BELL
OUNDS
820.5
B435
1887
UNIV
B 1,495,402

ARTES
LIBRARY
1817
SCIENTIA
VERITAS
OF THE
UNIVERSITY OF MICHIGAN
PLURIBUS UNUN
TUEBOR
SI QUERIS PENINSULAM-AMŒNAM.
CIRCUMSPICE
!
41.817
LIBRARY
FIB 12 11891
S. BUREAU OF EDUCATIO
SOUNDS

AND
THEIR RELATIONS
A Complete Manual of Universal Alphabetics;
ILLUSTRATED BY MEANS OF
VISIBLE SPEECH:
AND EXHIBITING THE
Pronunciation of English, in Various Styles, and of
other Languages and Dialects.
By Alex. Melville Bell, F.E.I.S., &c.
EDGAR S. WERNER,
48 UNIVERSITY PLACE, NEW YORK.
1887.
.
SOUNDS AND THEIR RELATIONS
:

XIC
C
CONSONANTS.

1
VOWELS.
PHYSIOLOGICAL BASES OF THE SYMBOLS.
-12-R.BUX 03-15-43
:
DEDICATION
ΤΟ
ALEXANDER JOHN ELLIS, ESQ., F. R. S.
Dear Sir:
You were among the earliest to put the system of "Visible
Speech"- then unpublished-to a series of practical tests; and
your name -that of the highest authority on phonetics—in en-
dorsement of the claims of the System, at once sufficed to bring
it into notice. In expression of my grateful recollection of your
kindness, and impartiality of judgement, I desire to dedicate to
you this new exposition of Visible Speech, and manual of "Sounds
and their Relations."
With much respect,
I am, Dear Sir,
Yours very truly,
224689
THE AUTHOR.
BY TRANSFER
JUN 13 1908
PREFACE.
THE
HE Inaugural Edition of "Visible Speech" was
not intended, or adapted, for the popular in-
troduction of the System, but for the use of the
comparatively limited class of Students of Philology.
Visible Speech has now been brought into such
wide practical applications-not only in this field
of scholarship, but in the work of foreign Missions;
in the treatment of Impediments and Defects of
Speech; in teaching Articulation to the Deaf; in
facilitating the acquisition of Foreign Languages; in
the teaching of Elocution; and in the training of
Common School Teachers-that a simpler and more
practical Manual of the System was urgently called.
for. "SOUNDS AND THEIR RELATIONS," which
could not be exemplified by means of ordinary
letters, are here exhibited in the symbols of Visible
Speech. This Work thus serves the double purpose
of teaching the varieties and relations of all Lin-
guistic Sounds, and, at the same time, presenting
vi
PREFACE.
the entire details of the system of Visible Speech,
with simplicity and clearness. A largely extended
sphere of utility will, it is hoped, be opened for
the system by the publication of this popular man-
ual, and by this application of the symbols to the
exhibition of familiar and other "SOUNDS AND THEIR
RELATIONS."
SS FAYETTE STREET,
WEST WASHINGTON, D. C.
September, 1881.
CONTENTS.
INTRODUCTION
SECTION FIRST.-Explanation of the Visible
Speech Symbols and Classification of
Elementary Sounds
High and Low Lines
Straight Lines and Curves.
Right and Left Lines
Upward and Downward Curves
Divided Lines
Closed Curves
Vocalized Consonants
Primary and Wide Vowels
Nasal Elements
Throat Consonants
Modifiers
Glides
Clicks, etc.
SECTION SECOND.-Phoneticizing
Part First- Consonants.
Lip Consonants
Back
Top
Point
66
66
PAGE
I
5556
79
S
9
9
ando=
I I
I 2
12
13
14
19
19.
22
25
28
viii
CONTENTS.
Part Second — Vowels.
Front Vowels
Back
Mixed
Round
SECTION THIRD.—Recapitulative Tables, etc.
Table of Consonants
Table of Vowels.
Table of Glides
35
37
41
45
59
59
60
61
Table of Modifiers, etc..
Tables of English Elementary Sounds
Exercises
SECTION FOURTH.-English as Spoken, etc.
61
62
63
69
I. Vocabulary Style.
Means of Acquiring Distinction.
72
II. Colloquial Style.
Means of Acquiring Distinction.
76
Extract from Nicholas Nickleby
79
Illustration of Lowland Scotch
85
of French
87
of German
SECTION FIFTH.-Supplementary Review, etc.
Essentials of Articulation
Application of Visible Speech to the teach-
ing of Articulation to the Deaf
SS
91
91
100
:
COPYRIGHT, 1881, BY ALEXANDER MELVILLE BELL.
PRESS OF
J. H. CHOATE & Co.,
SALEM, MASS.
•
INTRODUCTION.
1
AL
LL attempts to show the phonetic elements even of
a single language by means of ordinary letters re-
quire the use of key-words, diacritic signs and arbitrary
distinctions to a very inconvenient extent; and after all
has been done that can be done, the result is imperfect,
complex, and difficult of application; while the exten-
sion of the scheme to other languages is impracticable.
By means of the system of Visible Speech, all pos-
sible phonetic elements, and all the organic, mechanical
and other relations of sounds, are expressed by symbols
which have an absolute and uniform value in every con-
text, so that speech of any variety is made legible in fac
simile by readers in all countries. Those to whom the
language is vernacular, and foreigners who have never
heard the spoken tongue, must pronounce its Visible
Speech transcript exactly alike.
The principles of Visible Speech are sufficiently simple
for popular apprehension and application; and this work
is designed to familiarize them to English-speaking
readers. The entire system is here presented. Lingu-
istic sounds of every variety-native, foreign, dialectic,
are defined and exemplified; and "English as
Spoken"- as well as the vocabulary pronunciation in-
definitely indicated in dictionaries—is fully illustrated.
This cosmopolitan scheme of speech-symbols cannot be
etc.
1
2
INTRODUCTION.
1
better propagated than by its application to exhibit the
pure phonetics of the language of the two foremost na-
tions in the world - Great Britain and America.
The explanation of Visible Speech symbols contained
in the next section should be carefully perused, to enable
the reader to profit by the unique property of the letters,
in facilitating the acquisition of foreign sounds. The
correlation of symbols to sounds will be found to be so
close and obvious, that when the elements of any one
language are learned, the pronunciation of any other
language, will, through its Visible Speech letters alone,
be mastered with ease and certainty.
The organic basis of the symbols is exhibited in the
Frontispiece.
SECTION FIRST.
EXPLANATION OF THE VISIBLE SPEECH
SYMBOLS AND CLASSIFICATION
OF ELEMENTARY SOUNDS.
Sounds and their Relations.
SECTION FIRST.
EXPLANATION OF THE VISIBLE SPEECH
SYMBOLS AND CLASSIFICATION
OF ELEMENTARY SOUNDS.
High and Low Lines.
AMONG ordinary letters, some are of uniform
height, as:
acem nors u v w x;
and others extend above or below the general line,
as:
bdh klt f;
gj p q y.
This diversity is pleasing to the eye, but it ex-
presses no principle. In Visible Speech letters,
while the eye is gratified with the same variety, the
differences are made to express important distinc-
tions. Thus:
All characters which extend above or below the
general body of the letters are VOWELS. For ex-
ample:
m‡ fз jy v Z W [wзleco ‡з зlulow volion
alphabet of visible
universal
speech.
6
SOUNDS AND THEIR RELATIONS.
!
Here, every eye distinguishes at once the vowels
from the consonants, and also perceives at a glance
the number of syllables in each word, as every
vowel forms a syllable.
Further, the ascent or descent of the vowel lines
expresses a corresponding difference in the organic
formation of the sounds. High lines denote sounds
modified by a high position of the tongue; low
and intermediate lines denote sounds modified by
relatively lower positions of the tongue. Thus the
reader sees that the vowels are all high in the words
зfwlow
visible
upfton
speech;
and that the first vowel is low, and the other vow-
els are intermediate, in the word
3
TWзTACO
alphabet.
Straight Lincs and Curves.
IN connection with the preceding explanation of
high and low lines, the reader will now note the
principle that all vowel symbols consist of straight
lines, and that all consonant symbols consist of
curves.
The physiological bases of this principle of sym-
bolization are:
I. The linear form which the aperture of the
glottis assumes in vocalization; for which reason a
straight line is the sign of voice.
EXPLANATION OF VISIBLE SPEECH SYMBOLS. 7
II. The lines of curvature of the tongue and the
lips in forming the different consonant elements
(the face being turned to the right); on which
account a curve, according to the direction in which
it is drawn, is the sign of all the organs of articula-
tion. Thus :
C
U
၁
Back (of tongue). Top (of tongue). Point (of tongue). Lip.
Right and Left Signs.
AMONG ordinary letters, some have their distinct-
ive parts on the right side, and some on the left,
as:
befhk pr, etc.; adj qy, etc.;
but the difference conveys no meaning. In Visible
Speech letters, right and left have a distinct organic
signification. All curves turned to the right rep-
resent consonants modified by the lips, as:
(Lip)
၁ ဒ D D
All curves turned to the left represent consonants
formed by the back of the tongue, as:
(Back) с є а в
On the same principle "mixed" letters-combin-
ing one of the curves as primary with its opposite
as secondary-show that the phonetic effect of the
primary curve is modified by that of its opposite.
Thus :
(Back-mixed) C
(Lip-mixed) 5
In vowel letters, distinctive signs on the right side
8
SOUNDS AND THEIR RELATIONS.
of the straight line denote sounds modified by the
front of the tongue, as:
(Front) L I C C T T
f f f f t t
Distinctive signs on the left side of the straight
line denote sounds modified by the back of the
tongue, as:
(Back)
1 1 J ] J J
1 ± J F F F
On the same principle, vowel letters which com-
bine right and left signs denote elements that are
modified simultaneously by both the back and the
front of the tongue, as:
(Mixed)
ITIL II f f t t I £
Upward and Downward Curves.
In accordance with the principle of symbolization
explained at page 7, all upward curves represent
consonants which are formed by the arched middle
or top of the tongue, as:
(Top)
W U
Q
All downward curves (the ends of which are
turned upwards) represent consonants which are
formed by the raised point of the tongue, as:
(Point)
ω
Mixed" curves denote elements in which the
effect of the primary curve is modified by that of
of its opposite, as:
(Top-mixed) 22 52
(Point-mixed)
25 25
EXPLANATION OF VISIBLE SPEECH SYMBOLS. 9
Divided Lines.
DIVIDED, or indented, curves denote consonants
which have lateral or interstitial apertures for the
emission of the breath, as:
(Divided) E EM M W W 3 3
The corresponding primary (or centre aperture)
consonants are:
(Primary) C CON U Uɔ ɔ
Divided, or barred, vowel lines denote sounds
which have a double modification, being "rounded"
by the lips as well as moulded by the tongue.
Thus:
(Labialized or "Round" Vowels)
1 1 J J F F
I f t t I I
f f f f t t
Closed Curves.
ALL open curves (CU 3 etc.) denote conso-
nants in forming which the breath (modified by the
symbolized organs) is freely emitted. Closed curves.
denote that the breath is stopped and shut in by the
symbolized organs. Thus:
(Shut)
k g (See "Top Shut") t d
Vocalized Consonants.
p b
THE difference between non-vocal and vocal con-
sonants is uniformly expressed by a straight line
ΙΟ
SOUNDS AND THEIR RELATIONS.
the sign of voice
drawn within the consonant
curve to denote the addition of vocality. Thus:
(Non-Vocal) D D 3 0 U W as us so ɑ
P wh ft rh lh
s
th sh yh k
(Vocal)
D 3 3 0 W W W
b W V d r 1 z
W M M EI
dh zh y g
The mutual relations of all these elements are
thus clearly embodied in the forms of the letters.
Primary and Wide Vowels.
A SOLID point on a vowel line denotes a "pri-
mary" vowel; an open hook on a vowel line de-
notes a "wide" vowel. Thus:
(Primary) 1] J Ï ÎI
(Wide) 1 J J T l I
[ [ [ ‡ } &c.
f [ [ ‡ J &c.
ct
Primary and wide vowels have nearly the same
formation, but the "wide" vowels have an addition-
al expansion of the soft palate, enlarging the back
cavity of the mouth. The phonetic resemblances
and characteristic differences will be perceived in
pronouncing the following pairs of words:
(Primary) [+W TWO JUS FIW D}+W
eel end us all
pool
(Wide)
fw too Iva Ƒʊ
Dłw
ill and ask on
pull.
EXPLANATION OF VISIBLE SPEECH SYMBOLS. II
Nasal Elements.
ALL nasal elements are distinguished by a wav-
ing line (or —). In consonants the sign of na-
sality is incorporated with the letter, as:
ng n m
These three letters will be observed to consist
merely of the nasal sign added to the letters
Є T Э
g
مه
d b
Hence the relation between g and ng, d and î, and
b and m, is exactly represented in the symbols.
Non-vocal forms of the nasal consonants are rep-
resented on the same principle, the voice-line being
merely omitted. Thus:
a u s
ngh nh mh
For nasalized vowels the sign of nasality is writ-
ten separately, as in:
Ts or Ts (nasalized ĕ or ǎ)
Is (nasalized "e mute")
Is
Zs
•
in (French)
<<
unt
an, en
on
In printing languages in which nasalized vowels
are common—such as French, Portuguese, etc.
the sign of nasality might, for convenience, be in-
corporated with the vowel symbols.
12
SOUNDS AND THEIR RELATIONS.
Throat Consonants.
BESIDES the consonants formed by the tongue
and the lips, a few have their seat farther back-
in the throat. These are:
O "Aspirate;" a simple and nearly silent aspiration. — h.
0 "Throat;" a rough aspiration—the throat contracted whisper.
"Throat-voice"-the same, vocalized hoarseness.
X "Catch;" a stoppage of the breath by closing the throat = cough.
Modifiers.
THE normal alphabet of Visible Speech includes
fifty-two consonants and thirty-six vowels; but these
numbers are susceptible of indefinite increase by
means of modifying signs to denote slight differ-
ences in the formation of the elements. Thus:
CC
"Inner;" element formed farther back than the normal position.
} "Outer;"
forward
A "Closer;"
more closely
openly
V "Opener;"
66
These modifiers are rarely needed in the writing
of languages, but they give a desirable power of
minute accuracy, when it may be necessary. One
common peculiarity of English utterance requires
the use of the "outer" modifier; this is the formation
farther forward than normally, of k and g in the words
kind, guard, etc. The ordinary representation of
this effect (kee-ind, or kyind), is an exaggeration.
EXPLANATION OF VISIBLE SPEECH SYMBOLS. 13
There is no ee or y in the sound, but merely an
anterior formation of the k or g. Thus :
kind
Єl> JY W
guard
Glides.
THE elements of speech include, besides vowels
and consonants, a class of intermediate transitional
sounds denominated "glides." In the syllables day,
air, die, boy, now, know, etc., glides are heard as
the second elements of diphthongs.
The principal glides are indefinite sounds of y,
w, and r, as heard in the above words; but almost
every vocal consonant may have its own approxi-
mating glide. A simple "voice-glide," without con-
sonant approximation (I)— a non-syllabic effect of
the vowel is very common in some dialects;
as also the same element rounded (F); and a sim-
ple breath-glide (>)—a transitional breathing is
a characteristic of Irish utterance. The "breath-
glide" differs from the aspirate, in being an
emission from a consonant position, and not di-
rectly from the throat.
Glide symbols are formed by combining a voice-
line with the appropriate consonant curve. Thus:
ĥ
५
?
7 glide.
y' glide.
w glide.
14
SOUNDS AND THEIR RELATIONS.
Clicks, &c.
THE symbol < ("suction") denotes that the pre-
ceding element is formed with in-going air. Thus:
*<
sipping.
•
D<
sniffing.
OV+<O+
yawning.
The symbol ("stop") denotes that the breath is
held in while the organs retain the position for the
preceding element. Thus:
The symbol
soft.
stop (with the p unfinished).
("suction stopped") denotes an
effort of suction, but without inhalation. Thus :
<
vexation.
p<
kiss.
The symbol ("emission stopped") denotes an
effort of expiration, but without emission from the
throat. Thus:
The symbol
p
smoker's puff.
denotes lateral openings (or a
single lateral opening), after a shut position. Thus:
finished by removing the sides instead of the point of the
tongue.
finished by removing one side of the tongue.
O
O
driver's click to a horse.
The symbol
denotes vibration. Thus:
(Throat vibration-epiglottal trill.
C Back vibration-uvular trill.
Point vibration-lingual trill.
Lip vibration.
N
EXPLANATION OF VISIBLE SPEECH SYMBOLS. 15
>
The symbol denotes hiatus, as in separating the
two words in the compound bed-time.
(
The symbol denotes abruptness.
The symbol
denotes the holding of a sound, or
of an organic position. Thus :
(Long vowels)
JI
ee
ah
(Held consonants)
put down (stammering p and d
The symbol c ("to back") denotes that the
tongue is inverted to the back of the mouth.
Thus :
Oc< a click from the soft palate.
The symbol ɔ (“to lip") denotes that the tongue
is protruded to the lips. Thus:
¯ɔƆ blowing an object from the point of the tongue.
The symbol + ("plus") denotes that the elements
between which it is placed are pronounced simul-
taneously. Thus:
W+pronounced with the lips contracted.
W+C / modified gutturally.
A symbol for "whistle" (→) and "vocalized
whistle" () complete the scheme of organic
modifiers.
The symbol("stress") denotes an accented syl-
lable; and the same sign inverted (,), denotes an
emphatic word. The stress symbols are placed on
16
SOUNDS AND THEIR RELATIONS.
the left side, or before, the syllable or word to
which they refer.
In Visible Speech printing of English the rule
is adopted that accent is always on the first syl-
lable, unless otherwise expressed. Thus:
contrast (noun)
contrast (verb)
Script Forms of the Visible Speech Letters
lavlos 3yrs 33 w/ 3 lvlow Usher Wespre
PRINCIPLES.
Voice Consonants and Primary Vowels have a loop formed in the hair-stroke
of the letters.
Round Vowels have a break, or angle, in the body-line of the letters.
Nasal Consonants have the nasal sign written horizontally.
CONSONANTS:
Back
Lip
C
C
E
६
а
Ок
І
3
3
12 10
e e
в Е
E q h
Э
7 3
3 D
Top
Point
2 s 3 n
8
兄
​し
​2
li
и
6
تعلم
67 ja m m f
L
ls ze w W? j
J
Back
VOWELS:
Mixed
Front
し
​}
}
し
​High, Mid and Low Vowels have the same forms; but the high vowels
ascend, low vowels descend, and mid vowels ascend and descend beyond the line
of the consonants. (For illustration see heading.)
GLIDES, ETC:
لم
7 7 I
7 IO 0
y hp đ ħ 7 7 1 0 0 X ļ
SECTION SECOND.
PHONETICIZING.
.
SECTION SECOND.
PHONETICIZING.
THE
HE various vowel and consonant symbols de-
fine positions of the tongue, lips, etc., and an
outward effort of breath, or of voice, is implied,
to phoneticize the symbols.
The following illustrations include all the elements.
in the Visible Speech universal alphabet.
PART FIRST.—CONSONANTS.
1. Lip Consonants.
THE symbol Ɔ (“lip") implies that the breath is
compressed by passing between the approximated
lips. The phonetic effect is that of
...
blowing to cool.
Maintain the same position and sound the voice,
and the effect will be that of "lip-voice."
Ə....
.w (German).
!
20
SOUNDS AND THEIR RELATIONS.
Maintain the same position and draw back the
tongue, so as to form a cavity between it and the
teeth, and the effect will be that of "lip-mixed."
.wh.
D....
Maintain the same position and sound the voice,
and the effect will be that of "lip-mixed voice."
Ə...
W.
Adjust the labial aperture so that the breath is
obstructed at the centre while it escapes at the
sides, and the effect will be that of "lip-divided."
3....
f.
The normal mode of forming "lip-divided" is
by placing the lower lip on the edges of the upper
teeth; but the phonetic effect is almost the same
if the centre of the lower lip is applied to the
upper lip instead of to the teeth. This peculiarity
would be represented by the sign ("to lip")
after the 3.
The effect of "lip-divided" is also producible
by placing the lower teeth on the upper lip. The
modifier "outer" after 3 would indicate this
ungainly formation.
Retain the (normal) position for 3 and sound
the voice, and the effect will be that of "lip-
divided voice."
3...
v.
PHONETICIZING.
21
་
Maintain the "lip-divided" position and draw
back the tongue, (as for ɔ) and
3 is modified into..
366
(เ
(gutturalized variety of ƒ and v)
3
..3
Allow the lips to close entirely, and the effect
will be that of "lip-shut."
p....
p.
The sign > after a final D shows that the lips
separate after closure, to give the consonant an
audible completion. Thus:
p>...
……. final p.
While the lips are closed endeavour to sound the
voice—only a momentary murmur can be made—
and the effect will be that of "lip-shut-voice."
•
..b.
.b final.
Close the lips as before and allow the breath to
escape through the nose, and the effect will be
that of "lip (shut) nasal."
D.....
non-vocal m.
Maintain the same position and sound the voice
through the nose, and the effect will be that of
"lip (shut) nasal-voice."
$9..
.m.
22
SOUNDS AND THEIR RELATIONS.
2. Back Consonants.
Approximate the back of the tongue to the soft
palate, so as to squeeze the breath in the narrow
guttural passage, and the effect of the "back"
consonant will be heard:
C...ch (German nach, and Scotch loch).
The normal position of the tongue for C is at
the middle of the soft palate; but the tongue may
be depressed to the edge, or elevated towards the
top, of the velum. These varieties are indicated
by modifiers.
Thus:
C<....
C....
C›..
"Inner," or low formation.
.normal.
outer," or high formation.
Retain the position for C and sound the voice,
and the effect will be that of the "back-voice"
consonant.
€ ...
g in auge (German).
r "grasseyé" (French).
r "burred" (Northumberland).
When the guttural is trilled, its notation is:
€ ...
.. (rough burr.)
The sound of Є has the same varieties of high
and low formation as that of C.
ļ
PHONETICIZING.
23
While sounding C Cor Є allow the lips to
approximate, and the effect will be heard of the
back-mixed" consonant.
C..
.gh in sough (Scotch);
or of the "back-mixed voice"
•
labialized burr.
In forming the "back-divided" elements, the
high back of the tongue intercepts the breath by
pressing on the top of the soft palate, while emis--
sion takes place over the sides of the root of the
tongue. The non-vocal form is:
hiss of water-fowl.
•
The vocalized form is:
Ɛ...
l in laogh (Gaelic).
The “back-divided" position is difficult to unac-
customed organs; but the modification of a com-
mon by guttural compression (the mixing of W
and C) is much easier, and in phonetic effect is
almost the same. Thus:
W+C ....
.. nearly equal to Ɛ.
The "back-divided" consonants labialized are E,
E. These do not occur as linguistic sounds.
Put the back of the tongue in close contact with
24
SOUNDS AND THEIR RELATIONS.
the soft palate, so as to stop the breath, and the
effect is that of the "back-shut" consonant:
Ɑ...
Ɑ>...
..k.
final k.
Maintain this shut position and endeavor to
sound the voice (only a momentary murmur will
result) and the effect is that of the "back-shut
voice" consonant:
Є....
€> . . .
These "back-shut" elements
.g in go.
.final g.
have the same
varieties of "inner" and "outer" formation as the
primary back consonants.
Thus:
Ɑ‹..k “inner” or low.
Ɑ.... .k normal.
Ɑ..k "outer" or high.
€..g "inner" or low.
Ɑ……….
.g normal.
›..g
"outer" or high.
Maintain the "back-shut" position and allow the
breath to escape through the nostrils, and the
effect is that of "back (shut) nasal."
C....
. non-vocal ng.
Maintain the same position and sound the voice
through the nose, and the effect is that of "back
(shut) nasal voice.”
€..
.ng
PHONETICIZING.
25
Differences of high or low formation of Є make
scarcely any appreciable difference in phonetic ef-
fect. The € in ufe (sing) is naturally high, to
assimilate with the high vowel f; and the € in
UJE (song) is naturally low, to assimilate with the
low vowel J. Differences dependent on such assim-
ilations do not require to be written.
The normal position of a and before 1, J or J
would be mid or low; but an Anglican peculiarity
results from the use of high consonants before low
vowels, as in a›Ã¯ (kind), ¤›Ƒ›☎ (guard), ¤› JxW
(girl), etc.
3. Top Consonants.
•
THE symbol implies that the tongue is arched,
the point depressed, and the top approximated to
the roof of the mouth, while the breath is com-
pressed between the tongue and the palate.
effect is that of the "top" consonant:
O....
Sch in ich (German).
h in hue.
The
Maintain the same position and sound the voice,
and the result is the "top-voice" consonant.
M....
•
y in ye, yet, you, etc.
Inner" and "outer" varieties are formed by
placing the top of the tongue backward towards
26
SOUNDS AND THEIR RELATIONS.
the commencement of the soft palate (O‹, M‹); or
forward towards the upper gum (O, M›).
While sounding allow the fore part of the
tongue to rise a little, so as to direct the breath
forwards, and the effect will be that of the "top-
mixed" consonant.
N....
sh.
(sh.
ch (French).
Maintain the same position aud sound the voice
and the result will be the "top-mixed-voice" con-
sonant.
•
S (zh) in azure, pleasure, etc.
j (French).
"Inner" and "outer" positions affect the qual-
ity of these elements by approximating to M,
(), or to W, (M).
Apply the top and front of the tongue to the
roof of the mouth and the front wall of the
palatal arch,—while the point is depressed behind
the lower teeth,—and squeeze the breath
the high sides of the tongue, and the effect will
be that of the "top-divided" consonant:
over
♡.....
.defective form of s.
PHONETICIZING.
27
Maintain the same position and sound the voice
and the result will be the "top-divided-voice" con-
sonant.
gl in gli (Italian).
❤ . . . .
•
l in colleen (Irish).
Apply the fore part of the tongue (between
the middle and the point) to the rim of the pal-
atal arch, and force the breath over the level sides
of the tongue, and the hissing effect will be that
of the "top-mixed-divided" consonant:
S...
..ll (Welsh).
Maintain the same position and sound the voice
and the result will be the buzzing sound of the
"top-mixed-divided-voice" consonant:
ო..
dhl (Zulu).
Apply the arched top of the tongue to the roof
of the mouth so as completely to stop the breath,
and the effect will be that of the "top-shut" con-
sonant:
Q....
"cerebral" (Sanskrit).
で
​thick t.
Maintain the same position and endeavor to
sound the voice (only a momentary murmur can
28
SOUNDS AND THEIR RELATIONS.
be made) and the result will be the "top-shut-
voice" consonant:
O...
"cerebral" d (Sanskrit).
g in Magyar (Hungarian).
thick d.
The audible removal of the tongue in pro-
nouncing a final or is indicated by > after
the consonant.
Apply the top of the tongue to the roof of the
mouth as for Q, and pass the breath through the
nostrils, and the effect will be that of the "top
(shut) nasal" consonant.
Q..
"thick" n (non-vocal).
Maintain the same position and sound the voice.
and the result will be the "top (shut) nasal-
voice" consonant.
Q..
gn in Boulogne (French).
thick 22.
4. Point Consonants.
RAISE the point of the tongue towards the rim
of the palatal arch and allow the breath to pass
PHONETICIZING.
29
over the tip only, and the effect will be that of
the "point" consonant.
J....
non-vocal r.
r in theatre (French).
Maintain the same position and sound the voice,
and the result will be the "point-voice" conso-
nant.
w....
r in ray, read, ride, etc.
The passage of the breath over the end of the
tongue produces more or less of a flutter of the
organ. When this amounts to a trill, the sign
of vibration is added. Thus:
ws..
..trilled r.
The phonetic quality of is greatly affected by
"inner" and "outer" positions of the tongue.
These are:
wk.
tip within the palatal arch.
(normal) tip pointed to rim of “
W>.. ..tip flattened towards upper gum.
Even the deformity of protruding the tongue to
the upper lip in forming (w) is sometimes
met with.
The sound of ǝ or is often substituted for
that of ; and more frequently the "mixed" sound
+ is heard instead of r. But the latter should
be purely lingual, and without any modification
from the lips.
30
SOUNDS AND THEIR RELATIONS.
While sounding allow the front of the tongue
behind the tip to become slightly convex, throw-
ing the breath directly forward between the broad-
ened point and the upper gum, and the effect will
be that of the "point-mixed" consonant.
Us..
.S.
Maintain the same position and sound the voice,
and the result will be the "point-mixed-voice"
consonant.
25..
.Z.
No elements are more affected than these by
slight changes of organic adjustment. The princi-
pal varieties are:
USA, WA, close position, almost stopping the issue
of breath.
Uv, v, open position, allowing too much breath
to escape.
U, W, "inner" position, causing the sound to
be approximated to NM.
U›, W›, “outer" position, bringing the tip of the
tongue too near the teeth.
Place the point of the tongue in contact with
the rim of the palatal arch, leaving free passage.
for the breath, without friction, over the sides of
PHONETICIZING.
31
the tongue, and the effect will be that of the
“point-divided" consonant:
w....
S non-vocal Z.
I in table (French).
Maintain the same position and sound the voice,
and the result will be the "point-divided-voice"
consonant.
ω...
...l.
The lateral apertures for w are so large, that
the voice has almost the purity of a vowel;
whence this element has been called a "semi-
vowel. The nasals (m) (n) and € (ng)
equally deserve that name, as the voice, in form-
ing them, is unaffected by friction in the nostrils;
but r, which is always fricative or vibratory before
a vowel, has been wrongly included in the same
category. The English custom of softening final
into a "glide" may have misled grammarians.
into the classifying of consonant with 7, as a
"semi-vowel."
The "inner" and "outer" varieties of w are:
W<.....the point of the tongue within the
palatal arch.
W....the point of the tongue on the teeth.
Apply the edges of the tongue, all round, to
the teeth, leaving only interstitial apertures for the
breath over the sides of the tip, and the effect
32
SOUNDS AND THEIR RELATIONS.
will be that of the "point-mixed-divided" conso-
nant.
25.....
...th in thin.
Maintain the same position and sound the voice
and the result will be the "point-mixed-divided-
voice."
W....
(dh) th in then.
Ex-
[In the Inaugural edition of Visible Speech the
symbols mm were associated with the sounds
now assigned to us W, and vice versa.
perience has shown that the present arrangement
is preferable.]
Apply the edges and point of the tongue to the
rim of the palatal arch, so as entirely to stop the
breath, and the effect will be that of the "point-
shut" consonant.
....
..t.
Maintain the same position and endeavour to
sound the voice (only a momentary murmur can
be produced) and the result will be the "point-
shut-voice" consonant.
..d.
The audible removal of the tongue from the
palate to complete these elements when final is
indicated by > after the O or .
PHONETICIZING.
33
Apply the tongue to the rim of the palate, as
for, and pass the breath through the nostrils.
and the effect is that of the "point (shut) nasal”
consonant.
~....
.n (non-vocal).
Maintain the same position and sound the voice,
and the result is the "point (shut) nasal-voice "
consonant:
M....
"Inner" and "outer" varieties of σ
formed by applying the tongue to the
12.
& are
front wall
of the palatal arch (O, etc.); or to the teeth
(O›, etc.).
3
34
SOUNDS AND THEIR RELATIONS.
PART SECOND.—VOWELS.
ALL persons can pronounce separately the "long"
or "name-sounds" of the common vowel letters,
A, E, I, O, U;
but few persons can, with the same definiteness,
sound independently the so-called "short" vowels:
ă, ě, Ĭ, ŏ, ů.
This power should be acquired in reference to
all vowels. It will be found the readiest means
of cultivating the ear and organs of speech, for
the recognition and reproduction of foreign sounds.
Local habit associates certain peculiarities of
"quantity" or "quality" with familiar elements; but
these characteristics should be lost sight of in the
attempt to individualize the vowels of the Visible
Speech scale. "Long" O and A, for example, are
diphthongal in English usage; but the reader
must learn to detach the radical vowel from its
"glide" termination, and to pronounce the former
by itself. This is often difficult at first, but facili-
ty of analysis will result from practice.
PHONETICIZING.
35
The difference between vowel sounds separately
pronounced, will sometimes appear so slight that
the ear may be perplexed to discriminate them;
but in the compounds of speech the minutest
shades of elementary variety create unmistakable
distinctions.
Each of the vowels in the following series should
be made the subject of exercise, until it can be
pronounced "long" or "short" in quantity, and
unchanged in quality.
1. Front Vowels.
"High-Front" I. The position of the tongue.
for this vowel is the same as that for the "top"
consonant . The phonetic difference between [
and is, that, for the vowel, the voice is unaffec-
ted by friction in the oral aperture; while, for the
consonant, the vocal sound is modified by friction
or buzzing in the oral aperture.
This vowel is always long in English accented
syllables. It is the alphabetic, or name-sound of
the letter E.
It.
I.....
4
(long) ee in feel.
(short) i in fille. (French)
"High-Front-Wide" I. The position of the tongue
for this sound is almost the same as that for f.
The phonetic difference arises chiefly from the
36
SOUNDS AND THEIR RELATIONS.
addition of "wide" formation (explained at p. 10)
which has the effect of dulling the quality of pri-
mary vowels.
This vowel is always short in English. It is
the regular sound of "short I."
ft........... (long) i in ill (American).
f...
(short) i in ill.
Mid-Front" [. In forming this vowel, the ap-
erture between the tongue and the palate is farth-
er back than for I, and the cavity in front of the
tongue is, in consequence, enlarged.
The
In English accented syllables this vowel is al-
ways followed by the y-glide (x), forming the
dipthong [, as in day, name, late, aid, etc.
dipthongal [ is never pronounced before r.
the alphabetic name-sound of the letter A.
С is
•
•
(long) a in day (Scotch).
เ
[..
•
(short) e in est (French).
Mid-Front-Wide" C. The dulling
C. The dulling effect of
wide" formation is very manifest in this, as com-
pared with the primary element. This sound is
used instead of the preceding, before r (r-glide),
as in care, air, bear, etc.; but many speakers pro-
nounce the broader in these cases. C is also
heard instead of Ɩ, in the unaccented syllables -ed,
PHONETICIZING.
37
-ence, -less, -ness, -ment, etc. This is the regular
Scotch sound of i in ill, him, etc.
C+ ..
C . . .
(long).
(short) i in ill (Scotch).
"Low-Front" T. The aperture between the tongue
and the palate for this sound is farther back than
for the "Mid-front" vowels, and the cavity in front
of the tongue is consequently larger. This is the
regular sound of "short E" in English.
•
•
(long) è in bête (French).
•
L
•
(short) e in let.
T.
'Low-Front-Wide" .
The formative aperture
of this vowel is about the same as of the preced-
ing, with the addition of a wide pharyngal cavity.
This is the regular sound of "short A" in Eng-
lish.
Th… . .
【 . . . . . . . . (long)
T… . . .
Sa in half (Irish).
a in man (American).
(short) a in hat.
2. Back Vowels.
High-Back" 1. There is no occurrence of this
sound in English, but its "round" or labialized
form is the common sound of oo in room. En-
38
SOUNDS AND THEIR RELATIONS.
deavour to pronounce this sound of oo, without us-
ing the lips, and the "High-Back" vowel will be
heard. In this way, an unfamiliar and unknown
elementary sound will be at once, and with uni-
formity, obtained from every mouth.
There is, however, a possibility of imitating
"round" quality without using the lips (as prac-
tised by ventriloquists) and it will be well, there-
fore, in order to prevent involuntary inner rounding,
to delabialize oo, etc., by spreading the lips with the
fingers, during early experiments.
1+..
1...
*
(long) ao in laogh (Gaelic).
"High-Back-Wide" 1.
(short).
Endeavour to pronounce
the sound of oo in good, without using the lips, and
the "High-Back-Wide" vowel will be the result.
The sound will be observed to resemble u in up;
and Cockney speakers always pronounce this “wide”
sound for "short U" (instead of 1) even in accent-
ed syllables. Unaccented й-as in the terminations.
-tion, -tious, -gcous etc.-usually takes "High-Back-
Wide" quality.
Pronounce the terminations -tion, -tious, etc., in
contrast with similar syllables under accent, and
the resemblance and slight difference will be appre-
ciated. Thus:
DINIM NIÚ
passion shun;
з[wly w]Ya
valour lurks;
PHONETICIZING.
39
JlYW ]Y2S
honour's nurse;
DTW[W]U WIUO ly
labour burdened;
Elw(ħmlu TMIUTIU
perilous lustre;
courageous
justice.
1+.... ... (long) u in turn (Cockney).
1....
•
(short) ou in -ous etc.
].
"Mid-Back" . This is the regular sound of
"short U" in English, as in up, turn, come, etc.
Those who find a difficulty in pronouncing the
vowel by itself will obtain it unconsciously by en-
deavouring to form the sound of "long O" without
using the lips.
] + . . . .
•
. (long)
].....
u in turn.
u in up (American).
(short) u in up.
Mid-Back-Wide" .
1. The precise quality of
this vowel will be obtained by endeavouring to pro-
nounce o in ore (3) without using the lips.
The sound resembles ah, but is not so deep in
formation. It is heard in English chiefly before.
the double consonants ss, sk, sp, st, etc., as in pass,
task, clasp, fast, etc.; but is not uniformly associ-
ated with any orthography.
Note the different vowels in the following words:
1+0000
AWIU ATU
DI+WS OTW
glass, gas;
path. hath;
aunt, ant.
40
SOUNDS AND THEIR RELATIONS.
ย
Unaccented a as in abode, sofa, etc., takes this
sound in careful utterance; but the less definite
sound (see "Mid-Mixed-Wide") is more usually
heard in these cases.
J+...
J...
..(long) a in path.
+
(short) a in pathetic.
Low-Back" J. This deep hollow sound does
not occur in English. It is the regular sound of
'short U" in Scotch, as in up, come, etc. The
round" or labialized form of this vowel (1) is
the common English sound of aw in law, a in all,
etc. Endeavour to pronounce the word awe, with-
out using the lips, and the "Low-Back" vowel will
be the result.
This sound is difficult to unaccustomed organs,
but by the above analytic experiment it will be
obtained at once from any English speaker.
Pronounce the following contrasts :
ale 10 (Cockney).
a b
J
JD
Jt...
Į. . .
(normal English).
(Scotch).
(long) u in ugh (Scotch).
. (short) u in up (Scotch).
"Low-Back-Wide" J. This sound the broad-
est of all vowels—is heard chiefly before r and
silent in English, as in arm, alms etc. It occurs
also in father, and only a few other words.
PHONETICIZING.
41
The "round" form of this vowel is the sound of
Ŏ in on, order, etc. Endeavour to pronounce the lat-
ter vowel, without using the lips, and the "Low-
Back-Wide" vowel will be the result.
Jt..
J....
•
(long) ah.
(short) man (Scotch).
((
3. Mixed Vowels.
The term "Mixed" means that the qualities of
Back" and "Front" vowels are combined in the
intermediate or "Mixed" varieties. Thus: endeav-
our to modify the "Mid-Front" (a) by simultane-
ously sounding the "Mid-Back" (u), and the result
will be the "Mid-Mixed" vowel -the sound of "e
mute" (French) as in de, le, que, etc. Thus:
]+[=1
The "Mid-Mixed-Wide" vowel is the central or
neutral point in the vowel scale, being the sound
that is naturally produced when the organs are per-
fectly at rest. The ordinary English pronunciation.
of the Article "a" exemplifies this neutral sound.
"High-Mixed" I. This vowel is never heard in
English, but is characteristically American, being
the regular sound of e and i in her, sir etc. By
"mixing" the "High-Front" (ē) with the "High-
42
SOUNDS AND THEIR RELATIONS.
i
Back" (delabialized oo), the "High-Mixed" sound.
will be produced.
The process of "mixing" is not so easy at first,
as that of "rounding" or "unrounding;" but after
a little practice, the effort to blend the two vowels
will be successful in evolving the appropriate "mixed"
quality. Thus:
I...
1+1=T
(long) i in sir (American).
.. (short).
"High-Mixed-Wide" T. This vowel will be pro-
duced by "mixing" the "High-Front-Wide" (7)
with the "High-Back-Wide" (delabialized oo in
good). The sound is very common in English un-
accented syllables, although it has never been rec-
ognized by orthoepists. The High and Mid-Front
vowels (unaccented) all tend to this sound in care-
less utterance; as in return, limit, saint Paul's, cap-
tain, there is, etc. If a score of persons were asked
to pronounce the Article "the" by itself,-
sing it-they would probably illustrate half the gam-
ut of High and Mid vowels; yet nineteen of the
twenty would pronounce the word with hardly a
shade of difference as an unaccented particle in a
phrase, as:
WT DIE ᏩᏚᎢ ᎾᏓ
the one,
WI WIE
the man, the thing.
to
This habitual pronunciation of unaccented "the"
illustrates the "High-Mixed-Wide" vowel.
PHONETICIZING.
43
The plural termination -es, as in laces, leases,
ashes, etc.— has the same sound, but -es as part
of a verb does not exhibit this tendency, being
generally pronounced with "Mid-Front-Wide" vow-
el. Thus:
(nouns) DW [UT INT FONTW
places,
W
wishes,
watches.
(verbs) DW [ [ [ [W FUNCW
The word "pretty"-marked "pritty" in pro-
nouncing dictionaries is more usually heard with
the "
High-Mixed-Wide" vowel. Thus:
pwfor
pretty.
The tendency of all unaccented vowels is from
strong to weak, (i. e., from "primary" to "wide")
and from definite to neutral (i. e., from Front'
or "Back" to "Mixed"); also from lower to high-
er. Under the influence of these tendencies, the
"High-Mixed-Wide" is one of the commonest
vowels in speech.
T+.
T..
•
D
•
(long).
(short) the.
Mid-Mixed" 1. This is not an English sound,
but it is very common in the dialects of Ireland,
being given to almost all unaccented vowels indis-
criminately, as in genuine, reply, ordinary, average,
wickedness, entice, elephant, etc.
44
SOUNDS AND THEIR RELATIONS.
This is also one of the most common elements
in French, being the vowel heard in the particles
૧
de,
U....
૧ ૧ ૧ાાા
Wi Fi i
le, me, ne, que, se, te, etc.
·
(long) interverbal drawl.
(short) "e mute" (French).
"Mid-Mixed-Wide" .
7.. This sound has been
already described as the central vowel of the scale,
neutral in sound between
((
Back" and
((
Front,"
Low." It is heard in
and between "High" and "Low."
unaccented syllables instead of the "Low-Front-
Wide" vowel; as in:
The land of Greenland.
WT FWD BY
The alder man's
man.
we old old so
They had had it.
The terminations -al, -ance, -ant, -able, etc. make
this sound of very frequent occurrence. It is usu-
ally heard also instead of the "Low-Mixed-Wide"
vowel in unaccented er, yr, etc.; as in:
DAY JOY DUI+3
paper, meagre, martyr.
V...
V....
perceive.
(long).
(short) a (article).
PHONETICIZING.
45
"Low-Mixed” I. This sound does not occur
in English, except in dialects, as in Somersetshire
“sir;” (WIW) and in the Cockney hawker's call:
12 WWF I DI
only a penny,
I DITI I DI[+U
a penny a piece.
This vowel will be produced by "mixing" the
sound of ě in ell with that of u in up (Scotch). It
is but slightly different in phonetic effect from the
"Low-Front-Round" vowel (eu French, or
man).
It
•
((
C
.(long) i in sir (Somerset).
I . . . . . (short) e in penny (Cockney).
·
Ger-
Low-Mixed-Wide" I. This is the regular Eng-
lish sound of er, ir, yr, etc. when final or before
a consonant. The true quality of the vowel will
be obtained by "mixing" the sounds of a as in
ah and an.
Thus J+L-J.
It.
I...
•
(long) e in err.
(short) e in perform.
4. Round Vowels.
The term "Round
Round" refers to the effect produced
on a lingual vowel by contracting the aperture of
the lips. Something is often due to a "rounding"
within the throat also; for the labial quality can,
with practice, be fairly imitated without using the
46
SOUNDS AND THEIR RELATIONS.
lips. Ventriloquists form their o and oo in this
manner.
The possibility of an inner "rounding" is to be
borne in mind in making the experiments on "un-
rounding," as directed under the head of "High-
Back" Low-Back" etc.
All Round-vowel letters have divided, or barred,
stems (E), to denote the double modification of
the sounds.
Every lingual vowel may be rounded; but the
"Back"-vowels furnish the only English elements
of this class. Some of the " "Mixed" series occur
as unaccented sounds.
The "Front-Round" vowels are common in French
and German.
The degree of labial contraction corresponds with
the aperture of the lingual vowel as modified by
the high, mid, or low position of the tongue. Thus
"high" vowels are rounded by a close position of
the lips; "mid" vowels by an intermediate position;
and "low" vowels by a broad labial aperture; as
in:
close
00,
middle
oh,
broad
aw.
(
1. Back-Round Vowels.
"High-Back-Round "1. This is the sound
of
'long Oo" in English, as in oose, pool etc. U in
German, (as in buch), and ou in French, (as in
toujours), have the same sound.
PHONETICIZING.
47
!
Note that the "name sound" of the letter U is
à compound of Y and oo,=yoo.
At the beginning.
of a word or syllable, the y-sound is definitely
consonantal, as in mol (union); but otherwise.
they is frequently softened into a "glide," as in
Ox, (tune).
When writers use the article an before "long U"
they are misled by the vowel letter. The initial
sound is a consonant, and a should be written, as
in a unit, a usage, a universe, etc. We might as
well write an yoke, an year, as an union.
76.
(long) oo in food.
(short) oo in food (Scotch).
High-Back-Wide-Round" . This is the sound
of "short Oo" in English, as in foot, good, put, etc.
Oo before glide r, as in poor, sure, etc. has the same
quality. In such words as poorer, fury, etc. a "voice
glide" is interpolated between the vowel and the
consonant r. This Anglican peculiarity occurs
wherever consonant follows a long vowel; as in:
nearest, vary
·
I
glory,
fury,
m oo rish
•
•
(long).
1.
•
(short) oo in foot.
Mid-Back-Round" }. This is the
"long O" in Scotch; as in go, old, etc.
sound of
In Eng-
48
SOUNDS AND THEIR RELATIONS.
lish accented syllables this vowel is always diph-
thongal, by the addition of the "w-glide."
Thus :
77
DJzWW
ЄW7zW
so,
no,
Oh.
know.
{bold,
bowled.
{
groan,
grown.
In America this vowel is generally used without
the final glide.
7+.
} . . . .
(long) o in no (Scotch).
(short) o in note (Scotch).
'Mid-Back-Wide-Round” 3. This sound is used
before r in English instead of the preceding diph-
thongal ; as in:
Эх
2578
{oar,
ore.
soar,
sore.
DJY
door.
{ pour,
pore.
Unaccented O, as in cloquence, political, etc.,
takes the same quality in careful utterance; but
the less definite t is the common colloquial sound
of unaccented o.
Distinguish between the following words:
Dissyllables:
Fly
z Y
W7zZx
2722x
mower,
lower (adj.), sower.
Monosyllables: Y
WFX
2578
more,
lore,
sore.
In America this "wide" is not used, but the
$
PHONETICIZING.
49
words old and ore are pronounced with the same
vowel.
F+ . . . .
3....
(long) o in ore.
•
(short) o in opinion.
J.
"Low-Back-Round" . This is the deep broad
sound of a in all, aw in
law, etc.
•
(long) a in all.
Ft...
F....
(short) a in what.
"Low-Back-Wide-Round” Ƒ. This is the
is the regu-
lar sound of "short O" in English, as in on, off,
or, etc.
The same sound is usually heard in was,
wash, want, what, etc.: but many speakers give
the stronger quality of the preceding vowel in
these words.
Ft...
F...
(long) o in on (American).
·
(short) o in on.
2. Front-Round Vowels.
THIS series of vowels is altogether wanting in
English, although very common in other languages,
as in French, German, Greek, etc. Early English
was, however, familiar with some of the Front-
Round vowels. In Mr. A. J. Ellis's reproduction
of Shakespearian pronunciation, the letter
2 in
50
SOUNDS AND THEIR RELATIONS.
"attribute" (noun) is sounded like the German ü.
Thus: Joſef+J.
The "Mid-Front-Round" vowel is one of the
most prominent sounds in lowland Scotch, as in
gude (good), soon, moon, etc., pronounced:
Utw
ē
{ etc.
"High-Front-Round" f. This sound will be pro-
duced by pronouncing è through the labial aperture.
The result will be the regular sound of ü
of oo.
in German.
ft
f...
(long) ü in über (German).
(short) ü in glück (German).
"High-Front-Wide-Round" f. This sound will
be produced by similarly contracting the lips while
the vowel is pronounced. It is the sound of u
in French, as in une, du, etc.
ft..
f...
•
•
(long).
(short) n in une (French).
"Mid-Front-Round" . This sound will be pro-
duced by contracting the lips as for ō while the
vowel a is pronounced. It is the sound of in
✩
French, as in dû, bût, etc. This is the Scotch
vowel referred to above.
£t... ..... (long) in bût (French).
........ (short) u in gude (Scotch).
:
PHONETICIZING.
51
"Mid-Front-Wide-Round" . This variety is not
definitely associated with any orthography, but it
is frequently heard from individual speakers of
French and German. An exact analysis of the
pronunciation of these languages - corresponding
with what is here done for English-would no
doubt reveal established discriminations in practice.
between shades of "Front-Round" vowel quality
which are now confounded under representative
forms.
£t...
£....
(long).
•
(short).
"Low-Front-Round". This sound will be pro-
duced by rounding the lips as for aw while the
vowel (as in ell) is pronounced. This is the
sound of eu in French, and of ö in German.
eu in peur (French).
E t . . . . . .
... (long)
ö in schöne (German).
Į. . . . . . . . (short)
eu in jeune (French).
ö in stöcke (German).
"Low-Front-Wide-Round" . This sound will
be produced by adjusting the lips as for (in on)
while the vowel à (in an) is pronounced. This
vowel occurs as a Cockney substitution for the
52
SOUNDS AND THEIR RELATIONS.
diphthongal sound of ou, ow, (J) as in out, now,
Thus :
etc.
WTTW T VIDEO OE+W
round,
about,
town.
THE "
3. Mixed-Round - Vowels.
Mixed-Round" vowels never occur as ac-
cented sounds in English, but they are very
commonly used in place of the
place of the more definite
"Back-Round" vowels in unaccented syllables.
"High-Mixed-Round" I. This sound will be
obtained by "mixing" f (ü Ger.) and 1 (00); or
by sounding oo and at the same time raising the
front of the tongue. The latter will be the easier
mode for English learners. The result is a vowel
commonly used instead of oo in the North of Ire-
land. It has also been identified as the sound of
u in Swedish.
It....
I.
•
..(long) oo in too (North Irish).
(short) oo in look (North Irish).
High-Mixed-Wide-Round" F. This sound is
colloquially heard in English instead of oo in un-
accented syllables, as in awful, fissure, nature, for-
tune, etc.; pronounced:
13TW 3ΙΩΪ
[ λ O λ f
3 ‡ x ¯ ñ fú
PHONETICIZING.
53
This vowel will
be separately produced by
sounding oo (as in good) and at the same time
slightly raising the front of the tongue.
Ft. . .
•
(long).
F...........(short) u in awful (Colloq.).
Mid-Mixed-Round" t. This sound will be pro-
duced by mixing ✈ (ō) and f (✩ Fr.); or by
sounding ō and at the same time slightly advancing
the tongue. The vowel is heard in dialects, as in
come (Yorkshire), Dublin (Irish), and in homme
(French).
.. (long) u in Dublin (Irish).
o in homme (French).
(short)
o in come (Yorkshire).
"Mid-Mixed-Wide-Round" t. This sound will
result from "mixing" the qualities of (o in ore)
and £ (labialized a in air); or it will be produced
by pronouncing o (in ore) and at the same time
slightly advancing the tongue. The vowel, while
destitute of any marked quality, is sufficiently sug-
gestive of o to satisfy the ordinary ear in unac-
cented syllables, as in eloquence, philosophy, opinion,
etc. Careful speakers, however, give the more defi-
nite in such cases.
54
SOUNDS AND THEIR RELATIONS.
This vowel occurs as an accented sound in dia-
lects; as in Otw, whole, (American).
7.1.
t….
•
....... (long).
•
(short) o in whole (American).
Low- Mixed-Round" . This sound will be
produced by "mixing" the sounds of ♬ (aw) and
Į (eu, French), or by pronouncing aw and at the
same time slightly advancing the tongue. It is
heard in Irish, in
ΟΙΝ
her,
UF W UO‡w etc.
sir,
stir.
and as the initial part of the diphthong "long I,"
in I, my, find, mild, etc. Thus:
102 WIO OF I¹
10
It's not
to my
X
mind. (Irish.)
..(long).
It
Į..
•
..(short) in sir (Irish).
ł
'Low-Mixed-Wide-Round" Ƒ. This sound will
result from "mixing" (o in on) with (labial-
ized a in an); or by pronouncing Ŏ (in on) and
at the same time slightly advancing the tongue.
The vowel is colloquially heard instead of "short
O” in unaccented syllables, as in occasion, consist,
compel, etc. It is the regular sound of "short O"
PHONETICIZING.
55
in Irish, as in not, lord, gone, etc. A in ask (Cock-
ney), and a in Chicago (American), illustrate the
same vowel.
a in ask (Cockney).
a in Chicago (American).
It.... (long)
..
(short)
H+3
o in obtain, sailor, etc.
o in not (Irish).
SECTION THIRD.
RECAPITULATIVE TABLES,
ENGLISH ALPHABETIC TABLES,
AND
ELEMENTARY EXERCISES.
}
;
SECTION THIRD.
RECAPITULATIVE TABLES, &c.
Table of Consonants.
THE fifty-two consonants of the Universal Alpha-
bet are collected in the following Table for con-
venience of reference.
NON-VOCAL.
Primary. Mixed. Divided. Mixed- -Shut. Nasal.
Throat O 0...
Divided.
* •
·X....
Back C . . . . . C. . . . . E . . . . .Ɛ. . . . .Ɑ.....c
Top
O.....N.....M . . . . . §2. . . . . Q………. Q
Point .......... w..... us.....o………….
Lip
Ɔ..........3.....3.....D………..D
Throat ◊....
Ꮎ
VOCALIZED.
Back ¤ . . . . .¤ . . . . .Ɛ . . . . .Ɛ.....Ɑ.
Top
Point
Lip
).....M.....M.....M....
O
• •
•
Es
...............W.....☺.....Œ
Ə.....Ə.....3.....3.....D.....9
{
бо
SOUNDS AND THEIR RELATIONS.
Table of Vowels.
THE Vowels of the Universal Alphabet are col-
lected in the following Table for reference and
exercise. Other possible shades of vowel sound
may be expressed, for experimental purposes, by
means of the modifiers AV; but the thirty-
six normal vowels will be found amply sufficient
for all linguistic uses.
PRIMARY.
WIDE.
Mixed.
1. . . . . . Î. . . .
Front.
J.......... .C
J. . . . . . I . . . . . . Į
Back.
Mixed. Front.
Back.
High 1...... Î . . . . . . Î
Mid
] . . . . . . ↓ . . . . . . [
Low
J. . . . . . ↓ . . . . . . Ɩ
ROUND.
ì. . . . . . f. . . . . . f
f. . . . . . t. . . . . . £
‡ . . . . . . £ . . . . . . ł
High †………...………… . . £
Mid
}. . . . . . t . . . . . . £
Low ....
Ƒ. . . . . . I . . . . . .Į
>
TABLES, ETC.
6I
Table of Glides.
THE phonetic value of the Glides is illustrated
by key words in the following Table.
Breath.....> as in D>fe, pig (Irish).
•
I
Voice.
Round..... †
Throat... }
Back.
Back Round
Top.....
Top Round
•
ट
Point...... Y
Point Round
Lip........ 1
Lip & Back
K
3(1wl, vary; Ilıwſ, weary.
+ now (Cockney).
Jare
Iz
66
Izz our
(Varieties of
smooth Burr.)
I die, I boy, O day.
A new (North Irish).
Jy are, Fi or, Jzy our.
Jour (Common).
Wil lui (French).
•
W]z now, W}z know, no.
Inner....
Outer.
Close..
Open.
Trill...
Nasal.
•
•
•
4 .
·
•
•
Side open..
Table of Modifiers, Etc.
Inverted.
C Hiatus..
•
Protruded.
A Stop...
V Suction.
•
Emission..
ɔ Abrupt.
<
>
Suction stopped. <
บ Emission 66 >
•
Holder..
Accent..
倡
​Emphasis...
Whistle..
Voiced do.. ❤
62
SOUNDS AND THEIR RELATIONS.
TABLES OF ENGLISH ELEMENTARY SOUNDS.
I. Consonants.
Back.
Top.
Point.
Ɑ...
.. k
O..
Є...
مة
C. non-vocal ng
Es...
ng
Lip.
•
D....
p
b
. d D...
Ú.. non-vocal n
..non-vocal m
n
..
•
m
O..h in hue.. non-vocal 1ª
①
y...
1
•
W...non-vocal 1
w..
I
N....... sh U.
..S
D....
wh
M.. ..zh W...
Ꮓ
N
Э..
W
•
25.
.th 3.....
f
W...
dh 3....
V
O....aspirate h.
. holder.
COMBINATIONS.
UN..ch (=tsh)
Dn.j, g (= dzh)
ⱭU…………x (=ks)
EW……….x (=gz)
X
ⱭƏ..qu (= kw)
mì....ũ (=yoo)
TABLES, ETC.
63
Back-Round.
1. oo in pool
II. Vowels.
Back.
Mixed.
Front.
L...ee in eel
1..io in -tion T...e in the f.....i in ill
...u in pull
32...o in old
]....u in up
[л...a in ale
3...o in ore
....a in ask (article) a|| [
[{e
Sa in care
e in -ness
F....a in all
T....e in ell
J. . . .o in on J...a in arm I....i in sir | Ț…………a in an
....holder (sign of a long vowel).
а
GLIDES.
2
Y.....r-glide | ....y-glide | ...w-glide | 1. voice-glide
COMBINATIONS OR DIPHTHONGS.
ā | Jñ...... .i | Jz
• •
|
•
. . . •
ō CI. (unrepresented
Cx....air 32....(n)ow J... (b) oy
glide in) airy
Exercises.
THE following examples of elementary sounds.
used as independent utterances will afford good
exercise in phoneticizing the rudimental symbols.
Q D O
gentle sneer.
66
66
clearing nostrils.
66
66
CI
66
66
60
SOUNDS AND THEIR RELATIONS.
<< sniffing.
<< smelling.
OS:
*chuckle.
25+
hissing.
Ɑs>>
ΩΙ
hushing.
ΔΩ
†snicker.
O
hurrying.
Эль
cooling.
contempt.
Ɔ^< sipping.
O2+
66
p>
puff.
025+
D>>
smoker's puff.
DR+
66
p<
a kiss.
DUS+
ƉƆ
vibration of lips.
DC abhorrence.
9+ musing.
scorn.
O dissatisfaction.
ΟΙ
DDD assent.
DƆ ridicule.
999 surprise.
no
silence.
O>
> impatience.
Uʊ
notice.
000
+
incredulity.
vexation.
၁၁၁
Ɔ< pain.
3<
66
C<
W<
3 C
acute pain.
O<
66
66
C + disgust.
66
505 surprise.
00+ sigh.
O+<00+0 sigh.
Ovt<0vit yawn.
Ov<O0+O
O<O easy respiration.
a◊
ас
O+<XO uneasy
66
66
0<0 panting
* The shut position is maintained and the nasal valve opened,
but without emission of breath.
†The shut position is maintained, and the nasal valve narrowly
opened so as to squeeze the breath.
The lips retain the position Ɔ while the tongue is drawn back-
ward for.
TABLES, ETC.
65
Os+<05;+ stertorous breathing OX^• effort.
0+OON sneeze.
O
disappointment.
0 dislike.
X0<0+ sob.
I+O relief.
XI.
pang.
gasp.
Os *
growl.
08+
nausea.
0 +
I
murmur.
IS
Ist
uneasy
It
drawl.
drowsy murmur.
X+ holding breath.
X0+ cough.
Хлонэ
66
XO hem.
OX⚫ threat,
XI< acute pang.
XIS grumble.
X^0;+ clearing throat.
XOS+
ว
voice.
Ɔ blowing from
ʊɔD.
D. spitting. [tongue.
DTQ+< tasting.
incitement to horse.
call to cat.
Q
DU
Ono... 66
dog.
66
va. 66
DA+< 66
¯c< click of tongue.
IX.
66
Wc< flap
OW<< clicking flap of tongue.
* Vibration of the epiglottis.
66
!
SECTION FOURTH.
ļ
ENGLISH AS SPOKEN,
AND
MISCELLANEOUS ILLUSTRATIONS.
SECTION FOURTH.
ENGLISH AS SPOKEN.
THE most cursory perusal of the preceding
scheme for the analysis and representation of
sounds will, at least, have communicated to the
reader a knowledge of many elementary distinc-
tions and relations of which ordinary letters could
have conveyed no idea. Students of Phonetics
will recognize the completeness of the system and
the simplicity of the symbols; and they will ap-
preciate the practical assistance to be derived from
letters of absolute phonetic value, and of self-inter-
preting correlation to sounds. Nothing less than a
thorough study of the Universal Alphabet, and its
hearty adoption, may be expected from this class
of readers.·
Among the following illustrations will be found
specimens of English pronunciation: first, in vo-
cabulary style; and, second, in colloquial style;
besides passages in dialects and in French and
German.
No better proof could be furnished of the lin-
+

70
SOUNDS AND THEIR RELATIONS.
guistic importance of Visible Speech than its
power of representing the nice shades of sound
which the ear distinguishes in English unaccented
syllables.
The common Roman alphabet is too imperfect
for phonetic purposes. Spelling reformers meet
with insurmountable opposition in their efforts to
phoneticize orthography. The primary source of
the difficulty lies in the insufficiency of the alphabet.
For many of our consonant sounds we have no
letters, and for all our vowel sounds we have but
five letters. The consequence is that individual.
letters have to be associated with a variety of
sounds, and that combinations of letters have to be
used for simple sounds. The letters of a word
thus form an ideographic picture, and the change
of a letter, or the omission, or addition, of a letter,
alters the familiar outline, and the word-however
phonetically improved-looks strange, uncouth, or
comical. There can be no satisfactory spelling re-
form without an amendment of the alphabet.
Let this system of VISIBLE SPEECH be adopted as
an interpreter of common letters, and the two
modes - the ideographic and the phonetic-may
be used together. Children would be taught to
read from the phonetic characters in fewer days
than Roman letters require months; and, this
power once acquired, the historico-pictorial rep-
resentation of words by Roman letters, would be
ENGLISH AS SPOKEN.
71
3
A
introduced without confusion; and would then be
learned with facility and pleasure. Good spelling
would become the rule, not the exception, among
children—for the memory for spelling lies alto-
gether in the eye:-and the double process of
learning to read phonetically and romanically, and
to spell well, would not occupy half the time
now required to make bad readers and worse
spellers.
The illustrations in preceding sections will have
familiarized the eye with the forms of Visible
Speech letters, so that interlinear transliteration
might now be dispensed with; but, as the object
is to make the reader expert in the use of the
symbols in as short a time as possible, the ordi-
nary letters are interlined throughout the subse-
quent Exercises.
Phonetic syllabication is shown in the Visible
Speech portion of the next illustration. Let the
reader try to divide the romanically printed.
words in the same way, and he will prove ex-
perimentally that common orthograhy cannot be
used phonetically.
..
72
SOUNDS AND THEIR RELATIONS.
I. Vocabulary Style.
MEANS OF ACQUIRING DISTINCTION.-Sydney Smith.
It is
lo lu w[o-mt-w[w fw 1-3)-wl alw of ain зfy wlu-olga-
natural in every man to wish for distinc-
N]w; 100 WT DWING F3 w}}w of alʊ ª‡ʊ-зjº Ƒ-W]Y DJA
tion; and the praise of those who can confer honor by
wly dw[kw, fw, lú vojio ‡3 FW 3‡WU 31-WJ-UJ-3l, valto
their praise, is, in spite of all false philosophy,
sweet
of [-¾J-wſ of‑9lw ojïj; B]o, lu (-91-w[ʊʊ ɑlú bí }?w=
to every human heart; but, as eminence can be on-
WI WY WFO F3 | зmìt, D[K-N[WU 13 JD-vamti-wf-of fw
F3 ſw
ly the lot of a a few, patience of obscurity is
2 omit-of, ɔlon al H WFO SHỵ ¯‡ JY Hŵ Ol-dl-ŵlu w[w
a duty, which we owe not more to our own happiness than-
of wr að)-[0 F3 WT ‡]ywo to wjyon.
to the quiet of the world at large.
al3 1 włu, 13
Give a loose, if
MÌ JY M]E TWO [9-pf-nju, ot wło udf-wio ɔlon WWFDW
you are young and ambitious, to that spirit which throbs
al-wiʊ mt; Əl-MÎY MİY-U[W] H[w mły [+-A‡‡WW, [O
within you; measure yourself with your equals, and
-
WJYW
WLY 30‡9 3ft afg-pl-of-n] wr own lon
learn from frequent competition the place which
wil-Om‡Y OTW [-wf-010 of mt; miła 13 [0 WH 9[+ Al-
allotted to you; make of it no mean bat-
nature
has
OW, DjO VOD113 OJO;
OJIJ
tle, but strive hard;
20W[E-W[W M‡Y UHRW of WT ULION
U‡Z
strengthen your soul to the search
ENGLISH AS SPOKEN.
73
F3 Owł+W, TWO BI-WHR WTO upla-õjï ‡3 [a-ul-wiŵu ɔlon
of truth, and follow that spectre of excellence which
pl-aju̸u mì jú, nl-m‡wo w↑ 9‡‡ww 33 WT 2]wo, ut vj9-
beckons you on, beyond the walls of the world, to some-
lo si el ml nlw
WIE DI-OJY W 9 Olu miʊ 0]w.
WTW 9TO
thing better than man has
yet done.
It may be you shall
DIYUO J10 (6-ot w]io two EW7I-wl to WT WHUT; Anjo (3
burst out into light and glory at the last: but if
3wft-að[W0 3[1w-mły afw-зlwu mt 13 w[o gl-ol-3-awl-of
frequent
convince you of that mediocrity
failure
13 win-omly slon lw lw-a-pt-of-nw lw [10 ta-
of nature which is incompatible with great ac-
let
nju̸w, vje-elo aliw-wl two unfi-st-wf of M‡Y WJO; Wło
tions, submit wisely and cheerfully to your lot;
w}ì 9lt upf-wid 13 wl-31000 0190 mì of ww‡ ‡3 mły
no mean spirit of revenge tempt you to throw off your
WFi-[W-of of ´miy alw-dwf, two d‡ dwl-¾¿ï 1 3l-niu ul-
loyalty to your country, and to prefer a vicious ce-
win-wf-of of Jo-vamti-wf-of autoo fw 1-1-0 100
lebrity
obscurity crowned with piety and
311-0mt. (3 mì atʊ ww}} wmit wji¯ ]-Ofw #f-w[w dwf+W,
j-DJW 9F-W[W OW}
virtue. If you can throw new light upon moral truth,
to
Fỵ 1 [-l [E-UƒY-Q]WW £]W-of-nw]i wî a19-зfiou JY AJW-
or by any
exertions
з WT ot-Di-w] 73
firm the happiness of
multiply the comforts or con-
9[-a›)'wo, wfu 3[19 Engrow mt
mankind, this fame guides you
wil-omty; plo, I WT win 3
nature; but, in the name of
to wl-dwle-mt-ol3 omju-olu;
justice;
of WT ow} [www 13 mły
owł+ £3
to the true ends of your
O[-3wt, [ù mt ow[9-1W+
heaven, as you tremble at
retributive
74
SOUNDS AND THEIR RELATIONS.
[00 lw WT [9 ƒ 9[~-ɑ›jkwo, 13 9tʊ-a el oly of
and in the name of
mankind, if mankind
be dear to
mì, ulta wƑo Wto [+-wl two t‑a]x-uto 3(19 alon fu
you, seek not that easy and accursed fame which is
El-wJY Iʊ wr a з
gathered in the work of
w[-3]w-mit-n]ww; [wo ofte lo
revolutions;
and deem it
DL-ʊ¿Y OÌ DI ¸‡º (-зLY ]W-W}?W, W[w of 3)150 | 94-9[W-
better to be for ever unknown, than to found a moment-
T]-WI (19 ]-DFW WT D[¡-Ulu fз [-w]\-af two f-wf-w[o-m]w.
name upon the basis of anarchy and irreligion.
ary
II. Colloquial Style.
IN good pronunciation, every syllable has a
definite sound, but the influence of accent upon
utterance is such that unaccented syllables cannot
have precisely the quality which the same syllables
would receive under accent. The aim of a good
speaker will undoubtedly be to approximate his
unaccented to his accented sounds as nearly as
possible, but he cannot make them identical with-
out adopting a mono-syllabic style which is foreign
to the genius of English pronunciation.
It has not hitherto been possible to exhibit or
to define the unaccentual shadings of sound which
are heard even from the best orators and readers.
ENGLISH AS SPOKEN.
75
Visible Speech confers this new power on phonet-
icians.
It is to be observed that the unaccented sounds
shown in the following examples of "English as
Spoken" are not vulgarisms of the uneducated, but
variations which legitimately and almost necessarily
result from the mere remission of accent.
In order to make the influence of accent clearly
manifest, the words in the next illustration are
spaced in accentual groups, corresponding to the
divisions actually made in utterance.
The non-vocal forms of the consonants m, n, ng,
-which orthoepists have failed to recognise as
elements of speech-are introduced where they
colloquially occur; namely, before non-vocal con-
sonants in the same syllable; as in lamp, tempt,
nymph, hint, since, inch, sink, strength, felt, else,
self, etc.
The consonants r, l, w, y, are subject—but less
uniformly to a similar loss of vocality when they
occur after non-vocal consonants in the same syl-
lable; as in play, true, quite, cure, etc.
In deliberate and emphatic speech-and also in
singing the vocality of the consonants is fully pre-
served in all the above cases: it is only lost, to
a greater or less extent, in ordinary non-oratorical.
delivery.
The sound of r, which at the end of a word is
merely a glide, becomes a consonant when accent-
76
SOUNDS AND THEIR RELATIONS.
ually joined to a word beginning with a vowel; as
for ever, prefer it, etc.
These points will be found illustrated in the fol-
lowing Examples of the Colloquial style. The pas-
sage already given to illustrate the Vocabulary Style
is repeated, in order the better to exhibit the
differences by comparison.
MEANS OF ACQUIRING DISTINCTION.- Sydney Smith.
lo lw
It is
[orf w z w
natural
fw [310) 91
in every man
of an 31 JIU-
to wish for dis-
ofcaniw;
100
WY DULAW
£3
tinction;
of
W7ZW 01 ατώ
those who can
fw,
I
UDITO £3 Ft W
is,
in spite of all
and the praise
Ɑƒ˜зƒ ƒʊly DU WY DULAW
confer honor by their praise
3‡WU 3[WJU‡31,
false philosophy,
22110
dt (зiwf otÝLW OJYO;
sweet to every human heart;
Djo, TW [lolou AL AT Hʊwl WT WFO ‡3 1 31‡,
but,
as eminence
can be
D(IN(UU 13 Jevantiwſof
patience of obscurity
only the lot of a few,
fw 2 otiof
is a duty
}}
WFO DIY OF Lliw Jiw ololw(v
owe
Ο
which we
www of WT ɑɔ]¶¯
than to the quiet
not more to our own happiness
£3 WT I]YWO 20 WJYOM.
of the world at large.
aſ3 2 Wt+U,
Give a loose,
[з mì jy m]¤ 100
if you are young and
Leefnlu,
of wło
uplwſo
ambitious:
to that spirit
which throbs
Iron WuFew alwfw mf;
within you;
ENGLISH AS SPOKEN.
77
[MFY MFYU [W3
measure yourself
30‡Ð зul+α‡(ʊo afedTofnlw
―
alw mfw Ita‡‡¿‚
with your equals,
100 WJYW
and learn
from
frequent
competition.
WT DWIAU
the place
slon wii-
which na-
9[1α £3 ſo w} DI
DAROWI,
OXFY OLD VW Fold of mf;
ture has allotted to you;
Alo voujiз OJYJ;
but strive hard;
£3 out+W,
of truth,
make of it no mean battle,
vow[Cwlw mfx UZ ZW
strengthen your soul
Of WT ULION
to the search
[αυρωτου
2003 ως το υριαστω 73
and follow that spectre of excellence
ɔfon p[alww mf jú,
which beckons you on,
be
1 WT Ə]YWQ,
of the world,
―
ATM‡WO WT +
beyond the walls
WI DI OLU MIO DIG.
than man has yet done.
100f W110 200 €W}IW[
into light and glory
13 30[+2(50 з(AWAY
if frequent failure
of U]DWIE ATOLY
to something better
Mt NW DIY
you shall burst out
A10
WT WHIUT;
the last
mf
but
£3 w[o Hloljawſol £3 w[101fx
you of that mediocrity of nature
profew alw aw[ko [anlww
Ulefo
submit
10 LA
It may
at
convince
alon lw lwa‡»-
which is incom-
awwi 200
wisely and
patible with great actions
of mfy WFO;
to your lot;
onf13fwl
cheerfully
w13(wom 0190 wf
revenge
alʊowf,
Country,
vantiwfor
scurity
W[O WE HI+ Uplwlo £3
let no mean
spirit of
of WUH? J3 MFY wfnwol of mfy
tempt you to throw off your loyalty to your
150 of DwT3JW 1 3fnlu UTW[DW[of
and to prefer a vicious celebrity
aw lw picof 100 зjyof.
crowned with piety and virtue.
of ID-
to ob-
13 of
If you
78
SOUNDS AND THEIR RELATIONS.
al WOF? Witt who lojʊ
can throw new light upon
(EwIynlʊw HiWoldw] WT Ɑ]93‡YOU
FW2W OUH W
moral truth
JY
or
by any
exertions
multiply the comforts
or confirm the
Olpflv 3
waijiwo,
wlu 3(19
happiness of mankind,
this fame
Ellow mf
guides you
of
to
wf out+ [wow ‡3 mfy w[101¥¥;
the true ends of your nature;
Dj0
but
I WT [9 £3
in the name of
01301,
heaven,
of,
you,
TW MF OUTEDW+ 20 WToulifolз omiuolus, 100
as you tremble at retributive justice,
I WT [19 £з Ɑ>]0,
in the name of mankind,
ultɑ ‡o wło
seek not that
E[WHY I WT α £3
gathered in the work of
19
name
and
[з gla}{O DT oly of
if mankind be dear to
[tus 200 la]YU(0 3[19
easy and accursed fame
[з‡itnlww,
revolutions,
OF DI 3FW (310 ]úú)ú,
to be for ever unknown,
10 WT [UTUS
upon the basis
alon fw
which is
10 ofte lo bLOLÝ
and deem it better
wlw of 3110 I 9H9(UTLwl
than to found a momentary
£3 (w)ɑf 200 fulwlomlw.
of anarchy and irreligion.
ENGLISH AS SPOKEN.
79
EXTRACT FROM "NICHOLAS NICKLEBY."— Dickens.
(Introducing Yorkshire Dialect.*)
onju̸ bw]?ol u̸] uhwly uft wlałwiu 103[oulE WO OT
John Browdie no sooner saw Nicholas advancing than he
w[15] lu olu OFTU ET WT зbłudjw lw0 alioto lwolw ujon
reined in his horse by the footpath and waited until
oji LW OT nfo aje lp; wtale, eltwɔliw, з[wf volïwWl
time as he should come up; looking, meanwhile, very
such
sternly
came on at his
ATOI WT OFIUTU IYU, TO wlałwiʊ iw OT 9 & 20 ofw
between the horse's ears, at Nicholas as he
witmfy.
leisure.
[O
“UJH3W0, Miɛ onlʊwelw” ULO OMJw.
"Servant, young gen'lman" said John.
"" mływ” ulo wlatwiu.
"Yours" said Nicholas.
"TA; T 1 910 10 WE+UO”
это; это го
Weel; we ha' met at last"
DIYз0 OnJú, Hiale
IDUL130 ONjw,
observed John, making
wr vorwld wie Iw010 1 U9jyo Ojon ‡3 w↑ in sola.
the stirrup ring under a smart touch of the ash stick.
""mius," Uco fatwi otulolole. "!" of ULO
Yes," said Nicholas hesitating. "Come!" he said.
зw[gawl 1301 I 99(¯v pit, "ar djvolo kw w} 3[W{
frankly after a moment's pause, "we parted on no very
ato ¯low wT WILO OJD et al; to a WO, LA
это; го это эз5
good terms the last time we met; it was my fault, I
DTWI+3; DO 21 020 w}} swojʊnlw £3 £з[wole mf, 100 w}
believe; but I had no intention of offending you, and no
* [(Native) pronunciation of Mr. Edward Blacker, Brantford, Ont.]
80
SOUNDS AND THEIR RELATIONS.
U1OIL WLO LI DƏ‡w olla u).
idea that I was doing so.
I was
DEYOU.
aw of via osɛow?”
wards. Will you shake hands?"
U DE з[WI UJwl 3‡w ſo 130LY-
very sorry for it after-
24
"ulia too!" awlko wt ato mtelid MFYɑnTY92~;
"Shake honds!" cried the good humored Yorkshireman; "ah
W‡O 1 ǝTAW;" 20 WT U[N9 Oji of alwʊ OLIW ZW‡9 WT
that I weel;" at the same time he bent down from the
OTOC, 200 EX3 fd72 T
saddle, and gave Nicholas's
3130 2ofton wor
66170
fist a huge wrench.
"But
GO DC W↑ 910w 3T wf з(IU 9l? CO BCA E+W BWzalw
wa'at be the matther wi thy feace mun? it be all broken
włłɑ.”
loike.
"lo fw 1 ajo," vlo wlatwiu, okwle vajiwio TW OT
"It is a cut," said Nicholas, turning scarlet as he
UD}}A,—“2 DWII; DIT JI Wrojwo lo of wf afзlỵ, [wʊ alw
spoke," a blow; but I returned it to the giver, and with
ato fwolwivo ott."
good interest too."
“[w Ofiú !
"wt+I wlo I wt?” (avaw[190 ONJW DW)kol.
'Noa, did 'ee though?" exclamed John Browdie. "Well deane!
EI WEIα 2 310 W‡O."
I loike 'un for that."
“wT 3190 fw,” uto wlatwiU, WIO з[WI IW THE OR
"The fact is," said Nicholas, not very well knowing how
of 9[ɑ wl lŻ]}lw, “wT 31a0 lu wio 11 013 Dîw [w ow[+0(0.”
to make the avowal, "the fact is that I have been ill treated."
“Wtti !” [WOLYDJIWO ONJW DW]‡Ol ſu̸ 2 0}} ƒз aƒdinlw;
"Noa?" interposed John Browdie in a tone of compassion;
t
ENGLISH AS SPOKEN.
81
3FY OF FEW I omjnwo lw vOWĮAW 150 VOjoify, two wlatwi
for he was a giant in strength and stature, and Nicholas
з[wi wawf, [w ofw jaw vI+90 | DIY QI3; "Olio UC
very likely, in his eyes seemed a mere dwarf;
"dean't say
wło."
thot."
6
“m[U, Ji Olз,” wТowjio wlałwiu, “Ali wło stw vɑdiru,
"Yes, I have," replied Nicholas, "by that man Squeers,
IWO JA OLз BI+w+ ole v]}wowl, 1w0 19 witзle wiu dw[MU
and I have beaten him soundly, and am leaving this place
I ⱭƑʊʊTɑ(JU.”
in consequence."
66
“Ə‡‡¯!” aw]io orjú
"What!"
cried John
nwjzol alw ujon lŭ lavojola
Browdie with such an
66
ecstatic
NIZO WLO WY O‡Yʊ Ɑi njio to fo, “D(Iol WT vaftW-
shout that the horse quite shied at it, "Beatten the school-
A(IUOlW! I+ [310 Thro 7' wT włła z wło wÌ? ol3 lu wl
measter! who ever heard o' the loike o' that noo? Give us thee
XwO laliw, MZEVolw.
hond agean, youngster.
FA wt3 wl 3100.”
I loov' thee for't.'
BlIOW WT UⱭHW9(IUO?W ! ofe lo,
Beatten the schoolmeasther! Dang it,
ǝlw with laudwinlww #3 ofw]io, omjù Aw]zol W]+30
With these expressions of delight, John Browdie laughed
200 WH+30 LE[W — U}}_W]zo who wl (ał, зJW 150 9110,
and laughed again SO loud that the echoes, far and wide,
ulwo dla w]wle bjo omfзhw pitww £3 [Wl9(30—100
sent back nothing but jovial peals of merriment-and
nła włazwiu DLA WT OLO, altwɔjiw, w}} W[U OJyolwl.
shook Nicholas by the hand, meanwhile, no less heartily.
82
SOUNDS AND THEIR RELATIONS.
Il Olv HjYW Olʊ UlDUjiolo, of fuɑ ɔfo wlazwiv
When his mirth had subsided, he inquired what Nicholas
9lso of wf+; ‡ olw lwзle of "of a} vow[ko of
meant to do; on his informing him "to go straight to
f3
wlwolw,” of nła ofw ol☺ ☺j203fwl, 200 ſwagjno fз of
London," he shook his head doubtfully, and inquired if he
Wit oli lon WT ɑHoNTU onjiomo of alwl div(wOMLYU
knew how much the coaches charged to carry passengers
U7 3JY.
so far.
“w}}, ji of w‡o,” vlo wlatwlu; "Alo lo lu ‡3 W}}
No, I do not," said Nicholas; "but it is of no
aw[no aƑʊʊTaalʊʊ of 9ft, 3‡º Ji fwolwo aftale.”
great consequence to me, for I intend walking."
“EJE L‡‡‡ OF wtwlw 1370!” awjio omju Iv 191109150.
Gang awa' to Lunnon afoot!" cried John in amazement.
“[зIWI VOID w " wlow) latwiu.
J t0
"Every step of the way," replied Nicholas. I should
AT ALI VÕIDU 3]WLW FG DUI WIU TJ9, 200 U7? Eitoji !”
be many steps further on by this time, and so goodbye!"
"(I, wf," wTOW]O WT Jú(vo alwowlglw, wiïu̸le lʊ ofw
Nay, noo," replied the honest countryman, reining in his
fADLAN(S0 OFYU, “voдw volw, olw Tx.
στο
I ton alN LU0
impatient horse, "stan' still, tell 'ee. Hoo much cash hast
WT €[OW+?”
thee gotten?"
66
66
“W‡¯ Hjun” ulo wlałwiu, alwlwſe, "elo ji al lla
"Not much" said Nicholas, coloring,
but I can
fo Tu13. SCY WHY I DIW WHYW I ǝ[A, MF w}}.”
it enough. Where there's a will there's a way, you know."
make
ENGLISH AS SPOKEN.
83
djalo, dłww jło 1
pocket, pulled out an
HWO DIYU £3
old purse
onju̸ Dujol [10 WH BYDLW JIWULY OF Wſu wrejia, njo,
John Browdie made no verbal answer to this remark, but,
płole ofu ole lʊ olu
putting his hand in his
UFWło włwly, two lwuluolo who wlatwie NFQ AJW 3W‡Ð
solid leather, and insisted that Nicholas should borrow from
of IFY OT TA‡ ‡! Olu DUĻU(S0 wTujulolu.
him whatever he required for his present necessities.
ULO;
of
“(IMO AT 13(M100, 915," OT U[☺; “oja Tul13 of AIWT
Dean't be afeared, mun," he said; "tak' eneaf to carry
WT att. W[AWO D[I HT MUʊ O(I, 2 J‡W250.”
thee whoam. Thee'lt pay me yan day, a' warrant."
wlatwiu ato DU ¯‡ tu ni Dw↑з[kwo lofw of JW}
Nicholas could by no means be prevailed upon to borrow
DIY WI I UJÇIWTW, HlW olon who luoly bwjzof, 130LY
more than a sovereign, with which loan Mr. Browdie, after
e[úl (woul+õlu wio of at lauloʊ ƒ3 9‡Y (‡DULYз[6,
это
many entreaties that he would accept of more (observing,
Hlw 1 OJON £3 MfïanTɣ aftnlw, who 13 01 olowo udtão lo
with a touch of Yorkshire caution, that if he didn't spend it
ого
Fw, or ało “dło wł UZWDWFU DJI” ofw of OLD I FOXY-
all, he could "put the surplus by" till he had an oppor-
ontwſol #3 wielole ſo “ajuton зw[k”), 2‡ 3[10 of
tunity of remitting it 'carriage free "), was fain to
aƒ010 ofu(w3.
content
himself.
“oja wlo plo z ofalw of [wo wî to ǝl, alw,” of tolo,
"Tak' that bit o' timber to help thee on wi', mun," he added,
dutule olu vola ‡ wlatwiu, 100 alзle olu 0155 10]WLY
pressing his stick on Nicholas, and giving his hand another
84
SOUNDS AND THEIR RELATIONS.
ALIO? WT
Beatten the
valt; "acid i afo 2100, 200 DWI WI.
squeeze; "Keep a good heart, and bless thee.
va‡w9(Ivo?@! TOU WT DLvo wie 3 (I
schoolmeasther! It's the best thing a've heerd this
MCAIW!"
year!"
WIU
OFF wol
twonty
U}ì U[16, 15o fwolwonie, alw af olfatul wt 9110
So saying, and indulging, with more delicacy than might
013 più laud[aolo 13 of9, fʊ 20]wli uliollu #3 WHIO
efʊ
have been expected of him, in another series of loud
W]+3U, LJY WT DIïDlu ƒ3 13Ƒle w↑ w[cau ɔlon wla-
laughs, for the purpose of avoiding the thanks which Nich-
ZWLU DIYO Z‡YW, OMJW DW)?õl U[U UD]YU of ofu ofru, 100
olas poured forth, John Browdie set spurs to his horse, and
ALOO F3 10 1 UGjYo ɑtwoly; włɑfe dla зve one of oÝ,
went off at a smart canter; looking back from time to time,
tw wlatwiu voto aliule 130 ole, two cicle olu ol
as Nicholas stood gazing after him, and waving his han
Jufiwſwf, zu 13 of (waju↑on ole ju olu ǝ(1.
cheerily, as if to encourage him on his way.
latulu
Nicholas
to wr OFIU TWO WHoly lwofw wi ofundliYo HзLY WI
watched the horse and rider until they disappeared over the
DWIE £3 2 Qlvo100 olw, 200 WTO UTO
brow of a distant hill, and then set
onjol.
journey.
燇‡ŸŒ ‡ olu
forward on his
ENGLISH AS SPOKEN.
85
Illustration of Lowland Scotch.
THE Scottish dialects are extremely rich in
sounds. They contain nearly all the vowel and
consonant elements heard in French and German,
as well as in English. The dialects of the North
and West of Scotland, the Border Counties, the
Lothians, etc., have well-marked separate character-
istics; but the differences are in many cases more
of intonation than of articulation. The following
illustration presents the native dialect of Midlothian
as it may still be heard from old people-especially
in country districts—but which is fast disappearing
from the Capital and from the vernacular of the
young.
sa
Extract from "COTTER'S SATURDAY NIGHT."— Burns.*
Wt3[9AlW UNlw nwitu wło al jewl utct;
November chill blaws loud wi' angry sugh;
WÎ N}WOW(M 310010-0[+ (u wiło | AWHY;
The short'ning winter-day is near a close;
WÏ 9)+KWI B[vou włow[ow+ 3w[ w↑ Dmìc;
The miry beasts retreating frae the pleugh;
WT AWjawly ow[IBU Z UW‡łu of WiW WIDHW:
The black'ning trains o' craws to their repose:
WT OZIW-X70w azolu зwi olu witelw EI}+W
The toil-worn cotter frae his labour goes,
wlu vico of lawf 9W 10 20 20 Two,
This night his weekly moil is at an end,
* [Pronunciation of A. M. B.]
86
SOUNDS AND THEIR RELATIONS.
**
azwłav olw up[ju, olu hjojau, lõo Olu OHW,
Collects his spades, his mattocks, and his hoes,
OD WT 9} (5 Itu 250 w[uo of ud[WJ,
Hoping the morn in ease and rest to spend,
200 al+wl, ]ìw w↑ 9ftw, Ofs atou os 0193100 ELWO.
And weary, o'er the moor, his course does hameward bend.
10 wlow ofw wHowl ato witww (w зmit,
At length his lonely cot appears in view,
AlʊIW WT V[Wolw 73 10 [+omlo owlt;
Beneath the shelter of an aged tree;
wi (aud[adTwo alt w[ev OHOW[W' UO]clw wot,'
Th' expectant wee things toddlin' stacher thro,'
of glo wlw ), al' зw[colw['wHw l' awit.
To meet their dad, wi' flichterin' noise an' glee.
olu alt flo (6W+, AW[Ca(w' \júſwi,
осо это
His wee bit ingle, blinkin' bonnily,
olu awfu̸ O[ww-30[~, olu ww(30) aliçlu uDLIW.
His clean hearth-stane, his thrifty wifie's smile.
WI W[3D (~зТʊʊ dwjowl to olu wit,
The lisping infant prattlin' on his knee.
olu şi olu əl+wl ajwalм aitwʊ DTENiw,
Does a' his weary carking cares
beguile,
L'HAU O( ali
An' makes him quite
zweilo old
forget his
witlw lw of OziW.
labour an' his toil.
ENGLISH AS SPOKEN.
87
Illustration of French.
The following passage exhibits the chief elements.
and characteristics of French pronunciation.
The peculiarity of English final (in being fully
pronounced only when joined to a following word
beginning with a vowel) [see p. 75.] is a general
feature of French utterance. Any final consonant,
otherwise silent, is pronounced when phraseolog-
ically united to a word beginning with a vowel;
as in sauvait, mais, gardait, restait, tout, entier, etc.
In the syllables de, je, le, ne, etc., the vowel is
frequently elided, but in careful pronunciation a
non-syllabic glide is heard; corresponding to that
'in the English word cv(e)ry.
These points are illustrated in the following lines.
EXTRACT FROM MOLIERE'S WORKS.-Vol. I. p. xi.*
HZWMTW, DID WI BJUʊ athlɑ of uloflumzi,
Molière, par la force comique des situations,
W2 3[W3 OI UZ) voltŵ,
la verve de son
style,
UJ3(IO I WI WIDW[MEITIUMZI
sauvait a la
W[3D[ 350[W
restait fidèle
Itm afi wlts.
rige qu'en riant.
représentation
piw blw ofO] DWIVES,
par mille détails plaisants,
wl Owivõlu of ufal,
la tristesse du sujet,
I W1 0131+W QI WL ATÝ[+@[,
a la devise de la comédie,
Zs wil was w2 UIW ;
On riait dans la salle;
* [Pronunciation of A. M. B.]
ого
par
C
et
all atw-
qui ne
SCHWEI EIWW[+
mais on gardait
cor-
88
SOUNDS AND THEIR RELATIONS.
7 34 0 W)+3 fʊ TiDwłumzi aw13.
au fond de l'âme une impression grave.
DZ WWTW
Molière
COC
était
WI+
là
070 Isomet
tout entier
[ ωίσίτω οι ωι απαισι
et l'idéal de la comédie
[ol ow£31.
était trouvé.
Illustration of German.
DIE KINDHEIT.
Max Müller.*
(U`[UO Q‡C_U} N‡‡¯, Jú 0(Ű зwf+w[€ ©[U W[telww dułwfa-
Es ist doch so schon, an den Frühling des Lebens Zurück-
outofea(o lo ulio folw(u outwfaoutn)}(w vín out [wiú-
zudenken in sein Inneres zurückzuschauen sich zu errinn-
100. mjt, Jic fe naftwcw utal, la owfter
ern. Ja, auch im schwulen Sommer, im trüben
O[WBVO
Herbst
two (9 ajwo(~ al+020 Olu W[+D(ŵw Eldov ol+w two ©J+
und im Kalten Winter des Lebens giebt's hier und da
210[w 30ftw[euoje, two oJU O[WJU V)co:
einen Frühlingstag, und das Herz sagt: "Mir ist's
alt oftwie out stol.” liw utwṛlw ojte svou oƒko?—
wie Frühling zu Muthe." Ein solcher Tag ist's heute
two ojt W[tel in Hin 113 QJU GLICL GHU l» otзole(w
und da lege ich mich auf das weiche Moos im duftigen
elwo. iwo vow(al of nǝ[+w[ €w[+]? Itzu, two ()+72
Wald, und strecke die schweren Glieder aus, und schaue
ofw):3 otwc oju awful while I wju tw(wowic) □W)? —
hinauf durch das grüne Laub in das unendliche Blau
two J(6al: El+ =]ww Q}C fʊ @[w alw☺olio ?
und denke: Wie war's doch in der Kindheit?
* [Pronunciation of German Governess, Ladies' College, Brantford, Ont.]
SECTION FIFTH.
SUPPLEMENTARY REVIEW,
ETC.
SECTION FIFTH.
SUPPLEMENTARY REVIEW
OF THE
ESSENTIALS OF ARTICULATION.
THE various workings of the mouth exhibited by
different speakers, and the violent efforts of tongue,
jaw, and head displayed in cases of stammering, show
that no clear idea is generally entertained as to the
efficiency or otherwise, of certain organic actions in
the production of speech. When one person pushes
out the lips where another keeps them quiescent;
when one closes the jaws where another widely
opens them; when one thrusts out the tongue where
another keeps it invisible, there can be, manifest-
ly, but little positive knowedge of the essentials of
articulation.
The mouth, so far as speech is concerned, is
properly to be considered as a mere tube, or funnel,
for the delivery of vocal sounds. The sounds
themselves are formed in the throat, and the pro-
pulsive power is exerted from the diaphragm at
the base of the lungs. The cavity of the mouth-
92
SOUNDS AND THEIR RELATIONS.
tube is susceptible of a great variety of minute
modifications which affect the quality of the issuing
sounds, but the mouth as a whole, however modi-
fied in its channel, is almost passive to the flow
of speech.
Let the stammerer carefully note this principle.
When fully apprehended it will give complete con-
trol over his wayward organism. It is, in fact,
the one principle on which success depends in the
removal of impediments of speech.
The mouth serves other purposes than those of
moulding sounds. Its massive lever-the jaw-
with the attached cutting edges, and grinding sur-
faces-the teeth-belong to the masticating and
not the speaking apparatus. We eat with the
mouth we speak through it. The action of the
jaw in mastication is from open to close positions;
in speaking, its motion must be-simply to keep
it out of the way-from close to open.
Mistaken ideas as to what are, and what are
not, organs of speech are not confined to stam-
merers and merely instinctive speakers. Even stu-
dents of Phonetics seem to participate in error on
..this point. Thus, some have added to the Visible
Speech Symbols signs for parts of the mouth-
such as the teeth-which are not separately rep-
resented in the original scheme. The physiologi-
cal function of the teeth has been referred to: the
statement must now be added that the teeth are
SUPPLEMENTARY REVIEW.
93
not essential to the articulation of any element.
The so-called "dentals" really result from a definite.
adjustment of the plastic parts of the mouth, and
can be satisfactorily produced by one "without a
tooth in his head." When a sound is said to be
modified by the "back," the "top," or the "point"
of the tongue, the palate against which the tongue
necessarily acts is implied without notation. The
fixed parts of the mouth, which the speaker has
no power of moving, are thus unrepresented by
special symbols. The teeth are fixed to the jaws,
and the only articulative action of the movable jaw
is to keep itself out of the way of the issuing
sounds. Only the modifications of the lips, and
the soft organs within the mouth, require to be
symbolized in order to the reproduction of a sound
from the writing. The symmetry of the system
of Visible Speech is needlessly disturbed by the
introduction of arbitrary signs. This would be a
minor consideration were such signs of practical
importance; but the fact is that the sound has yet
to be uttered which cannot be expressed by the
ordinary symbols of Visible Speech so as to be
reproduced from the writing by any competent
reader of the system.
The essential organs of speech are the diaphragm
and lungs the larynx-the pharynx and soft pal-
lungs—the
ate the tongue-and the lips. The proper man-
agement of these requires skill, and their misman-
94
SOUNDS AND THEIR RELATIONS.
agement involves discomfort, inefficiency, and often
more serious consequences.
The healthful inflation of the lungs should ex-
pand them in all directions, but principally down-
wards; and the expansion of their base should
perceptibly flatten the diaphragm. The walls of
the chest the ribs-should contract but little, ev-
en in strong expiration, but the diaphragm should
press the lungs upwards to give impulse to the
breath in speech. The lungs should be frequently
and noiselessly replenished, and they should never
be pressed to exhaustion before replenishment.
The larynx-the organ of voice-should be free
to rise or fall without affecting, or being affected
by, the "pillar-muscles" of the neck. For this
purpose the neck must be firm, and the chin held
horizontal. These conditions are important in cases
of weak voice, and most important to stammerers,
to check the rolling and upward motion of the
head which accompanies their efforts to speak.
The pharynx is the expansible cavity above the
windpipe and at the back of the mouth, into which
-behind the soft palate-the nasal passages open.
Any obstruction of the breath within the mouth,
-as in forming p-b, t-d, etc.-should expand the
pharynx, so that when the obstruction is removed
a degree of percussiveness should be perceptible
from the point of obstruction. The same effect,
in a less degree, is heard from good speakers, in
SUPPLEMENTARY REVIEW.
95
pronouncing s, f, l, and other continuous conso-
nants. The soft palate should completely cover
the inner end of the nostrils, except in forming
nasal sounds. The firmness of the neck before
referred to is necessary to give effective play to
the muscles of the pharynx.
The most important agents in the moulding of
articulate sounds are the tongue and the lips.
The configurations of the mouth-channel resulting
from the positions of these organs can only be un-
derstood in connection with the Visible Speech
symbols. A brief supplementary review of the
leading consonant formations will assist the student
in mastering the relations between sounds and sym-
bols.
The normal positions on the palate for apposi-
tions of the "back," "top," or "point" of the
tongue are those which are directly opposite to
the same parts of the tongue while the latter lies
Thus:

at rest.
Back normal position-centre of soft palate.
66
66
66
Top
Point 66
centre of palatal arch.
-upper gum.
The signs for posterior formation () and for
anterior formation () have then the following
values:
Back
S posterior-edge of soft palate.
anterior-junction of soft and hard palates.
96
SOUNDS AND THEIR RELATIONS.
Top
Point!
posterior — between centre of palatal arch and
junction of hard and soft palates.
anterior — between centre of palatal arch and
front wall of palate. .
S posterior-front wall of palate.
anterior-teeth, or edge of gum.
The above are the positions for consonants both
of centre-aperture ( C U ~) and of shut formation
(ao Q C, etc.).
The normal positions for the "mixed" consonants
are the following:
Top-mixed ()-Top position combined with eleva-
tion of the edges of the tongue to the side gums.
Point-mixed (U) — Point position combined with con-
vexity of the forepart of the tongue towards the front
wall of the palate.
The positions for consonants of "divided" forma-
tion are the following:
Back-divided (E) — Back position combined with div-
ision of the breath by contact of the middle of the
tongue with the palate.
Top-divided (M)-Top-shut position combined with.
emission of the breath between the high sides of the
tongue and the back gums.
Point-divided (W) - Point-shut position, combined
with emission over the whole of the free sides of
the tongue.
Top-mixed-divided (S2)-Top-mixed position combined
with contact of the point of the tongue on the upper
gum, and emission between the sides of the tongue
and the teeth or gum.
SUPPLEMENTARY REVIEW.
97
Point-mixed-divided (W) — Point-mixed position com-
bined with contact of the tip of the tongue on the
teeth, or on the edge of the gum, and emission at
the sides of the tip.
The preceding descriptions all refer to tongue-
consonants. To complete the review, the follow-
ing descriptions of lip-consonants are added:
Lip () - Contact of the sides of the lips, with cen-
tre emission.
Lip-shut (D) - Complete contact of lips.
Lip-divided (3) — Central contact with side emission.
A lip-divided formation may be made either by
contact of one lip on the opposite teeth, or of
one on the other lip. The easiest and most usual
formation is selected for the normal one; namely,
contact of the edge of the lower lip on the upper
teeth, or, in the absence of teeth, on the upper
gum. Contact of teeth (or gum) on the inner
surface, instead of the edge, of the lip may be
noted by the sign of posterior formation (3);
and the ungainly position of upper lip on lower
teeth may be indicated, when necessary, by the
sign of anterior formation (3). Divided contact
of lip on lip may be written by the diacritic "to
lip (»), thus, 3ɔ.
The lip-mixed, and back-mixed consonants, com-
bining positions of such independent organs as the
lips and the back of the tongue, scarcely need to
98
SOUNDS AND THEIR RELATIONS.
be included in this review; but for completeness
they are added.
Lip-mixed (Ɔ) — Lip position combined with a loose
formation of the Back position.
Back-mixed (C) — Back position combined with a
loose formation of the Lip position.
The mouth-channel is about the same for both
these elements, but the fricative or articulative ——
effect is heard only from the lips in the one case
and from the back of the tongue in the other.
Lip-mixed-divided (3) - The Lip-divided position
combined with a loose formation of the Back posi-
tion.
Back-mixed-divided (E) The Back-divided position
combined with a loose formation of the Lip position.
These elements do not occur in ordinary speech:
they are simply available for use in the favourite.
and crucial tests to which Visible Speech has been
often subjected-the expression of peculiarities of
utterance.
All the descriptions in this Section apply equally
to the vocalized forms of the several consonants
illustrated.
The only drawback to a detailed investigation of
such elements is that the student is apt to make
too much of the consonants, relatively to the beau-
tiful vowel material of speech. In many cases the
consonants owe all their audibility to the vowels
SUPPLEMENTARY REVIEW.
99
which they begin or end; and yet while thus pho-
netically subordinate, consonants are found to be
the more stable elements in words that have passed
from language to language, or from age to age.
A good speaker will give to every element in a
syllable its appropriate effect, of sound or motion,
recognising that both classes of elements, whether
principal or subordinate, are mutually related, and
equally Essentials of Articulation.
UorM
APPLICATION OF VISIBLE SPEECH
TO THE TEACHING OF ARTICULATION
TO THE DEAF.
THE minutiae of "Sounds and their Relations" do
not require to be taught to the deaf, in the initia-
tory stages of instruction. The unmodified sign of
"voice" (I) may for a time be used to represent
any vowel. Thus papa, mamma, may be taught
from the writing DI DI, DI 91. When a few con-
sonants have been learned, the "Round-voice" sign,
unmodified, (+) may be introduced, and such words.
as no, go, etc., may be taught from the writing +,
Єl+, etc. As power over the organs of speech in-
creases, the pupil may be made acquainted with a
few distinctive vowel symbols, such as J, ah; ɓ, e;
[, a; ‡, oo; }, o; etc., but minor discriminations
should be deferred until facility is gained in the
use of a small number of elements.
sound should be taught at a time.
the pupil to know the consonants
Maou
Only one new
Thus, suppose
D (p), Ō (t), Ɑ (k), ✪ (m), ₺ (n), 3 (ƒ),
SUPPLEMENTARY REVIEW.
ΙΟΙ
and the symbol J (ah) is to be introduced: the
latter should be practised in connection with each
of the known consonants. Thus:
DJ
JD
OJ aj
JO Ja
Эт MJ
3J,
тэ
JW
J3,
JDJ JOJ Ja
Ja
JÚJ J3J, etc.
When any sound thus produced happens to be,
approximately, that of a word, a new interest will
be given to the lesson by illustrating the meaning
of the word. Thus:
DJ, OJ, aj, ЭЈ, 3J, Ja, Ja, J3.
Pa, Ta, car, Ma, far, ark, arm, half.
Each vowel will, in this way, furnish a number
of words to enliven the lesson.
yield:
For example I will
IO, DI, OI, af, si, vi, mio, aio, »lu.
eat, pea, tea, key, me, knee, neat, meat, mean.
Sufficiently near to the sounds of the indicated
words will be such compounds also as:
olj, IJ, зIJ, Djí, ojí, ají, зjí, зjíj, JDIJ.
tear, near, fear, pie, tie, my, fie, fire, appear.
The attempt to join two elements with syllabic
closeness will be unsuccessful at first; but, in the
quickest utterance, apparent junction is merely se-
quence; and the slowest sequence will suffice until
practice gives facility.
The first point to be aimed at is the power of
JorM
102
SOUNDS AND THEIR RELATIONS.
controlling the organs of speech. Accuracy may be
left to be acquired by slow degrees. Intelligibility
may be attained with comparative ease.
The use of Visible Speech symbols makes initia-
tory progress a matter of certainty with all pupils;
and with every new element that is added, subse-
quent difficulties grow less and less. The ultimate
effects that may be attained will depend on the
teacher's skill and patience, as well as on the apti-
tude of the pupil. But the result of careful effort
will undoubtedly be that, with a greater or less.
amount of accuracy, sufficient intelligibility will be
obtained in the speech even of the congenitally
deaf.
Maou
THE END.
DESCRIPTIVE LIST
OF
A. MELVILLE BELL'S WORKS.
Visible Speech; The Science of Universal Alphabetics: or Self-in-
terpreting Physiological Letters for writing all Languages in one
Alphabet; and for teaching the Deaf and Dumb to speak. Illus-
trated by Tables, Diagrams, and Examples of Printing and Writ-
ing. Inaugural Edition, 4to, Half Morocco
$5.00
Explanatory Lecture on Visible Speech. Delivered to the Royal
College of Preceptors (Feb. 1870). Illustrated by Diagrams and
Universal Alphabet
.15
English Visible Speech for the Million. For teaching the exact
Pronunciation of the Language, to Native, Foreign, or Illiterate
Learners. Illustrated by Physiological Diagrams, Exercises, &c.
4to., paper covers
.40
Universal Line Writing and Steno-Phonography. On the Basis of
"Visible Speech." In five Sections: 1. English Vernacular and
Orthoepic Line Writing for use in schools. II. Universal Line-
Alphabet for Languages, Telegraphy, &c. III. Universal Line-
Alphabet for Embossed Printing for the Blind. IV. Elliptical
Steno-phonography, applicable to all Languages, and fully de-
veloped for English. V. English Reporting Steno-phonography.
Svo, stiff covers,
.85
The Principles of Speech, Cure of Stammering &c. In this Work,
the Theory of Articulation, and the Mechanism of Vowel and
Consonant Sounds, are minutely explained. All the elements of
English Speech are separately treated of. with reference to the
Defects to which they are subject. Directions are given by which
the Stammerer can, by his own efforts, alleviate or remove the
impediment.
12mo., cloth
1.50
The Faults of Speech; A Self-Corrector and Teachers' Manual. In
this little work are given clear, simple and practical directions for
the removal of all impediments of speech, including stammering,
stuttering, etc., as well as all minor defects and blemishes, such as
lisping, burring, etc., 18mo., cloth
.60
Teaching Reading in Public Schools. A practical Essay, present-
ing a complete system for teaching the Art of Reading, with
numerous illustrative readings and valuable practical hints and
observations. 12mo., paper covers
.15
A. MELVILLE BELL'S WORKS.
The Principles of Elocution. A new and revised Edition of this
Standard work has recently been issued. The Work contains a
summary of the Principles of Vocal Physiology; with a full de-
velopment of the principles of Expressive Delivery; an original
analysis of the Tones of Speech, and the Laws of Emphasis; the
mechanical and expressive principles of Gesture, &c. Illustrated
by upwards of Two Hundred passages marked for Exercise.
12mo., cloth
$1.50
"
This work could have been written only by a master of the subject and a man of literary
scholarship, as a minute and thorough analysis of the art of expression it is without equal
among recent books. It is worth a host of ordinary works on elocution."-The Educational
Weekly.
The Emphasized Liturgy. The Morning, Evening, Communion
and Burial Services, and the Collects, marked for emphasis and
clause. With an Introductory Essay on the Theory of Emphasis,
the Expressiveness of Tones, and the Intellectual and Mechanical
Principles of Public Reading. 12mo., cloth
Visible Speech Exercise Chart
Visible Speech Object Cards.
Per set
1.00
1.00
I.00
Monroe's Vocal Gymnastic Charts. Embodying the Daily Physical
Drill of the Boston University School of Oratory; also containing
exercises upon all the Sounds of the English Language, arranged
for Class Drill in Articulation, with diagrams illustrating Bell's
Visible Speech. These Charts will comprise 44 numbers, 25x30
inches in size, printed and bound in the same manner as Monroe's
Primary Reading Charts. Price per set
8.00
*** Any of the above-named publications can be obtained from
the publishers of this volume.
DESCRIPTIVE LIST
OF
A. MELVILLE BELL'S WORKS.
...OO..
Visible Speech; the Science of Universal Alphabetics: or Self-in-
terpreting Physiological Letters for writing all Languages in
one Alphabet; and for teaching the Deaf and Dumb to speak.
Illustrated by Tables, Diagrams, and Examples of Printing and
Writing. Inaugural Edition, 4to, Half Morocco
$5.00
Explanatory Lecture on Visible Speech. Delivered to the Royal
College of Preceptors (Feb. 1870). Illustrated by Diagrams
and Universal Alphabet
.15
English Visible Speech for the Million. For teaching the exact
Pronunciation of the Language, to Native, Foreign, or Illiter-
ate Learners. Illustrated by Physiological Diagrams, Exer-
cises, &c. 4to., paper covers
.40
II.
Universal Line Writing and Steno-Phonography. On the
Basis of Visible Speech." In five Sections: I. English Ver-
nacular and Orthoepic Line Writing for use in schools.
Universal Line-Alphabet for Languages, Telegraphy, &c. III.
Universal Line-Alphabet for Embossed Printing for the Blind.
IV. Elliptical Steno-phonography, applicable to all Languages,
and fully developed for English. V. English Reporting Steno-
phonography. Svo, stiff covers
.85
The Principles of Speech, Cure of Stammering, &c. In this
Work, the Theory of Articulation, and the Mechanism of
Vowel and Consonant Sounds, are minutely explained. All
the elements of English Speech are separately treated of, with
reference to the Defects to which they are subject. Directions
are given by which the Stammerer can, by his own efforts,
alleviate or remove the impediment. 12mo.. cloth
1.50
LIST OF WORKS.
The Faults of Speech; A Self-Corrector and Teacher's Manual.
In this little work are given clear, simple and practical direc-
tions for the removal of all impediments of speech, including
stammering stuttering, etc., as well as all minor defects and
blemishes, such as lisping, burring, etc. 1Smo., cloth. .60
Teaching Reading in Public Schools. A practical Essay, pre-
senting a complete system for teaching the Art of Reading,
with numerous illustrative readings and valuable practical
hints and observations. 12mo., paper covers
.15
The Principles of Elocution. A new and revised Edition of
this standard work has recently been issued. The work con-
tains a summary of the Principles of Vocal Physiology; with
a full development of the principles of Expressive Delivery;
an original analysis of the Tones of Speech, and the Laws
of Emphasis; the mechanical and expressive principles of
Gesture, &c. Illustrated by upwards of Two Hundred pas-
sages marked for Exercise. 12mo., cloth
1.50
The Emphasized Liturgy. The Morning, Evening, Communion
and Burial Services, and the Collects, marked for emphasis
and clause. With an Introductory Essay on the Theory of
Emphasis, the Expressiveness of tones, and the Intellectual
and Mechanical Principles of Public Reading.
1.00
*** Any of the above-named publications can be obtained from
the publishers of this volume.
The attention of professional readers is directed to the follow-
ing series of Charts.- just issued:
Monroe's Vocal Gymnastic Charts. Embodying the Daily Phy-
sical Drill of the Boston University School of Oratory; also
containing exercises upon all the Sounds of the English Lan-
guage. arranged for Class Drill in Articulation, with diagrams
illustrating Bell's Visible Speech. These Charts will comprise
44 numbers, 25x30 inches in size, printed and bound in the
same manner as Monroe's Primary Reading Charts. Price
per set
8.00
VERSI
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CHIC
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UNIVERSITY OF MICHIGAN
BOUNI
NOV - 1933
UNIV. O
LICKARY
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