3 2 6 7 4 iDhi stan-derd blud-i iz lif led eksei't ! 5 6 7 Heer-yee, in dhi plainz It iz 'eu dhat wun dai-rz (too) -meditait 4 1 2 3 18 Too r'estoa'r too arnshent slai'ver'i ! 6 Bel-oa dhoaz fir'oa*shus soa-ljerz ? [dhi] Too aarmz, sitizenz ! Faurm eur batal-yenz ! Dhai kum, -until' in-(ee'vn widhin) eur 20 Maarch ! dhat-(mai) a blud impeu-r irigait oui aarmz, fur'oaz-(feeldz ! 8 mer-der eur eur ! '..Too) sunz, kompan yenz 2 - J Whot! (ov dhi) koa haurts for' -en Too aarniz, sit'izenz ! Faui*m eur batal-yenz ! 22 Wuod-maik dhi lauz in our hoamz : 10 Maarch! a blud 2 dhat-(mai) impeu'r irigait our Whot! dhoaz fal-angksez ^er siner'i fur'oaz-(feeldz) ! 24 Wuod-pr'os'trait our feers wor'-ierz ! Sec. XV. EXAMPLES OF SONGS IN FRENCH. 241 ORIGINAL ORTHOGRAPHY. GLOSSIC PRONUNCIATION. Laa Sueeet. La Marseillaise Suite. Maar'saiyaez Grahn' Dyeo ! paar dae maen'z ahn'shaenai-eo 1 Grand Dieu ! des mains par enchainees, 26 Noa fr'oan soo leo zhoog seo plwaar'ae ! 26 le se ! Nos fronts sous joug ploieraient Deo veel daespaoteo deovyaen'dr'ae vils De despotes deviendraient, 28 Lae maetr'eo deo noa daesteenai-eo ! 28 Les maitres de nos destinees ! Oaz aar'meo seetwaayaen' ! Faor'mai voa baa- Aux ! Formez vos bataillons ! armes, citoyens taayyoan' ! [noa seeyoan' ! nos sillons! 30 Marchez! qu'un sang impur abreuve 30 Maarshai! k-oen sahn'k aen'puer' aabr'oev^o Tr'ahn'blai, teer'ahn' ! ai voo paer'feedeo, Tremblez, tyrans ! et vous perfides, 32 L- aopr'aobr'eo deo too lae paar' tee. 32 L'opprobre de tous les partis. Tr'ahn'blai ! voa pr'aozhae paar'eeseedeo Tremblez ! vos projets parricides, 34 Voan't ahn'faen' r'eoseovwaar'loer' pr'ee : 34 Vont enfin recevoir leur prix . Toot ae saoldaa poor' voo kaon'baatr'eo ! Tout est soldat pour vous combattre ! 36 S- eel toan'b^o, noa zheon^o air'oa, 36 S'ils tombent, nos jeunes heros, Laa taer' ahn' pr'aodiie-ee deo noovoa La terre en produit de nouveaux 38 Koan'tr'eo voo too pr'aez aa seo baatr'eo ! 38 Centre vous tous prets a se battre. Oaz aar'mtfo, seetwaayaen' ! Faor'mai voa baa- Aux armes, citoyens ! Formez voz bataillons ! taayyoan' ! [noa seeyoan' ! 40 Marchez ! qu'un sang impur abreuve nos sillons ! 40 Maar'shai! k-oen sahn'k aen'puer' aabr'oev** Aamoor' saakr'ai deo laa Paatr'ee-eo, Amour sacre de la Patrie, 36 Koan'due-ee, sootyaen' noa br'aa vahn'zhoer' ! 42 Conduis, soutiens nos bras vengeurs ! Leebaer'tai ! Leebaer'tai shair'ee-00 ! Liberte ! Liberte cherie ! 38 Koan'baaz aavaek tae daifahn'soer'. avec tes Soo noa keo laa veektwaarVo 44 Combats defenseurs.^ dr'aapoa, Sous nos drapeaux que la victoire 40 Akoor' aa tae mahleoz aaksahn'. 46 Accoure a tes males accens. Ooy, taez aeneomeez aekspeer'ahn Oui tes ennemis expirans 42 Vwaa toan' tr'ee-oan'f ai noatr'eo glwaarVo. 48 Voient ton triomphe et notre gloire. Oaz aar'mtfo, seetwaayaen' ! Faor'mai voa baa- Aux armes, citoyens ! Formez vos bataillons ! taayyoan' ! [noa seeyoan' ! 50 Marchez ! qu'un sang impur abreuve nos sillons ! 50 Maar'shai! k-oen sahn-k aen'puer' aabr'oeveo VERBAL GLOSSIC TRANSLATION. Dh.i Maarsailz Maarch Siieeet. 38 Agai-nst eu aul r'ed'i too -dhemsel-vz beat- (too 2 Gr'ai-t God! bei [ov dhi] handz ^ncharnd feit). 4 5 6 3 Too sit'izenz ! eur ! 26 Ourbr'owz iurder dhi yoa-k dhemsel'vz aarmz, Faurm batal-yenz 1 2 40 Maarch! a blud our wuod- bend ! dhat-(mai) impeu'r ir-igait [Ov] veil des-pots wuod-bikunr furoa-z-(feeldz) ! 28 Dhi maa-sterz ov our des'tiniz ! Too aarmz, sit'-izenz ! Faurm eur ! batal'yenz Luv sai-kr'ed ov dhi Kun'tr'i, 30 Maarch! dhat-(mai) a blud impeu'r ir-igaitour 42 Konduk't, sustai-n, our aarmz aven-jing ! fur-oaz-(feeldz) ! Lib -erti ! Lib -erti cher' -isht ! Tr'em-'bl, tei'rr'ents ! and eu perfid'yus-(wunz), 44 Feit (on dhi sarm seid) widh dhei difen-derz. 5 6 7 2 32 Dhi opr'oa'brium ov aul [dhi] seidz. Un-der our ban'erz, (dhat dhi) vik-ter'i 1 3 8 9 10 1]l Tr'enrbl! eur pr'oj'ekts par'-isei'del 46 Mai- run-*up at dhei manli ak'sents. Kum-(aar goa'ing) at length (too) r'isee'v Yes, (mai) dhei en-imiz ekspei'rr'ing dhair preis-(riwau-rd). 48 See eur tr'ei'umf and our gloa'rr'i ! 2 J Evrithing iz soa-ljer (in order) too eu feit ! Too aarmz, sit'izenz ! Faurm eur batal'yenz ! 36 If dhai faul, our yung hee'rr'oaz, [(wunz) 60 Maarch! dhat- (mai) a blud impeu'r irigait our Dhi erth [ov-dhem] proadeu-sez [ov] new furoaz-(feeldz) ! li 242 PRONUNCIATION OP THE NAMES OP COMPOSERS, XVI, PEONTJNCIATION OF THE NAMES OF COMPOSEES, GERMAN, ITALIAN, AND FRENCH, WITH A FEW OTHERS. Introduction. The following list of names was ALPHABETICAL LIST. compiled under the direction of Mr. Curwen, Abt, Franz, Aap-t, Frants. Fraan'sis Abt. or of and the dates affixed of birth, or of death, Ahle, Johann Georg, Aa'lu, Yoahaan- Gai'aor'ky'h. The both. The pronunciations given are double. Jon Jau-rj Aa'lu. 1707. native first is as correct a representation of the Ahle, Johann Rudolph, Aa'lu, Yoahaan' Koo'daolf. I able to in a few cases I have sound as am give ; Jon R'oo'dolf Aa'lu. 1673. not been sure that the orthography of the name Albrechtsberger, Johann Georg, Aalbraeky' hts- the given me was correct, and hence doubted pro- baer'\gy'hur', Yoahaan' Gai'aor'Jcy'h. Jon Jau-rj nunciation, and I have often been obliged to assign Al-brektsber-ger. 17361803. 1 the pronunciation from the spelling and not from Allegri, Gregorio, Aallai'gr'ee, Graigao'r ee-oa. personal knowledge. The second is the imitation Greg-ur'i Alai-gr'i. 15801652. or variation of the name best suited to English Arcadelt, Jacob, Aa'r'kaadaelt, Yaa'Jcaob. Jai-mz organs of speech. As we have Anglicised Eau', Aa-rkudelt. End of 15th cent. Han'dl, Moazaa'rt, Sai'dn, fiee't-hoa-vn, Roazee'ni Aretino, Guido, Aar'aitee'noa, Gwee'doa. Gwee'doa m " (Bach, Handel, Mozart, Haydn, Beethoven, Rossini) Ar''itee noa [meaning Of Arezzo." See why should we attempt to make foreigners of the Guido.] llth cent. others ? At any rate it is better for English to Ariosto, Attilio, Aa-ree-aos-toa, Aattee'lee-oa. have some sort of sound which is derived from the AtiHus Ar'-ios-toa. 1660 native and which can Daniel Oabaer' pronunciation they easily Auber, Frangois Esprit, , Daanee-ael, utter, than to make all kinds of guesses on the Fr'ahn'swaa Aispr'ee. Dan-yel Fr'aa-nsis Es-pree spur of the moment. The Christian names are in Oa-bair. 1784 all cases translated in the second pronunciation, I Bach, Johann Sebastian, Eaakh, Yoahaan' Saibdas- but as they have been derived from various sources teeaa-n. Sibas-tyen Baak, or Bau. 16851750. into which they had been previously translated, I Bach, Carl Philipp Emanuel, aakh, Kaar'l Fee'- cannot be always sure that they are always rightly leep Aemaan'ooae'l. Chaarlz Filip Eman'euel given in the first. Baak, or Bau. 17441788 Sec. XVI PRONUNCIATION OF THE NAMES OF COMPOSERS. 243 Bach, Johann Christian, Baakh, Yoahaan' Kr'ees- Clementi, Muzio, Klaimaiwtee, Moo'tsyoa, Moot'sioa teeaa-n. Kr'is'tyen Baak, or Bau. 1735 1782. Climen-ti. 17521832. Bach, Johann Christoph Friedrich, Baakh, Yoahaan' Conti, Francesco, Koa'ntee, Fr'aanchais'koa. Krees-taof Fr'ee-dr'eeky'h. Kr'is'tufer Baak, or Fr'aa-nsis Kon-ti. 1703 Bau. 17321795. Converso, Girolamo, Koanvae'r'soa, Jeerao'laamoa. Bach, Wilhelm Friedemann, Baakh, V eel" helm .Tirol- umoa Konver'soa. Latter half 16th cent. Fr'ee'dumdan. Wil-yem Baak, or Bau. 1710-1784. Corelli, Arcangelo, Koarael'lee, Aar'kaan'jailoa. Bartholdy, Felix Mendelssohn, Baa'r'tao'ldee KoareM. 16531713. Fai'leeks Maen'delszoa'n. Fee'liks Men'dlsen Crivelli, Domenico, Kreevael'lee, Doamai'neekoct. Baartoa-ldi. See Mendelssohn. 18091847. Dominik Krivel'i. 1794. Baar'tailmoari Jon Barthelemon, Franqois Hippolite, , Croce, Giovanni, Kroa'chai, Joavaawnee. Fr'ahn'swaa EepaoH&t. Fr'aa-nsis Hip-ulit Kroa-chi. 17th cent. Baa-rtlmen. 17311808. Czerny, C. [Bohemian Chaer'nee]. Cherni. Beethoven, Ludwig von, Bai't-hoa'fen, Loo'dtfeeky'h Donizetti, Gaetano, Doanee-tsaet'tee, Gaa-aitaa'noa. Loo-is fon Bee-t-hoa'vn. faon. 17701827. Gaa-itaa-noa Don-izeti. 17981848. Berlioz, Hector, Baer'ly'aoz, Aektaor. Hek'ter Dupuis, Thomas Saunders [French, Duepueee\. Berlioaz. 1803 Deupwee-. 17331796. Bellini, Vincenti, Baillee'nee, Veencham'tee. Viir- Fr'aanchai'skoa. sent Belee-ni. 18021835. Durante, Francesco, Door'aan'tai, Fr'aa-nsis Door'an-ti. 1693 1755. Bianchi, Giovanni Antonio, Byaang'kee, Joavaan-- Duer'-nur. Der-ner. nee Aantoa-nyoa. Jon Byangk'i. 1686-1758. Diirrner, J., Fr'aanchaes-koa. John Ladislas French Bianchi, Francesco, Byaang-kee, Dussek, [Bohemian ; pro- Fr'aa-nsis Byangk i. 17521810. nunciation DuesaekJ] Deusek'. 1762 1810. Boieldieu, Francois Adrien, Bwaaldyeo, Fr'ahn'swaa Eisenhofer Aayzenhoa-fur' . Ei-zen-hoa'fer. 1 1 Aadr'eeaeri . Fr'aa'nsis Ai'drien Boi Ideu . Ferrari, Giacomo Gotifredo, Faer'r'aa'r'ee, Jaa-koa- 17751830. moa Goateefr'ae'doa. Jai'mz God'fr'i Fer'aa-r'i. Btiononcini, Giovanni Battista, Bwao-noanchee'nee, 18th cent. Joavaawnee Baattees-taa. Jon Bap-tist Boa'non- Festa, C., Faes-taa. Fes'tu. 16th cent. cheeni. Beginning of 18th cent. Fetis, Francois Joseph, Fai'tees, Fr'ahn'swaa Campagnoli^ Bartolomeo. Eaam'paany'ao'lee, Zhaozaef. Fr'aa-nsis Joa'zef Fartis. 1784 Baartoaloamae'oo' Baarthol'umeu Kampany- Flotow, Floa'toa. Floa'toa. oa-li. 17511827. Freschi, Giovanni Domenico, Fr'ai'skee, Joavaawnee Carissimi, Giacomo, Kaar'ees'seemee, Jaa'koamoa. Doamai'neekoa. JonDom-inikFr'es'ki. 17th cent. Jai-mz Kuris-imi. 15821672. Frescobaldi, Girolamo, Fr'aiskoabaal'dee, Jeer'ao'- Cherubini, Maria Luigi, Kair oobee'nee, Maaree'aa laamoa. Fr'es-koabol'di. 1587 1654. Loo-ee-jee. Ker'oobee-ni. 1760 1842. Fuchs, Johann Joseph, Fuoks, Yoahaan' Yoa'zef. Jhladni,Ernst Florens ~F-[iedrTLch,Khlaad-nee,Aer'nst Jon Joa-zef Fuoks. 1660 Floa-r'ens Fr'ee'dreeky'h. Ernest Flor'^ens Fr'ed- Gaillard, Jean Ernest, Gaayyaa'r, Zhahn* Aer'naest. rik Klad-ni. 17561827. Jon Ernest Gaayyaar. 1687 Alexandre KaoSoan" - or Choron, Etienne, , Alegzahrf Gallo, Ignazio Antonio, Gaal'loa, Eeny'aa'tsioa dreo Aityaen. Aleksaa'nder Stee vn Kao'rr'on. or Aantoa-nyoa. Ignarshius aur An-tuni 1772- 1834. Gal-oa. 1639 Cimarosa, Domenico, Cheemaarao'zaa, Doamae'- Garcia, Manuel [Spanish, Gaar' -t' hee-aa, Maanoo-e'l~\, neekoa. Donrinik Chim'Uroa'zu. 1749 1801. Man'euel Gaa-rshiu aur Gaa rsiu. 1775 1832, 244 PRONUNCIATION OP THE NAMES OP COMPOSERS. Sec XVI Gasparini, Francesco, Gaaspaar'ee-nee, Fr'aanchai'- Jomelli, Nicolo, Yoamael'lee, Nerkoaloa. Nik'ulus skoa. Fr'aa-nsis Gaspuree-ni. 16651727. YoameH. 17141774. 1 Giardini, Felice, Jaar'dwnce, Failee'chai. Fee-liks Depres, Josquin, Deoprae, Zhaoskaen . Zhos'kin Jaardee-ni.. 17161796 Diprai'. 14451530. Christian Friedrich, Kaal'kbr*aewwr Gluck, Christoph von, Gluok, Krees'taof faon. KalKbrenner, t Kris-tufer fon Gluok. 17141787. Kr'ees-tee-aa-n Fr'eedr'eeky'h. Kr'is'tyen Fr'ed'- French rik Kal'kbren-er. 17841849. Gossec, Francis Joseph [Belgian ; pro- nunciation Gaosaek, Frahn'swaa Zhoazaef], Kalliwoda, J. W. [Bohemian, Kaal'leevoadaa]. Fr'aa-nsis Joa-zef Gos-ek. 18th cent. Kal'ivoadu. Goudimel, Claude, Goodeemael, Kload. Klau-d Knecht, Justin Heinrich, Knacky' ht Yuostee-n Goo'dimel. 16th cent. Haaynreekyh. Jus'tin Hen'ri Nesht. 1752 Gounod, Goonoa, Guon'oa. Kuhlau, Friedrich, Koo'laaw*, Fr'ee'dr'eekyh. Graun, Carl Heinrich. Gr'aawn, Kaa-rl Haayn- Fr'ed-rik Koo'lou. 17861832. r'eeky'h. Chaarlz Hen-ri Gr'oun. 17011759. Kucken, Friedrich Wilhelm,Kuok-en, Fr'ee-dr'eeky'h Griesbach, J. H., Gr'ee-sbdakh. Gr'ee-zbak aur V eel-helm. Fr'ed-r'ik Wil-yem Kuok'n. 1810 Gr'ee-zbaa- 1875. Lachner, Franz, Laakh-nur' FSaants. Fr'aa'nsis Grosse, Wilhelm Leopold, Gr'aos'u V'eel-helm Lak-ner. 1804 Lai-oapaold. Wil-yem Lee-oapoald Gr'os-u. Lassus, Eoland [Belgian, Latinised Laas-oos, End of 18th cent. Roa-laand]. Roa'lend Las-us. 15201595. 'ael-mee. Gooliel-mi. Peter Guglielmi, Gooly 1729-1804. Lindpaintner, Joseph, Leend-paayntur , 1 Guido d'Arezzo, Gwee'doa d-Aar aet-tsoa. Gweedoa Pai-tur' Yoa-zef. Pee'ter Joa'zef Lind'peinter. d'Ar'et'soa. 17911812. Handel, Georg Freidrich, Horn- del, Gai-aor'ky'h Liszt [Hungarian, Leesf]. List. Fr'ee-dr'eeky'h. Jau-rj Fr'ed-r'ik Han-dl. Logier, Jean Bernard, Laozhyai, Zhahri Baer'naar. 16851759. John Bernerd Lozhiai. Early 19th cent. Hasse, Johann Adolph, ffaas'u, Yoahaan- Aa-daolf. Lulli, Giovanni Battista, Lool-lee, Joavaan-nee Jau-rj TJdol-fus Has-u. 1699 1783. Baattees-taa,. [Better known by his Frenchified Hauptmann, Moritz, Haawptmaan, Moa-r'eets. name, Zhahn' Baatee-st deo Luel'lee}. Jon Mor''isHou - ptmen. 1794 Baptist du Luol'ee. 16331687. Hausmann, Valentin, Haawsmaan, Faalentee'n. Luther, Martin, Luo'tur\ Maa'r'tee-n. Maa'rtin Val'entein Hous'men. Early 17th cent. Loo-ther. 14831546. Franz Baenaidait-toa. Haydn, Joseph. Haaydn, Waants Toa-zef. Marcello, ~BenedLetto,Maar'chael'loa, Fr'aa-nsis Joa-zef Hai'dn aur Hei'dn. 1732-1809. Ben-idikt Maarchel-oa. 1686- -1739. Friedrich Haydn, Michael, Haaydn Meekhaa-ail. Mei-kl Marpurg, Wilhelm, Maa'r'puor'ky'h Hai-dn aur Hei'dn. 1801 Fr'eedr'eekyh V eel-helm. Fr'edr'ik Wilyem 1718 1795. Herold, Heraolt. Her-eld. Maa-rpuorg. Marschner, Heinrich, Maar'-shnur' Haaynr''eeky'h. HiUer, Heel-lur\ Hil-er. Hen-r'i Maa-rshner. 17951861. Himmel, Friedrich Heinrich, Fr'ee'd- Heem-el, Martini, Giambattista, Maar'tee'nee, Jaam-baattees-- r'eeky'h Haaynreeky' h. Fr'ed'r'ik Hen-ri taa. Jon Bap-tist Maartee-ni. 1706 1784. Him-1. 17651814. Mazzinghi, Guiseppe, Maat'tseeng-gee, Joosaep-pai. Johann Hummel, Nepomuk, Huom-el, Yoahaan- Joa-zef Matsing-gi. 1765 1844. Jon Nai-poamuo'fi Nep-oamuok Huom-1. Mehul, Etienne Henri, Mai-uel, Aityaen Ahn'r'ee. 17781837- Stee-vn Hen-r'i Mai'hil. 17631817. Sec. XVI. PRONUNCIATION Of THE NAMES OP COMPOSERS. 245 Meibom, Mark, Maayboam, Maar'k. Maark Joavaan'nee Baattees'taa. Jon Baptist Pergoa- Mei'bom. [Latinised, Meiboa-miuos]. 1626 1710. lai-zi. 17071737. - Mendelssohn-Bartholdy, Felix, Maen'delszoa-r, Pfeitfer, J. M., Pfaayfur\ Feifer. End 18th cent. Baa-r'taol-dee, Faileeks. Feeiiks Men'dlsen- Piccini, Nicolo, Peetchee-nee, Nee'koaloa. Nik-ulus Baartoa-ldi. See Bartholdy. 1809-1847. Pichee-ni. 17281801. Mercandante, Saverio, Maer'kaandaan'tai, Saav- Pistocchi, Fr. Ant., Peestaok'kee. Pistok-i. aer'ee-oa. Saavarrr'ioa Merkandan'ti. 1798 16601720. Metastasio, Pietro, Maitaastaa'see-oa, Pyae'troa. Pleyel, Ignaz, Plaayel, Eegnac^ts. Ignai-shius Pee-ter Met'astaa-sio. 16981782. Plei-el aur Plarel. 17571831. Methfessel, Friedrich, Mai'tfes-el, Free'dr'eeky'h. Porpora, Nicolo, Toar' 'poar' aa, Nee'koaloa. Nikulus Fr'ed-rik Martfes-1. 17711807. Paurpura. 16891767. Methfessel, Albrecht Gottlieb, Mai'tfes-el, Aal'- Praetorius, Michael, Pr'attoa'r'ee-oos,Meeky''haa-ae'L br'eky'ht GaoHee'b. Albert GoHeeb Martfes-1. Mei-kl Pr'eetoa-rr'ius. 15711621. 1786 Piameau, Jean Philippe, R'aamoa, Zhahn' Feeleep. Meyerbeer, Jacob [in Italian, Giacomo], Maayur'- Jon Fil-ip R'am-oa. 16831764. bai'r', Yaa'kaob [in Italian, Jaa'koamoa] . Jai'kub Randegger, A., Raan-daeg'ur'. R'an'deg'er. aur Jai'mz Mei-erbair. 1794 Reicha, Joseph, Raayky'haa, Yoa-zef. Joa-zef Molique, B., Maoleek. Moalee-k. 1803 R'ei-ku. 17571787. 1 1 Morlacchi, Francesco,Maor^laak-kee Fr'aanchai-skoa. Reicha, Anton, E aayky haa, Aantoa-n. An'tuni Fr'aa-nsis Maurlak'i, 1784 R'ei-ku. 17701836. Moscheles, I., Moa-sheles. Moasheles. 1793 Reichardt, Johann Friedrich, R'aayky'h-haar't, Mozart, Johann Chrysostom Wolfgang Gottlieb, Yoahaan' Fr'ec'dr'eeky'h. Jon Fred'r'ik R'ei'k- Moa'tsaart, Yoahaan' Krees'aostaom Vaol'fgaang haart. 1752 Gaot-lee'b. Jon Kr'is'ustem Got'leeb Vol'fgang Rizzio, or Ricci, David, R'eet-tsee-oa, or R'eet'chee, Moazaa-rt. 17561791. Daa-veed. Dai'vid R'itsyoa aur R'iciri. 1565. Muller, August Eberhard, Muel-ur\ Aaw guost h-tur' Kaarl Gaot'- Richter, Carl Gottlieb, Reeky' ', Ai'bur'haar't. Mi'ler. Augustus Ai'berhaard lee-b. Chaarlz Gotleeb R'ish'ter. 17281809. 1767 Ries, Ferdinand, R'ee's, Faer' deenaand. Fer-dinend Nageli,Hans GreoTgiNai-gy'helee^aans Gai'aor'ky'h. R'ee-s. 1785-1835. Jak , 17921836. Jau-rJ Nai-geli. Righini, Vincenzo, TSeegee'nee Veenchai-ntsoa. Naawmaan. Nou'men. 1741 1800. Naumann, Vin'sent R'igee-ni. 17581812. Nei'd-haart. 17061724. Neidhart, Naayd-haar't. Rimbault, Etienne Fran9ois, R'aen'boa, Aityaen Neukomm, Sigismond, Noykaom, Zee'geesmaond. Fr ahrf swaa. Steevn Fr'aa'nsis R'am'boa. Sij-ismend Noi-kem. 17781858. 1773 Otto, Valerius, Aot^toa, V aalae'r* ee-uos. VuleeT- Rinaldo da Capua, R'eenaal'doa daa Kaa'poo-aa. r'ius Ot'oa. Early 17th cent. R'inal'doa ov Kap'eu-u. Early 18th cent. Paesiello, Giovanni, Paa-aisee-ael'loa Joavaan-nee. Rink, Christoph Heinrich, Reengk, Kr'ees'taoj Jon Paa-aisyel'oa. 17411816. Haaynr'eeky'h. KJris'tufer Hen'r'i R'ingk. 1 End of 18th cent. Palestrina, Giovanni, Paalaistr ee'naa, Joavaan-nee. Jon Pal-estr'ee-nu. 15291594. Romberg, Andreas, R'aom'baer'ky'h, Aandrai-aas. Pepusch, Johann Christoph, Pai'puosh, Yoahaan- An-droo Rom-berg. 17671821. 1 Krees-taof. JonRr'istuferParpuosh. 1667-1752. Rosa, Salvator, R'ao'zaa, Saalvaatoa'r . Salvai'ter 16161673. Pergolesi, Giovanni Battista. Paer'goalae zee, Roa-zu. PRONUNCIATION OF THE NAHtiS OP COMPOSERS. Sec XVI, 1 Rosenmuller, Roa'zenmuel-ur . Roa'zmnil-er. Spontini, Gasparo, Spoantee-nee, Gdas-paarua. 16151685. Gas-per Spontee-ni. 1 778 185 1 . Stitaa'dlur . Staa'dlcr. Rossini, Gioacchino, R oassee'nee, Joa-aakkee-noa. Stadler, M., Joa-ukim Roazee-ni. 1792 Steffani, Agostino, Stacf'faanee, Aagonstee'noa. Augus-tin Stef-uni. 1650 1730. Rousseau, Jean Jacques, Roossoa, Zhahn' Zhdak. Jon Jarmz Roossoa. 1712 Storace, Steffano, Stoar'aa'chai, Staef'faanoa. Stee'vn Stoar'aa'chi. an Antonio Maria [Quite Englishman.] Sacchini, Gasparo, Sdakkee'nee, 17631796. Adntoa'nee-oa Maar'ee'aa Gdas'paar' oa. An'tuni Stradella, Alessandro, Str'aadael'laa, Aalaessaaw- Mur'ei-u Gas -per Sakee-ni. 17351786. droa. Aleksaa'nder Str'udel-u. 1645 1679. Sarti, Giuseppe, Saar^'tee, Joosaep'pae. Joa zef Tartini, Giuseppe, Tdar tee-nee, Joosaep'pai Joa-zef Saa-rti. 17301802. Taartee-ni. 16921770 Aalacssaan'droa. 1 Scarlatti, Alessandro^^aar' laat'tee, Teleman, Georg Philipp, Tai'lumaan, Gai'aor'ky h Aleksaa-nder SkaarlaH. 16501728. Fee-leep. Jau-rj FiHp Tel-umen. 16811767. Scarlatti, Domcnico, Skaar laat'tee Doamai'neekoa. Thalberg, Taa-lbaer ktf h. Taa'lberg. Dom-inikSkaarlat-i. 16831751. Verdi, Guiseppe, Vaer'dee, Joosaep-pai. Joa-zef 1816 Schicht, Johann Gottfried, Sheeky'ht, Yoahaan- Verdi. Gaot-fr'eed. Jon God-fri Shikt aur Shisht. Vogler, Georg Joseph, Foa'ghlur\ Gai-aorky'h 17531823 Toa-zef. Jaur'j Joa-zef Foa-gler. 1749 1810. 1 Fraants. Fr'aa'nsis Voigt, August Georg, Foa-eeky'ht [or Foakht], Schneider, Franz, Shnaaydur , Shnei-der. ' 17571812. Aawguost Gai'aor'ky'h. Augus'tus Jau'rj Foa-kt. 1779 Schulz, Johann Abraham Peter, Shuolls, Toahann- 1 Wagner, Richard, V'aa'ghnur\ Jtee'ky'haar'd. Aabraahaa'm Pai'tur . Jon Arbruham Pee'tur Rich-erd 1813 Shuolts. Vaa-gner. 1800. > Weber. Carl Maria von, V'a,i'lur\KaarlMaar eraa, Schubert, Franz, Shoo-bur't, Fr'aants. Fr'aa-nsis faon. Ohaarlz Murei-u fon Vai'ber. 17861826. Shoo-bert. 17971828. Weigel, Joseph, Vaaygy'hel, Yoa-zef. Joazef EoabaeT\ Rob-ert Schumann, Robert, Shoo'maan, Vei-gel. 1765 Shoo-men. 18101856. Zingarelli, Nicolo, Tseeng-gaarael'lee, Nee'koaloa. Silcher, Seel-ky'hur. Sil'ker aur Silsher. Nik-ulus Sing-gureH. 17521837. Spohr, Ludwig, Sh'poa'r', Loo'dv'&eky'h. Loo'is Zumsteg, Johann Rudolf, Tsuom'sU taeky'h, Yoahaan' Spoa-r, 17841859. R'oo-daolf. JonR'oo-dolf Suonrstaig. 17601802 COURSES OF LESSONS ON THE TONIO SOL-FA METHOD. is in * also in The postage given brackets ; those marked can be had penny numbers. The Standard Course. s. d. *THB FIRST HIGH SCHOOL VOCALIST [ld.1 6d. THB YOUNG Parts I to IV The Complete Work, in cloth [3d.] 3 6 CHORISTER, f Id.] sach 3d. The Six Steps (instructions) [2d.] 1 6 K By A. L. Cowley. In Parts, containing 40 pages, size of TTT The Exercises. Rhythms, &c., are also sold separately at "Code Music Drill." Part I. Steps I, H, and prices from Jd. upwards, according to size. Part TJ. Recapitulation of Steps I-HJ: Step IV as far Elementary Courses for Mixed Voices. as imperfect Sol-faing. Part m. Steps IV and V. Part WITH INSTRUCTIONS AND TUNIS. IV. Additional Songs for Practice, and Introduction to the Staff Notation, Cloth I/-. 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Ninth edition, enlarged and edition, price ; postage 2jd. teen chapters, with about 150 Graded Exercises. All revised. Price, cloth, 2/6; paper. 1/6; postage 2d. in both notations. MEMORIALS OF JOHN CURWEN. By his examples J. SPENCER 3d. TEXT-BOOK OF MUSICAL ELEMENTS. son, CURWEN. Price 2/- ; postage GEO. Mus. B. in MUSICAL INSPECTION, and How to pre- By OAKEY, Price, paper, I/- ; cloth, 1/6 ld. All the usual on pare for it, The. By A SCHOOL INSPECTOR. Price ; post. topics arranged anew 1/6; post. 2d. Lessons and instructions on the Tonic plan, with an Appendix of questions and exercises. Sol-fa method, for teachers in elementary schools. TRAINING COLLEGE MUSIC COURSE. E. Mus. B. Price MUSICAL PROFESSION, THE. By H. FISHER, By MILLS, 3/- ; postage 2jd. O.N. Price Vocal and to Mus. D. 6/- ; postage 4|d. Contains advice for Course, Theoretical, prepare directly for music teachers in every department of the art. the various Examinations. MUSICAL SELF-INSTRUCTOR. By J. 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