CAMBRIDGE PRIMERS OF PRONUNCIATION Edited by Daniel Jones, M.A. The Pronunciation of English in Scotland CAMBRIDGE UNIVERSITY PRESS ILontlon: FETTER LANE, E.G. C. F. CLAY, Manager minhuxQi): 100, PRINCES STREET iSerlin: A. ASHER AND CO. %tmiQ: F. A. BROCKHAUS l^ehj gork: G. P. PUTNAM'S SONS »ombajj anU Calcutta: MACMILLAN AND CO., Ltd. All rights reserved The Pronunciation of English in Scotland by William Grant, M.A. Lecturer on Phonetics to the Provincial Committee for the Training of Teachers, Aberdeen Convener of the Scottish Dialects Committee Cambridge : at the University Press Cambrttige : PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS PREFACE I^HIS book is intended primarily as a Phonetic Manual - for the use of students in Scottish Training Colleges and Junior Student Centres, but it is hoped that it may prove useful to teachers of English of all grades in our Scottish schools, to lawyers and ministers and all those who, in the course of their calling, have to engage in public speaking. Foreigners, too, may find that the more conservative pronunciation of educated Scotland as depicted in this volume, is easier to acquire than the Southern type of English, and all students of language should be interested in the study of the Scottish variety of Standard English. As the Scotch Education Department has recommended the study of Phonetics in its Memorandum on the teaching of Modern Languages (p. 5) and in its Memorandum on the teaching of English in Primary Schools (p. 8), and as our Training Centres have incorporated the subject in their time-tables, it has become practically obligatory for all teachers of language. Phonetics as the best basis for Modern Language study, is now generally admitted except in quarters " hopelessly obscurantist." We are also firmly convinced that some phonetic training in the early stages of the school curriculum is a desirable thing because it cultivates the observing faculties of the child, appeals to an intelligent interest in facts, and has an important bearing on clear, distinct enunciation, correct pronunciation and expressive reading. Further it is a preparation for the work of the Modern Language Department and for VI PREFACE the study in the higher English Classes of the develop- ment of English Speech. A special book for Scottish Students is rendered necessary because the phonetic basis of educated Scottish speakers differs in many respects from that of Southern English, and further because our teachers have peculiar difficulties to overcome in dealing with pupils whose everyday speech is Scottish Dialect or Gaelic. Such difficulties cannot be successfully tackled without some definite phonetic knowledge and practice such as we have set forth in this work. The book is divided into three parts with an Appendix. Part I deals with the manner and place of formation of the various sounds and the changes they undergo in combina- tion with each other. The general plan follows the lines of Mr Daniel Jones's Pronunciation of English and the corresponding definitions and descriptions in the two volumes are made to agree as far as possible. Part I also enumerates the variations from Standard speech and gives suggestions for the correction of errors of pronunciation. Part II consists of a series of texts written in the speech of the educated middle classes of Scotland (see p. 4). The alphabet used is that of the International Phonetic Association, The student who can use this alphabet easily for reading and writing may be regarded as possessing a fair knowledge of elementary phonetics. Part III contains a series of questions on the subject- matter of Part I which will be found useful for students who wish to test their own knowledge and for teachers who desire to test the results of their instruction. The Appendix contains (1) the ordinary English spelling of the phonetic texts in Part II, (2) an account of the chief differences between Scottish and Southern PREFACE Vll English, (3) advice to teachers on the subject of the teaching of reading. I have to express my obligation to the following authors and publishers for kindly allowing me to reproduce copyright matter : Messrs Sampson Low, Marston and Co., for the illustrations of the Larynx (fig. 2) which are taken from Voicey Song and Speech by Browne and Behnke, Messrs George Bell and Sons for the poem of Calverley (No. 8), Mr E. F. Benson and his publishers Messrs Methuen for the passage from Dodo (No. 20), Mr Austin Dobson and his publishers Messrs Kegan Paul, Trench, Trlibner and Co. for the poem entitled The Cure's Progress (No. 18), Mr Wilfrid Meynell (Francis Thompson's literary executor) and Messrs Burns and Gates for Thompson's poem Daisy (No. 11), The Walter Scott Publishing Company for the passage from Lowell's Aly Garden Acquaintance (No 16). I desire to acknowledge the kindness of Mr Gavin Greig in permitting me to use a scene from Mains Wooing and to record his dialect pronunciation and intonation (No. 21). I take this opportunity also of thanking Dr Smith, Director of Studies, Aberdeen, and Mr Jackson, Lecturer on Phonetics, Dundee, for their interest in this work and their many useful suggestions. Very special thanks are due to Mr Jones, the general editor of this series of Phonetic Texts, for many helpful suggestions and criticisms. I am indebted to him also for most of the matter in the following paragraphs 14, 17—21 with notes, 35, 185—188, 194—202, 216—221, for help in connection with the intonation curves in Dodo (No. 20), and the Southern English rendering of the passage from The Mill on the Floss (No. 19). W. G. December, 1912. CONTENTS CHAPTER PAGE Preface v Values of phonetic symbols xi PART I: PHONETICS I. Phonetics and Phonetic Transcription, §§ 1 — 8 . 1 II. The Organs of Speech, §§ 9—16 .... 4 III. Classification of Sounds : Definitions of Vowels and Consonants, §§ 17 — 19. Sonority of Sounds, §§20, 21. Breathed and Voiced Consonants, §§ 22, 23. Vowels in Standard Scottish, § 24. Isolating Sounds, § 25. Classification of Consonants, §§ 26 — 29. Classification of Vowels, §§ 30—41 . 9 IV. Plosive Consonants, §§ 42—61 .... 25 V. Liquid Consonants, §§ 62—87 .... 30 VI. Fricative Consonants, §§ 88—125 .... 37 VII. The Vowels: Front Vowels, §§ 126—146. Back Vowels un- rounded, §§ 147 — 155. Back Vowels rounded, §§ 156—174. Mixed Vowels, §§ 175—184 . 47 VIII. Nasahzation and Inversion, §§ 185 — 188 . . 63 IX. The Breath Group, §§ 189, 190 ... . 65 X. Sounds in the Breath Group: Glides, §§ 191, 192. Vowels, § 193. Plosives, §§ 194—202. Fricatives, § 203 . . . 66 CONTENTS IX CHAPTER PAGE XL Syllables, §§ 204— 209 . 73 XII. Assimilation, §§ 210—215 . 76 XIII. Stress, §§ 216—223 79 XIV. Quantity, §§ 224—228 . 82 XV. Intonation, §§ 229—238 85 PART II: PHONETIC TRANSCRIPTIONS I. Standard Pronunciation. A. Declamatory Style : 1. Psalm xxiii 8*5 2. 1 Corinthians xiii. 96 3. Milton, Paradise Lost, Book ii. 43 — 70 . 97 4. Shakespeare, a passage from Julius Caesar 98 5. Carlyle, a passage from the Essay on Burns 100 6. WoTTON, A Hap'py Life . . . . 102 7. Pitt, a passage from Reply to Walpole . 103 II. Standard Pronunciation. B. Careful Conversational Style : 8. Calverley, Contentment (after the manner of Horace) . . . . * . . 104 9. Goldsmith, a passage from the Vicar of Wakefield . . . . . . . 106 10. Shakespeare, a passage from King Lear . 108 11. Thompson, Daisy Ill 12. Dickens, a passage from Domhey and Son 113 13. Browning (E. B.), The Forced Recruit . 116 14. BoswELL, a passage from the Life of Johnson 118 15. Byron, Greece 120 16. Lowell, a passage from My Study Windows 121 17. Scott, Young Lochinvar . . , . 123 18. DoBSON, The Cure's Progress . . . 125 X CONTENTS III. Standard Pronunciation. C. Rapid Conversational Style: 19. George Eliot, a passage from The Mill on the Floss 127 Same Extract rendered in Southern English 129 20. Benson, a passage from Dodo (with intona- tion curves) 130 IV. Scotch Dialect : 21. Greig, a passage from Main''s Wooing (with intonation curves) 141 22. Scott, a passage from The Antiquary . 147 PART III: QUESTIONS AND EXERCISES (p. 151) APPENDIX I. Ordinary spelling of the pieces transcribed in Part II 163 II. Summary of differences of pronunciation between Standard Scottish and Southern English . . 193 III. Points to be remembered by teachers of Reading 196 Index to words referred to in §§ 1 — 228 .... 199 lO J:^ t^ o G^ .. CO T— 1 00 • S • (N CO CO ton -g . ^; o o T-H rH i—i HH P4 (N lO j>. J>. > 1>- CO CO CO CO ~P ^ (xT 00 ^ »o (M (M (N rH j-H cS S ^ -^ -^ rH rs Ph r?^ J— 1 r-\ rH 1 ^x-C^ /^-v ^— C!^ G-" !>•" J:^ i:^ (M CO <:o 1— 1 -1-3 (\S O (D H 8 .2 o 4-3 CD o 'Ph -4J CD > > '^ S o CO 2 »4 H m o -2 'S 1 5 23 i M § % ? a! S 1 ^ o .Q X J3 ^ .a A i^ .a •d *5 bo ^ bD ^ *? ?3 _g 1^ X ^ ^ ^ i ^ % -»o "40 g' g ^ ^ ^ t J O -< 1^ -< o O ^ '^s g s % o QO .3 o r-^ .2 '■43 O cS ^ " ^ - " s - - ^ !i !^ - s S GO d d d d cdcdcd<1.0'd^a)a) Xll VALUES OF PHONETIC SYMBOLS lO Oi CO rH r-^ Ci ^H^^cocOl-^c^^G<^(NG<^G<^co cOr-n (m g^g ^ .^ .g _^ - =^ -I o S r7^">:_- OOcecSce^rL SnKnE^O ceo 5 S ^ :? S 1 & ^ g .2. .y & & 'S 3 2 gi -SI'S, g 'g^'^ S ^ S,J ^ J S ^ :f H i. 8 J PI VALUES OF PHONETIC SYMBOLS Xlll CD ^- I ^ ^ ^ -- So J^ J:^ i:^ 08 (N CM CM CM I ^ O 7-H Ph Q^ ^ 00 00 CO CO 00 CO CO CO CO CO CO CO (N CM CM CM CO CO CO T^ CO (M CM (M CM CO (M (M CO CM 00 ;:\ 00 > CO CM CO o CO t^ t^ i^- CM CM ^ irT CO rft CO o CO CO CO CO CM CM CM CM CM CM CO 10 CM CO pi o CO J=l 'i •r-l > O (D US S c rt jj • i-H • rH "^ O O « P-i Ph m m -C5 -T^ CD c« eg o CD bo S 5 § fi 5 no r 5- ^ CO g1 o P-(OQ CP^OOOOO'O'Pfh 03 "*» 4J O ^ ;3 XIV VALUES OF PHONETIC SYMBOLS 0-, — >^ t>^ "^ . . r* k/^ v^ Ti i-( •'-i o ^ o CO JD 5;^ o -; -^ r:^ ^ ^ ^ o qi p^-^ T-H ^ ^i^ g . oi §8 g § 2 g> . «^ ) fe ^ ^ fe i^ ^'^ § -S (MrH,-HlO<:0§S (:0(:o<^^co<:o^o o rH (M G<1 (N (N fM ^ ^ O n5 ^- ^ ^« J '^ ^ ^ ^ ^ s !^5 g ^ ^.2 S .2 .2 .^ ^ s s '^ ^ s ^ - § 2 ^ I g § D g S 2 !S 2 .S § S .s ^ ^ ^ o .- o _, O! T3 (N X! 1) -; §g -e S Ph &, o Sot D>^^N(0'- " cc VALUES OF PHONETIC SYMBOLS XV The following are also used in the course of this book to indicate variations of normal speech or dialect pronun- ciation. Paragraph d a vowel intermediate between a and a, see 177, 223 a 6 i b 6 9 ii ij A a , a J) » » 6 , y d v ?> I , , 9, see 177, 182, 223 n o , , 9, see 177 ,223 o , , 9 „ y> 9 , , a }f '> u , , a yy >y >, u , , a }) y> A , , a )j » vowels produced with inversion of the tip of the tongue, see §§ 84, 188 nasalized vowels, see §§ 35, 185 6-^ a raised variety of e, see § 131 ex „ „ e, see § 133 i^ a lowered form of i, see § 130 o- „ „ o, see §§ 39, 167 9 low back lax rounded, see §§ 39, 167 Ox a raised variety of o, see §§ 39, 161 fi a rounded e ; French peu XVI VALUES OF PHONETIC SYMBOLS OB a rounded 6 ; French peur y a rounded i ; French pu u+ an advanced u, see § 40 XU+ high back unrounded advanced, see § 95 P the glottal plosive, see §§ 60, 61 c the breathed front plosive, see § 213 J the voiced „ „ § 213 g the voiced back fricative, see § 95 d Y \ devocalized d, v, z, §§ 199, 203 devocalized 1, m, n, tj, r, j, §§ 22, 63, 69, 73, 80, 198 i £ semi-rolled r sound, see § 83 J the voiced point fricative r sound, see §§83, 86, 117, 118 R voiced back trill or uvular trill, see §§ 26(8), 27 iv, 85 Q placed under a symbol, indicates a breathed sound V „ „ „ voiced sound ■I- „ after a symbol, indicates that the point of arti- culation has been advanced - placed after a symbol, indicates that the point of arti- culation has been retracted A placed after a symbol indicates a raising of the tongue lowering „ Phonetic symbols printed in italics represent sounds that may be omitted in pronunciation, thus and means that it is optional to say an or and. PART I: PHONETICS CHAPTER I PHONETICS AND PHONETIC TRANSCRIPTION 1. Phonetics is the science which deals with the analysis and classification of speech sounds and their distribution in spoken language. In order to study the science effectually, whether for its own sake or with a view to any of its numerous practical applications, we must have a means of representing with precision the various elementary speech sounds with which we have to deal. 2. The letters of the alphabet as used in ordinary spelling do not answer this purpose. Various ambiguities present themselves. Thus, in ordinary spelling, a single letter may represent two consecutive elementary sounds ; for example x represents ks^ in fix, fiks, ^ represents the group ai in find, faind; groups of two or more con- secutive letters often represent only one elementary sound ; thus the group th in thought, Ggt, represents only one sound, viz. 6; the ough in the same word represents only 1 Letters in thick type are phonetic symbols. The various sounds denoted by them are fully described in §§ 42 — 184, and a list of the symbols is given on pp. xi— xvi. G. 1 2 - ^ • PEO^TETIdS one sound, viz. 9. Again the same letter or group of letters may represent very different sounds or groups of sounds : thus c denotes the sound k in cat, kat, but s in city, 'siti, ough is pronounced in more than half-a-dozen ways, compare plough, plan, though, So: or 9o:, cough, kof, etc. And lastly, the same sound or group of sounds may be represented by different letters or groups of letters. Thus the sound of the vowel in fade, fed, may be written ai in raid, red, ay in ray, re:, eigh in weight, wet, ea in steak, etc. stek. 3. The letters of the alphabet, as used in ordinary spelling, being thus unsuited for scientific purposes, we are obliged to adopt a special set of symbols to represent the various elementary speech sounds, each of these special symbols representing one and only one distinct elementary sound. 4. When words are written down by means of a system of symbols of this kind, they are said to be written phonetically. Phonetic writing as distinguished from writing according to the ordinary spelling is generally called phonetic transcription. The system of phonetic transcription used in this book is that of the International Phonetic Association. A list of the symbols used is given on pages xi — xvi. Styles of Phonetic Transcription. 5. The degree of accuracy necessary in phonetic transcription depends on the object in view. Absolute accuracy involves the use of a very large number of symbols and diacritical marks, with the result that the transcription becomes complicated and difficult to read. PHONETICS AND PHONETIC TRANSCRIPTION 3 Transcriptions of this kind are called narrow transcriptions. If, on the other hand, a transcription is desired which is easy to read, a certain sacrifice of accuracy is inevitable. Such transcriptions are called broad transcriptions. 6. In practice it is generally sufficient to use a simple (broad) form of phonetic transcription; but it is some- times helpful to supplement this broad transcription by a rigorously accurate (narrow) form of transcription, which in this book will always be inclosed in square brackets. Standard Pronunciation. 7. No two persons of the same nationality pronounce their own language exactly alike. The differences may arise from a variety of causes, such as locality, social surroundings, early influence or individual peculiarities. Thus, the pronunciation current among educated people in Liverpool differs from that of London, and both differ from that of Edinburgh. An example of differences of English pronunciation due to locality may be found in the sound of r in the word lord. In London the r has been completely lost, and the word must be written phonetically Igid. In Liverpool the r is lost as an independent sound, but causes a peculiar modification of the preceding vowel — l9:d (see § 188). In Edinburgh the r is either a trill or Mcative consonant — lord or [lojd]. A Scotchman who spoke Scotch dialect habitually would pronounce the word with a tense o vowel followed by a glide sound and a strong trill — loard, and as an individual peculiarity we may sometimes hear a burr or uvular r — loRd. This last variant may be the result of some defect in the vocal organs or of a childish mispronunciation which parents and teachers have allowed to go uncorrected. 1—2 4 PHONETICS 8. The existence of all these differences renders it necessary to set up some standard of pronunciation. The standard adopted in this book is the speech of the educated middle classes in Scotland. It is the speech of our Universities, of the pulpit, the platform, and the school, and although in different districts it may present some variations, it constitutes on the whole a type of pro- nunciation quite distinct from that of educated England. Within this Standard Scottish, it is possible to distinguish at least three varieties of style ; the first is the style of the pulpit and dignified oratory, the second of careful conversation and ordinary reading and the third of rapid, familiar everyday speech. Many varieties, however, are possible between the two extremes, the size of the audience and the character of the subject-matter being the chief determining factors in any particular case. The majority of our Extracts in Part II are couched in the intermediate style, i.e. careful conversational. CHAPTER II THE ORGANS OF SPEECH 9. The first essential for the student of phonetics is to have a clear idea of the structure and functions of the organs of speech. Those who have not already done so should make a thorough examination of the inside of the mouth by means of a hand looking-glass. The best way of doing this is to stand with the back to the light and to hold the looking-glass in such a position that it reflects THE ORGANS OF SPEECH the light into the mouth and at the same time enables the observer to see in the glass the interior thus illumi- nated. It is not difficult to find the right position for the glass. 10. The following diagram shows all that is essential for the present book : — B. Back of Tongue. Bl. Blade of Tongue. F. Front of Tongue. Gt. Gullet (food passage), H. Hard Palate. LL. Lips. P. Pharyngal cavity (Pharynx) R. Teeth Ridge. S. Soft Palate. TT. Teeth. U. Uvula. V. Position of Vocal Chords. W. Windpipe. Fig. 1. The Organs of Speech. 11. The roof of the mouth may be conveniently regarded as made up of two parts — the first constituting the hard palate behind the teeth ridge and the second the soft palate, forming in its rear extension a sort of pendulous tongue in the back of the mouth known as the uvula. These two parts should be examined carefully in the looking-glass and they should be felt by the tongue 6 PHONETICS or with the finger. The soft palate can be moved up- wards from the position shown in fig. 1 ; when raised to its fullest extent, it touches the back wall of the pharynx as in fig. 5, p. 19. The teeth ridge is defined as the part of the roof of the mouth which is convex to the tongue, the imaginary division between the teeth ridge and hard palate being made at the point where the roof of the mouth ceases to be convex to the tongue and begins to be concave. 12. Note particularly the meaning of the terms ' back ' and * front ' as applied to the tongue. The part opposite the soft palate when the tongue is in the position of rest is called the hack ; the part opposite the hard palate is called the front, and the part opposite the teeth ridge is called the hlade. The extremity of the tongue is called the tip or point and is included in the blade. The Vocal Chords. Breath and Voice. 13. The vocal chords are situated in the larynx, just behind the little knob on the throat known as Adam's Apple, and resemble two lips (see figs. 1 and 2); they run in a horizontal direction from back to front. The space between them is called the glottis. The edges of the chords may be kept apart or they may be brought together so as to close the air passage. When they are brought close together and air is forced between them in a very rapid series of puffs, they vibrate, producing a musical sound, known as Voice (see fig. 2 b). When they are wide apart and air passes between them, the sound produced is called Breath (see fig. 2a). Certain inter- mediate states of the glottis give rise to Whisper. The THE ORGANS OF SPEECH sound h (§ 124) is generally pure breath ; the vowel sounds are practically pure voice. Fron^ Front Fig. 2. The Larynx as seen through the laryngoscope. A. Position for Breath. B. Position for Voice. TT. Tongue. VV. Vocal Chords. W. Windpipe. 14. Breath and voice may be illustrated artificially by the following simple experiment. Take a short tube of wood or glass T, say 6 cm. long and 1 cm. in diameter, and tie on to one end of it a piece of thin indiarubber tubing I, of a somewhat larger diameter, say 3 cm., as shown in the accompanying diagram. The tube of wood or glass is taken to represent the windpipe, and the indiarubber, part of the larynx. The space enclosed by the edge of the indiarubber EE, represents the glottis. If we leave the indiarubber part in its natural position and blow through the tube, air passes out, making a slight hissing sound. This corresponds to breath. If we take hold of two opposite points of the edge of the indiarubber EE, and draw them apart so that two edges of the india- rubber come into contact along a straight line, we have a Fig. 3. 8 PHONETICS representation of the glottis in the position for voice, the two edges which are in contact representing the two vocal chords. Now, if we blow through the tube, the air in passing out causes the edges to vibrate and a kind of musical sound is produced. This sound corresponds to voice. 15. Every normal speech sound contains either breath or voice. Those which contain breath are called breathed sounds, and those which contain voice are called voiced sounds. Examples of breathed sounds are p, f ; examples of voiced sounds are b, v^ When we speak in a whisper, voice is replaced throughout by whisper, the breathed sounds remaining unaltered. 16. It does not require much practice to be able to recognise by ear the difference between breathed and voiced sounds. The following well-known tests may, however, sometimes be found useful. If breathed and voiced sounds are pronounced while the ears are stopped, a loud buzzing sound is heard in the latter case but not in the former. Again, if the throat be touched by the fingers, a distinct vibration is felt when voiced sounds are pronounced, but not otherwise. Thirdly, voiced sounds can be simg while breathed sounds cannot. Compare in these ways p with b, f with v, t with d, s with z, k in cat with g in gun, iv in wen with the sound of wh in when. 1 In Darning the symbols it is well to designate them by their sound and not by the ordinary names of the letters : thus the symbols p, f are not called pi, ef like the letters ^, /, but are designated by the initial and final sounds of these two groups respectively. CLASSIFICATION OF SOUNDS 9 CHAPTER III CLASSIFICATION OF SOUNDS 17. Every speech sound belongs to one or other of the two main classes known as Vowels and Consonants. 18. A vowel (in normal speech)^ is defined as a voiced sound in which the air has a free passage through the mouth and does not produce any audible friction. All other sounds (in normal speech) are called consonants. 19. Conversely a consonant may be defined as a speech sound breathed or voiced in which, in its passage through the throat and mouth, the air current is com- pletely or partially impeded, or produces audible friction. Consonants therefore include (1) all sounds which are not voiced, e.g. p, s, h, (2) sounds in which the air has an impeded passage through the mouth or throat, e.g. b, 1, rolled r, (3) all sounds in which the air does not pass through the mouth, e.g. m, (4) all sounds in which there is audible friction, e.g. f, v. ^ Whispered speech is not considered as normal. In whispered speech voice is replaced throughout by whisper and every sound consists of audible friction and nothing else (except the ' stops ' of breathed plosives, which have no sound at all). The term ' whispered vowels ' is commonly, used to designate sounds produced with the organs in the same positions as for the sounds defined as * vowels ' in § 18, but with whisper substituted for voice. There is no objection to this terminology ; but it should be noted that if a whispered vowel were to occur in normal speech next to a voiced one, the whispered vowel would have to be regarded as a consonant This may be seen by pronouncing a whispered a immediately followed by a voiced a. The result resembles ha with a very strong kind of li. 10 PHONETICS 20. The distinction between vowels and consonants is not an arbitrary physiological distinction. It is in reality a distinction based on acoustic considerations, namely on the relative sonority of the various sounds. Some sounds are more sonorous than others, that is, they carry better or can he heard at a greater distance. Thus the sound a pronounced in the normal manner can be heard at a much greater distance than the sound p or the sound f pronounced in the normal manner. It so happens that the sounds defined as vowels in § 18 are noticeably more sonorous than any other speech sounds, and that is the reason why these sounds are considered to form one of the two fundamental classes \ 21. The relative sonority or carrying power of sounds depends chiefly on their quality, but also to some extent on the force of the breath with which they are pronounced. When there is no great variation in the force of the breath, the sounds defined as vowels are more sonorous than the sounds defined as consonants ; low vowels (§ 32) are more sonorous than high vowels (§ 32); voiced con- sonants are more sonorous than breathed consonants; voiced liquid consonants (§ 27 v) are more sonorous than other voiced consonants. The breathed consonants have ^ The line of distinction between vowels and consonants might have been drawn elsewhere. Thus it is a fact that speech sounds which consist wholly or in part of ' noise ' (as distinguished from * musical sound') are less sonorous than those which contain no perceptible 'noise.' Hence a perfectly logical classification into vowels and consonants might be based on the presence or absence of perceptible 'noise.' If this classification were adopted, the voiced sounds m, n, etc. , and the voiced 1 sounds would have to be classed as vowels because in normal pro- nunciation they are not accompanied by any perceptible * noise. ' This method Of classification, however, would be less convenient in practice than that given in § 18. CLASSIFICATION OF SOUNDS 11 very little sonority in comparison with the voiced sounds, and the differences in sonority between the various breathed consonants are practically negligible. Consonants. 22. Some consonants are breathed, others are voiced. To every breathed consonant corresponds a voiced con- sonant, i.e. one articulated in the same place and manner, but with voice substituted for breath, and vice versa ; thus V corresponds to f, b to p. It should be noticed that voiced consonants are usually pronounced with less force of the breath than breathed consonants. The breathed forms corresponding to several of the English voiced consonants, e.g. m, 1, do not occur regularly in English. It is a good phonetic exercise to deduce unfamiliar breathed consonants from familiar voiced ones, e.g. to deduce from m, which is a voiced consonant, the corre- sponding breathed consonant (phonetic symbol m)^ and to deduce from 1 the corresponding breathed consonant V. This is done by pronouncing sequences such as vfvf. , zszs , until the method of passing from voice to breath is clearly felt, and then applying the same method to m, 1, etc., thus obtaining mmmm , 1111 , nnnn , 6tc. ip and ig, are merely an expiration through the nose with the tongue and lips in the position for b and d respectively. 23. Speakers from Gaelic districts often fail to bring out the distinction between certain breathed and voiced consonants. They must train the ear to recognise the ^ Q is pictorial of the shape of the glottis when a breathed sound is produced, ^ indicates that the sound is voiced. 2 This sound exists in French, e.g. peuple, poepj ; it is also the sound of Welsh II, e.g. Llangollen, lancjolcn. r2 PHONETICS difference, and then the mouth to reproduce it in their speech. See word lists in Part III for practice and §§ 100, 103, 110, 116. Vowels. 24. There are numerous positions of the organs of speech and more especially of the tongue, in which, when voice is produced, it is accompanied by little or no noise. In each of these positions a resonance chamber is formed which modifies the quality of tone produced, and gives rise to a distinct vowel. The number of possible vowels which can be distinguished by an ordinary ear is very large — some hundreds — but in any one language the number of distinct vowels is comparatively small. In Scottish it is not necessary for ordinary purposes to distin- guish more than fifteen (see Table II, p. 22) in the case of any one speaker, and seventeen including possible variants. Isolating Sounds. 25. Students are recommended from this point on- wards to practise the isolating of the individual sounds in a word. To do this effectively (1) they must not be misled by our modern spelling, and (2) they must dis- tinguish carefully between breathed and voiced sounds. In the word thin the first sound is represented by two letters th = 9, and is breathed, as may be proved by the fact that it cannot be sung and has a voiced counterpart in the, tSa. The last sound in thin may be easily got as it can be prolonged until the ear has caught the effect. The medial sound i = i strikes the ear with the greatest effect as it is a vowel. In sounding 9 it must be re- membered that no vowel should be heard after it, i.e. it is breath throughout its whole length. CLASSIFICATION OF SOUNDS 13 Classification of Consonants. 26. As we have already seen, consonants may be either breathed or voiced speech sounds. We recognise p, t, k as breathed and b, d, g as voiced sounds. Our ear, however, notes a further distinction, p and b have something in common -that makes them different from t and d and k and g. A close examination will show us that p and b are formed at the lips, t and d at the point of the tongue, and k and g at the back of the tongue. Consonants, therefore, must be classified according to the place in the vocal organs where the sound is articulated. Remembering our description of a consonant as a speech sound in which the breath current is impeded completely or partially in the throat or mouth, or produces audible friction, we might add that consonants must be classified according to the part of the Vocal Organs where the check takes place or where the constriction of the breath current occurs that produces audible friction. Thus we have the following classes of consonants. (1) Lips (also called bi-labial) consonants where the sounds are formed between the two lips. Ex- amples p, b, m. (2) Lip-teeth (also called labio-dental) consonants, articulated between the lower lip and upper teeth. Examples f, v. (3) Point-teeth (also called pre-dental or linguo- dental), articulated between the point of the .• tongue and the teeth. Examples 9 in thiriy 9in, and tJ in thee, Si. 14 PHONETICS (4) Point (also called post-dental or lingual), articu- lated between the point of the tongue and the apex of the teeth ridge. Examples t, d, n, 1, r. (5) Fore-blade (or pre-alveolar), articulated between the part of the blade just behind the point and the teeth ridge. Examples s, z, as in so, SOI, and zone, zon. (6) After-blade (or post-alveolar), articulated between the after part of the blade and the after teeth ridge. Examples / and 3, as in shotu, Jo;, and pleasure, plesar. (7) Front (also called palatal), articulated between the front (middle) of tongue and the hard palate. Examples 9 and j, as in hue, 9Ju:, and you, ju. (8) Back (also called velar), articulated between the back of the tongue and the soft palate, as k in cat, kat, g in gun, gAn, tj in long, Iotj. (9) Throat (also called glottal or laryngal), articulated in the glottis, i.e. between the vocal chords, as h in him, him. (10) Lips-back (also called labio- velar), articulated in two places, viz. at the lips and at the back of the tongue. Examples vi in we, wi, and nl in when, Aien. 27. If now we examine such a group of consonants as d, n, 1, r, we find that they are all voiced and are all formed at the point of the tongue. Notwithstanding this double agreement, they are not alike to the ear. We CLASSIFICATION OF SOUNDS 16 must, therefore, seek some other ground of difference which will be found to consist in the manner in which the consonant is formed. Five classes can thus be dis- tinguished. i. Plosive, formed by completely closing the air passage and suddenly removing the obstacle, or one of the obstacles, so that the air escapes, making an explosive sound. Examples p, d, g. Sometimes no plosion is heard (see §§ 194 — 202), in which case the consonant is more properly called a stop, ii. Nasal, formed by completely closing the mouth at some point, the soft palate remaining lowered so that the air is free to pass out through the nose. Examples m, n, Tj. (These are the only English sounds in which the soft palate is lowered.) iii. Lateral, formed by an obstacle placed in the middle of the mouth, the air being free to escape at the sides (sefe, however, § 75): Example 1. iv. Trilled (or rolled), formed by a rapid succession of taps of some elastic organ. Example rolled r. V. Fricative, formed by a narrowing of the air passage at some point so that the air escapes, making a kind of hissing sound. Examples f, z. These consonants may also be called open. The nasal, lateral, and rolled consonants are sometimes grouped together under the name of liquids, 28. The following table contains all the consonants in use in the Standard English of Scotland. In the table, the horizontal rows contain sounds articulated in the same manner, the vertical columns contain the sounds that are 16 PHONETICS o ;! 1 3 3i Fricative or Open 1 a M 08 PQ T ^ •*3 § 53 to ^3 N a V 1 i 7 •s $ HP CD > 3pq ^ ^ 02 3 Pi f CD o 3 ^1 If So CLASSIFICATION OF SOUNDS 1*7 articulated at the same place. The breathed sound is placed before the voiced and a dash indicates that the corresponding breathed or voiced sound is wanting, or not in common use. For the complete designation of each consonant and examples of its use see Values of Phonetic Symbols, pp. xi — xvi. 29. It is possible to describe each consonant shortly so as to mark it off completely from the rest and suggest at the same time its place and manner of formation. Thus V is the voiced lip-teeth fricative, i.e. it is a speech sound in which the breath current, having set the vocal chords in vibration, forces its way out between the upper teeth and lower lip with audible friction. It is convenient for class purposes that the students should familiarize themselves with these consonant names (see pp. xi — xvi). It is well, however, to remember that a mere memorizing of names is useless unless it has been preceded by ex- periments on the student's part to test the correctness of the descriptions here given. For full details about the sounds in above table see §§ 42 — 125. Classification of Vowels. 30. When we whisper the vowels we find that we can still distinguish them from each other. As the voice effect from the larynx is practically eliminated in the whispered vowel, we infer that the characteristic qualities of vowels must depend on the size and shape of the air passages above the glottis. Of these air passages the most important is the oral cavity, whose size is varied mostly by the horizontal and vertical movements of the tongue. If we pronounce in succession the vowel u in boor, buir, i in beer, biir, or the vowel o in mode, mod, G. 2 18 PHONETICS and e in fade, fed, we can easily feel the forward move- ment of the tongue. So also we can observe the vertical movement when we pronounce successively the vowels in food, load, and laud, viz. u, o, and q. 31. As the surface of the tongue is generally convex to the roof of the mouth, it is convenient to describe a vowel position by the highest point of the tongue com- pared with the rest of its surface. Thus when the highest point of the tongue is in the back and the long slope to the front, w^e call the vowel a back vowel. If the highest point of the tongue is in the front and the long slope to the back, we call the sound a front vowel. Lastly we suppose the highest point of the tongue to be in the middle of the surface, with an equal slope to back and front, and we call the vowels so produced mixed vowels (or flat vowels). 32. In each of these three classes — back, mixed and front vowels — it is possible, without shifting the highest point backwards or forwards, to vary the distance from the roof of the mouth. In the case of the front and back vowels, this is done by means of the vertical movement of the tongue, with the jaw generally working in unison. In the case of the mixed vowels, the variation of the distance from the roof is produced by the movement of the jaw alone, the tongue position being fixed relatively to the floor of the mouth. In this up and down movement of the tongue we again select three positions, high, where the tongue is as far up as possible without producing audible friction, low, where the tongue is as far down as it can go without shifting the highest point on its surface backwards or forwards, and mid, where it is equidistant CLASSIFICATION OF SOUNDS 19 Front Mixed Back High \i Mid \e Low u/ High 0/ Mid Low Fig. 4. Diagram to illustrate classification of vowels, see §§ 30 — 32. (1) Fig. 5. Tongue position for i, e, f , u, o, 9. For the sake of clearness the mouth has been drawn wide open. 2—2 20 PHONETICS from the two extremes. Thus we get the high back vowel u in food, fUd, the mid back o in load, lod, the low back 9 in laud, Igd, the high front i in feet, fit, the mid front e in fate, fet, and the low front ^ in fair, fga (Southern English). In Scottish as a rule we have only two representatives of the mixed vowels, viz., the mid lax and the mid tense, heard in the first syllable of arrive, a'raiv, and the second syllable oi further, 'fArtJar. In our texts it will not be necessary to distinguish these mixed varieties. 33. Rounding. If we contrast a in far and o in for, we notice that while both are produced with the highest point of the tongue surface in the back, in the second the corners of the lips come together, thus narrowing the opening of the oral cavity. This process is called Rounding and in the case of the back vowels it is accompanied by a marked pressure inwards of the cheeks. In the vowel o in coat, kot, as compared with o in cot, kot, the rounding is more marked. In Standard Scottish no front vowels are rounded, but several rounded varieties occur in the Central and Southern Scottish Dialects. Some of the back rounded vowels in weak position are reduced in formal speech to mixed rounded (see §§ 177, 223). The rounding and unrounding of vowels is a valuable exercise in ear training and vocal gymnastics and is recommended to students. 34. Condition of Tongue. Another element which is often of great importance in determining vowel quality is the state of the tongue and cheeks, more especially the first, as regards muscular tension. Vowels produced while the tongue is in a state of muscular tension are called CLASSIFICATION OF SOUNDS 21 tense vowels ; i in leap, lip, is an example of a tense vowel. Those which are produced when the tongue is not in a state of muscular tension, but is held loosely, are called lax vowels : an example is i in lip, lip. It is possible that the tension of the vocal chords may be a contributing cause of the distinction between vowels like i and i\ 35. The soft palate may affect vowel quality. In the articulation of normal vowels the soft palate is raised so that it touches the back wall of the pharynx as shewn in fig. 5, p. 19. The result is that no air can pass through the nose. It is, however, possible to lower the soft palate so that it takes up the position shown in fig. 1, p. 5, and the air can then pass out through the nose as well as through the mouth. When vowels are pronounced with the soft palate lowered in this way, they are said to be nasalized. Nasaliza- tion is expressed by the symbol ~ placed over the symbol of the sound which is nasalized. An example of a nasalized vowel is the French a as in centy sang, sd. Consonants, other than nasal consonants, may also be nasalized, but such nasalized consonants do not occur regularly in any important language. The movements of the soft palate may be observed by means of a pencil about 6 in. long inserted into the mouth. If this is held between the finger and the upper teeth so that the end inside the mouth rests lightly against the middle of the soft palate, and groups of sounds such as adad. . .eeee. . . are pronounced, the outer end of the pencil is seen to rise for the sounds d, I and to fall for the sounds a, e. Again, if we breathe in through the nose and out through the mouth the end of the pencil rises and falls in a similar manner. Nasalized ^ See experiments by E. A. Meyer, described in Festschrift Wilhelm Fifiior (Marburg). 22 PHONETICS vowels do not occur in Standard Scottish but may be heard from Gaelic speakers — more especially when the vowels are in proximity to nasal consonants. 36. The following table contains all the vowels used in Standard Scottish speech : — TABLE II Front Mixed Back High Key word i'eet fit fitted Key word food to High Mid fate met \ / — e \ ^ / ^ "" e \ her a / £ \ Africa a ^ rote rat rot far Mid Low air cat '-r\ \i \aw Low The phoTietic symbols with a plain line under them indicate tense vowels, those with a zig-zag line indicate rounded vowels. 37. Remarks on Vowel Table : — For class purposes it is better to observe a fixed order in naming the vowels, viz. (1) height, (2) horizontal position, (3) tenseness or laxness, (4) rounding. As in the case of the consonants, the name should also distinguish one vowel from another. Thus the vowel e in fate, fet, is mid front tense, o in coat, kot, is mid hack tense rounded, i in fit, fit, is high front lax. The student, however, must be again cautioned CLASSIFICATION OF SOUNDS 23 against the mere memorizing of these vowel names with- out realizing experimentally how the sounds are formed. See Exercises in Part III. 38. As an example of the series of investigations that each student should make for himself in the case of all the vowels, we might take the sound o in coat. First we pronounce the word slowly, then cut off the final consonant, and then the initial, which should leave us with the sound o (see § 32). The sound thus isolated, we recognize as voiced, because it can be sung, and as the mouth passage is not sufficiently contracted to cause audible friction, we call it a vowel. The tongue is in or near the mid position because if we raise it, we produce a new sound, viz. u in food, and if we lower it we get the vowel 9 in law. Again if we feel the tongue with a finger, we can assure ourselves that in pronouncing o the highest point on the surface is in the back. If we pronounce successively the vowels o, a, e, as in coat, kot, arise, a'raiz, fate, fet, we can feel the progressive move- ment forward of the tongue which would again prove o to be formed in the back of the mouth. Then we note that in o the muscles of the tongue, cheeks and lips, are all pulled tight, o is a tense vowel. If we relax them, without shifting the position of the tongue to any great extent, we get a vowel of different quality, viz. o in cot, kot. Lastly we can feel and, with the help of a mirror, see the action of the lips and cheeks in rounding the sound. If, keeping the tongue in the same position, we press out the cheeks ^ and separate the corners of the lips, we produce a different sound, something like a in hut 1 This can be done by inserting the index finger and thumb into the mouth and pressing them apart against the cheeks horizontally. 24 PHONETICS With the help of a mirror we can now see distinctly the position of the tongue in the back of the mouth. Round the lips and cheeks again and we hear the o sound once more. We sum up all these experiences in the name mid back tense rounded. As all normal vowels are voiced, this may be left unexpressed in our description of the vowel sounds. 39. If the student will move his tongue slowly from u to 9 or from i to § he will soon discover that there are many gradations of sound between these extremes. If it were necessary to indicate intermediate positions more exactly, we might use the terms high lowered, mid raised, mid loivered, low raised. Thus the second vowel in pity, piti"^, is high front lax lowered, the vowel in road, rod, is often in Edinburgh pronunciation the mid hack tense rounded raised (approaching the sound of u), the vowel in lot, lot, is generally in Scottish mid hack lax rounded, but a common substitute is the same vowel lowered, and a less common substitute is the low hack IojX rounded raised. The low hack lax rounded, regular in Southern English in words like lot, is rare in Scottish. We can indicate these vowels by means of diacritics, thus Ot mid hack lax rounded lowered, 9^ low hack lax rounded raised, but as a rule such minute accuracy will not be necessary in our texts. 40. In the horizontal movement of the tongue, it is also possible to note gradations of sound between the normal positions. Thus in the pronunciation (of many Scottish speakers) of the vowel in good, the highest point of the tongue is not in the back of the surface but between that and the middle. We should call such a CLASSIFICATION OF SOUNDS 25 vowel in good an advanced u, and indicate the fact by the diacritic +, e.g. u + . On the other hand the tongue is often drawn back slightly from the normal position. Thus in pronouncing the, vowel in man, Southern English insen, Scottish speakers generally draw back the tongue. We might call this vowel ae retracted and write it ae-. As this vowel is in common use in Scottish, we have a separate symbol for it, viz. a. In our broad transcription, diacritic marks can be generally dispensed with, except now and again to indicate dialect sounds. 41. We are now in a position to consider the speech sounds in use in our Scottish type of English. It will in many cases be sufficient to explain the formation of sounds by using the terms already defined (see §§ 26 — 40). Raising of the soft palate (as in fig. 5, p. 19) is to be implied in the case of all sounds except the nasal consonants, unless the contrary is stated. CHAPTER IV THE PLOSIVE CONSONANTS P 42. In pronouncing this sound the air passage is completely blocked by closing the lips and raising the soft palate; when the lips are opened the air suddenly escapes from the mouth, and in doing so makes an ex- plosive sound; the vocal chords are not made to vibrate. This action may be summed up by saying that p is the breathed lips plosive. Sometimes no plosion occurs, in 26 PHONETICS which case the consonant would more properly be called a breathed lips stop, (See §§ 27 i, 200 — 202.) 43. p is the usual sound of the letter p, p is also represented by pp as in happy, 'hapi, and sapped, sapt. Other less frequent spellings for the same sound are ph, pe, ppe, gh, as in Olapham, ^lapam, Grimthorpe, 'grim- 9orp, steppe, step, hiccough, ^ikap. 44. This sound is formed exactly like p except that the vocal chords are made to vibrate (§ 13) so that * voice' is heard. The formation of the sound b may be expressed shortly by defining it as the voiced lips plosive. 45. b is the usual sound of the letter 6. Note also bb and pb spellings. Examples baby, 'bebi, pebble, 'pcbl, cupboard, 'kAbard. 46. Breathed point plosive. Articulated with the point of the tongue against the apex of the teeth ridge. 47. This sound is most frequently written with the letter t or tt. It is the sound of -ed in the past tense or the past participle of verbs ending in breathed con- sonants (other than t), e.g. bet, bet, better, T)etar, packed, pakt, rushed, VAJt, but waited, 'wet^d. Note these other spellings : debt, det, receipt, n'sit, yacht, jot, caste, kast, phthisic, ^tizik, mezzotint, 'metsotint, eight, et, Thames, temz, indict, in'dait. 48. In careless speech t is often omitted before d] sit down becomes si'daun instead of sit'daun. So also THE PLOSIVE CONSONANTS 27 postman, 'postman, becomes 'posman, next one, 'nekst- wan, becomes 'nekswan. These pronunciations should be avoided in careful speech, especially in school. On the other hand t is omitted regularly in listen, must n't, and often, 'lisn, 'mAsnt, 'of^n. 'oftan is sometimes heard, especially in very dignified speech. 49. Many speakers advance the point of the tongue as far as the upper teeth in the articulation of this sound. This gives a slight lisping effect to the speech and is not uncommon in Gaelic speakers. Before r the stop in such cases seems to be very loosely held so that the escape of breath gives the impression of 9 in thin. Thus trill, normally tril, becomes tGril, and even Gril. Before 9 or 8, t is commonly advanced towards the teeth as in at them, at+8em^ 50. This sound is formed, exactly like t, except that the breath is replaced by voice. The formation of the sound d may be expressed shortly by defining it as a voiced point plosive (or stop). 51. The letter d in our writing stands most commonly for this sound as in deed, did. Note however sadder, 'sadar, jagged, 'dsagjd, horde, hord, should, Jud, Wynd- ham, 'windam, add, ad. 52. Speakers from Gaelic districts tend to unvoice this sound when final and Scotch dialect speakers also in adjectival and participial words ending in -ed, e.g. ragged, crabbed are often pronounced 'rag at and ^rabat instead of 'ragfd and 'krabjd ; -ed also after m or r? is ^ For + see § 40. . 28 PHONETICS often wrongly unvoiced, e.g. flattened, flatnt, instead of fiatnd. In some parts of Scotland a lengthened n is used regularly in dialect instead of final nd as in land, but this must not be carried into standard speech. As in the case of t (see § 49) the point-teeth sound of d especially before r must be avoided, drop is drop and neither d+rop nor d+?Srop. 53. The sound d is frequently dropped in conversational pronunciation when it occurs in the middle of a group of consonants, especially when preceded or followed by a nasal. Kindness, grandmother are very commonly, if not usually, pronounced 'kaxnnis, 'granmAVar. (These are really cases of assimilation, see § 215.) A very common case is the word and when unstressed. Bread and butter is generally pronounced bredn'bAtar (not bredand'bAtar) or even bredm'bAtar, and two-and-six is usually tuan'siks in conversational pronunciation. So also handful, land- lady may become 'hanfl, lanledi. k 54. In pronouncing this sound, the glottis is open but the air passage is completely blocked by raising the back of the tongue to touch the soft palate which is also raised so as to shut off the nose passage (see §§ 10, 11). When the contact of the tongue with the palate is re- leased by lowering the tongue, the air suddenly escapes through the mouth and in doing so makes an explosive sound. We call this sound the breathed back plosive (or stop). 55. c is the letter most commonly used for this sound in writing, especially before a, o and u, k is used THE PLOSIVE CONSONANTS 29 frequently before e and i. ck is used after a short vowel. Examples: — cat, kat, kin, km, cold, kold, keg, keg, cut, kAt, lack, lak. Notice other spellings : — quell, kwel, except, fk'sept, hough, hok, barque, bark, conquer, 'koTjkar, ache, ek, box, boks, character, 'karaktar, walk, WQk. 56. In the dialects of Orkney and Shetland this sound is opened before Ai or TV and the fricative x is the result. Thus question, 'kwestjan becomes 'xwestjan (see § 94). g 57. This sound is formed exactly like k except that the vocal chords are made to vibrate (§ 13) so that ' voice ' is heard. The formation of the sound may be expressed shortly by defining the sound as the voiced back plosive (or stop). 58. The letter g stands in most words for this sound, as in gun, gAn. Note also bigger, 'bigar, ghost, gost, examine, ig'zamin, guest, gest, vague, veg, luxurious, lAg'5urias. For the wrong use of g after tj see § 72. 59. k and g are still pronounced in Scotch dialect before n as they were in Old English, e.g. knee, gnaw, knii, gna:. In East Forfarshire t is substituted for k in words of the knee class (see § 213). 60. This sound is formed by closing the glottis com- pletely (namely by bringing the edges of the vocal chords into contact) and suddenly opening it (i.e. separating the vocal chords again). This action may be expressed shortly by defining ? as the glottal stop or glottal plosive. This sound has no letter to represent it in ordinary spelling. 30 PHONETICS 61. An exaggerated form of this consonant constitutes the explosive sound heard in coughing. The glottal stop is common in Scotch dialect pronunciation in the district between the Firths of Forth and Tay on the east side and the Firth of Clyde on the west. It is most frequent before the stop consonants t, p, k, and may be heard also before the nasals n and tj. It often takes the place of the following consonant, e.g. pass the butter becomes 'pasSa'bAPar. Cultured speakers from these districts have some difficulty in completely eliminating this peculiarity, but it can be very much attenuated by slow and deliberate utterance. This sound is sometimes heard before strongly stressed initial vowels and in the emphatic negation ?io !, no?. CHAPTEE V LIQUID CONSONANTS m 62. In pronouncing this sound the mouth passage is blocked by closing the lips ; the soft palate is lowered so that the air passes out through the nose ; the vocal chords are in vibration. This formation may be expressed shortly by defining the sound as the voiced lips nasal consonant. 63. The corresponding breathed consonant does not occur in Standard Scottish, except in interjections such as mmm (generally written Am, ahem) and in words like small y etc. (see § 212). It may occur in Shetland dialect, e.g. humpy, hoiiipi, unruly (applied to the sea). LIQUID CONSONANTS 31 64 m is the regular sound of the letter m as in man, man. Other spellings for this sound are to be seen in hammer, 'hamar, Ba.nff, bamf, damn, dam, phlegm, flem, holm, hom, lamb, lam. 65. Note that in words like prism, chasm, the m is syllabic (§ 206). 'prizam and even 'priZAm are often heard, but should be avoided. In careless speech m often occurs instead of n when preceded by p or b, e.g. open, 'opn becoming 'opm, cup and saucer becoming kApm'SQsar instead of kAp^n'sQsar (see § 214). 66. In pronouncing the consonant n, the mouth passage is blocked by raising the tip of the tongue to touch the teeth ridge ; the soft palate is lowered so that the air passes out through the nose ; the vocal chords are in vibration. This formation may be expressed shortly by defining the sound as a voiced point nasal consonant. 67. n is the regular sound of the letter n. Example none, nAn. Other examples are : — dinner, 'dinar, reign, ren, gnaw, ngi, mnemonics, ni'moniks, knee, nil, pneu- matic, nju'matik. 68. n is frequently syllabic (§ 206), especially in syllables beginning with other point consonants ; thus : — mutton, ridden, are usually pronounced 'mAtn, *ridn. In poetry, however, this syllabic n as well as m often does not count as a separate syllable and must then be very lightly pronounced. Example : " Alas ! the fowls of heaven have wings, And blasts of heaven will aid their flight." Wordsworth, Affliction of Margaret 32 PHONETICS 69. The corresponding breathed sound ig. does not occur in Standard Scottish except in exclamations and sometimes sporadically in rapid careless speech, e.g. / dont know, afdonpno: for ai'dontno: ; I can't tell, afkanntel. It may occur in Shetland dialect, e.g. knit, k^it. D 70. In pronouncing this sound the mouth passage is completely blocked by raising the back of the tongue to touch the soft palate ; the soft palate is lowered so that the air passes out through the nose ; the vocal chords are in vibration. The formation of the sound may be ex- pressed shortly by defining it as the voiced back nasal consonant. 71. *ij is the sound of final ng, as in king, knj, and of n before letters representing the sounds k and g as in inky njk, finger, 'firjgar. Further examples of the sound are song, sotj, singer, 'sirjar, anchor, 'arjkar, congress, 'koTjgres, handkerchief, liaTjkart/if, younger, 'jATjgdr. 72. The so-called dropping of g in the termination -ing is really the substitution of n for tj. In the North and West Highlands such words as sing, sitj and singer, 'siTjar, are often pronounced as siTjg, or sirjgg, and 'siTjgar. o lenS for leijO (length), and a'piijan for a'pinjan (opinion) are probably derived from Scotch dialect and should be avoided. 73. An unvoiced tj is sometimes heard in Shetland speech, e.g. knee may be heard as jjTji : buncle (a knot or lump) as 'bjoTjkl. 74. Notice that in Standard Scottish mb, nd, ijg in words like number, land, longer must not become m, n, tj, LIQUID CONSONANTS 33 as in Scotch dialect (see § 215). Thus longer is 'loTjgar and not 'loTjar. 1 75. In the consonant 1, as used generally in Standard Scottish, the point of the tongue rises to the teeth ridge, and the air current, split into two portions, passes along the edges of the tongue. Sometimes the breath passes out along one edge of the tongue without any appreciable difference in acoustic effect. Hence the most appropriate name for this consonant is voiced point lateral (or side). The small amount of friction accompanying this sound makes it closely akin to the vowel. It is often called a vowel-like or vocalic consonant and its comparatively high sonority gives it a syllabic power (see §§ 205, 206) under certain conditions, as in battle, 'batl, ladle, 'ledl, not 'batAl, ledAl. 76. Whether in the single word or in the breath group (see § 189), consisting of two or more words, this consonant is apt to be modified by the influence of con- tiguous sounds, more particularly vowels. Two varieties should be specially noted (1) the clear 1 where the point of the tongue touches the teeth ridge but the back does not rise (see fig. 6 (i), p. 34), (2) the dark 1 where the back rises as well as the point (see fig. 6 (ii), p. 34). The clear 1 has a resonance akin to the vowel i and the dark variety approaches in acoustic effect the vowel u. 77. In the beginning of words the clear 1 is more common but before back vowels it tends to change into the dark with the upward movement of the back of the tongue. The resultant of these changes is very frequently an 1 intermediate between the clear and dark varieties. G. 3 34 PHONETICS After a vowel or a consonant the dark 1 is the more common but the clear or intermediate variety may be frequently heard after lip and point consonants and front vowels. 78. In the Scotch phrase 'mAkPgwid, i.e. much good, the 1 may be formed without point contact while the air current glides along one side of the back of the tongue. This form of 1 should be avoided in correct speech. 79. The spellings for the sound 1 are Z, II, In, le, as loud, laud, follow, 'folo, kiln, kil, apple, 'apl. 80. The breathed I, i.e. 1, is not a regular speech sound in Scottish but it may be occasionally heard in rapid speech between breathed sounds as What will Tom do ? Aiotl'tomdu: ? LIQUID CONSONANTS 35 r sounds 81. Voiced point trilled (rolled). This sound is formed by a rapid succession of taps of the tip of the tongue against the teeth ridge. 82. Examples: rude^ rud, arrange, a'rend3, waiter, 'wetar, wring, rirj. 83. This is the most common form used in Scotland of the sound written with the letter r. Within recent years there has been a tendency to attenuate the force of the trill especially in final positions and before another consonant. This tendency is probably due more to imita- tion of Southern speakers than to a natural development in the pronunciation. The trill may be reduced (finally and before consonants) to a single tap [r], or even to a fricative consonant [j], and in the latter case a change of quality in the preceding vowel is perceptible. The consonantal effect, in any case, is never lost in genuine Scottish speech, and the trill may still be said to be the characteristic Scottish sound corresponding to the letter r. 84. In Celtic districts the point trill is not heard, at least finally and before another consonant. In the first case it is a fricative consonant in which the point of the tongue is turned upwards and backwards. In the second case, i.e. before another consonant, this inverted r can also be heard, but very frequently the pure consonantal effect is lost and all that remains is a peculiar modification of the preceding vowel (see fig. 7, p. 36, and §§187, 188). In some" of the Scotch dialects of the North East, r is regularly dropped before s as parse, horsie, pAS, 'hpsi. 3—2 36 PHONETICS 85. The consonant produced by the trilling of the uvula is called the back or uvular r. Its phonetic symbol is R and its use in Scottish is considered a defect of speech. It is not peculiar to any district in Scotland, but is often heard from individual speakers. Even when it is the result of imitation and not of some physical defect, it is extremely difficult for a grown up person to get rid of it. The point trill may be got by repeating Fig. 7. Diagram iUustrating Inversion. tada... at first slowly and then very quickly, the tongue being kept as loose as possible. The result is that the d comes out as a slightly trilled r and the succession of sound tra. When the sound has been practised alone, it should then be used in words where it stands first, then in words where it is final, and lastly in words where it is medial. Regular and careful reading aloud should follow these exercises. ' . LIQUID CONSONANTS 37 86. Those who find difficulty in pronouncing the point trill might use the point fricative instead (see § 117). This sound may be got by pronouncing first U (see § 102), and then gently withdrawing the tongue from the teeth till the point is about under the upper gum, and a sound is produced that is neither S nor z. If the teeth are kept an inch apart and an attempt is made to pronounce z, the result will be an untrilled r. The pupil should practise the sound attained in either of these ways, until it has made a decided impression on his ear. He should then practise it in single words and lastly in connected speech. Teachers in the Infant Room should be on the watch for the uvular r, as its correction in early life is in most cases a comparatively simple matter and a very important thing for the future comfort and success of the pupil. 87. Note the incorrect insertion of a (see § 175) before the r sound in umbrella, shroud, country, Ambd'rela, /a'raud, 'kAiitari for Am'brela, Jraud, ^kAntri. CHAPTER VI THE FRICATIVE CONSONANTS 88. This sound may be described as a breathed lips- back fricative. It is formed by rounding and pushing forward the lips, at the same time raising the back of the tongue in the direction of the soft palate. 38 PHONETICS 89. M. is represented in our ordinary spelling by wh and is very seldom replaced by w in Scottish speech. Examples : — wheuy Aien, whale, Aiel, why, ikiai, wheel, Aiil. 90. There is a tendency on the part of some Scotch speakers to raise the back of the tongue too high, thus producing the back fricative x (as in Scotch loch) along with M. This should be avoided. 91. On the other hand, the lowering of the tongue to a neutral position converts the ia into a bi-labial f. This has actually taken place in Northern Scotch, the bi-labial being later changed into the ordinary lip-teeth f, e.g. O.E. hwaet, N. Scotch fat. Mod. Eng. lAot. w 92. The voiced lips-hack fricative. This consonant is formed in the same way as the last, only the vocal chords are in vibration and the sound is produced with hardly any friction. 93. "w is the consonantal sound of the letter w. It is used when w occurs at the beginning of a syllable or is preceded by a consonant, e.g. wait^ wet, away, a'we:, twelve, twelv. The letter u is generally pronounced as w when preceded by q, e.g. quite, kwait, and often when preceded by g in unstressed syllables, e.g. language, 1ai]gw|d5. w before r is silent in modern English, though some of the Scotch dialects still retain it as w or V, e.g. wrought, modern English rgt, Scotch dialect wroxt or vroxt. Other examples : one, WAn, dissuade, di'swed, once, WAns, cuirass, kwi'ras, choir, kwair, queen, kwin. Note that in the colloquial style w is often omitted in the words will and would, e.g. that will do, Batl'du:. THE FRICATIVE CONSONANTS 39 94. Breathed hack fricative. This sound is formed by the back of the tongue rising towards the soft palate but without touching it. It is heard in a few words derived from Scotch dialect and in some place-names, e.g. loch, lox, Sauchieburn, 'sQXibArn. In some parts of Scotland x is substituted for 9 in words like three, xri: for Qrii, and in Orkney and Shetland dialect it is used for k in words beginning with "kw, as in question, 'xwestjan, instead of 'kwestjan (see § 56). 95. The voiced sound g corresponding to x has been lost in Modern English. It occurs in Gaelic, e.g. laogh, a calf, lui+g., and in German, e.g. wagen, vagan. Its pro- duction from X (see § 94) is for English speakers a very good test of ability to voice a breathed consonant. 96. This sound is formed by pressing the lower lip against the upper teeth and allowing the air to force its way between them and through the interstices of the teeth; the soft palate is raised and the glottis is left open. The consonant is fully described as the breathed lip-teeth fricative. 97. Examples of f : fan, fAn, calf, kaf, raff, rAf, often, 'of an, tough, tAf, sapphire, 'safair. 98. The voiced lip-teeth fricative corresponding to above is written phonetically v. 40 PHONETICS 99. V occurs in the following spellings: very, 'ven, nephew, 'nevju (also 'nefju), of, av or ov, twelve, twelv. 100. The Celtic student should exercise great care in pronouncing this second sound as he is apt to unvoice it. He should repeat such pairs of words as ruff — rove, stuff — stove, life — live, fine — vine, fear — veer, fan — van, till his ear has become used to the distinction between f and v. e 101. We call this sound the breathed point-teeth fricative. In its formation, the tip of the tongue is articulated against the upper teeth, the main part being more or less flat. 102. The voiced point-teeth fricative. Formed like 9 but with voice. 103. 9 and 8 are generally written th. Celtic speakers should carefully study the breathed and voiced sounds in the following examples : thin, 9in, the, 8i, path, pa9, paths, paiBz, thatch, 9at/, that, Bat, truth, tru9, truths, truiSz, through, 9ru:, there, Seir, breath, br69, breathe, briilS, ether, 'i9ar, either, 'aitJar, or 'iiSar, earthen, '6r9an, further, ^fArSar, method, 'me9ad, feather, 'fetJar, jyithy, 'pi9i, wither, 'wiBar. sikst for siks9 is derived from Scottish dialect and should be avoided. THE FRICATIVE CONSONANTS 41 104. In Orkney and Shetland dialect these sounds are regularly replaced by t and d (more or less advanced) respectively. Pupils who find difficulty in getting the correct sound of 9 or S should be asked to thrust the tongue well forward, even between the teeth. When the sound has been thus obtained and frequently repeated, the tongue can be gradually withdrawn to the normal position. 105. In the following words, usage varies between 9 and "8 in Scottish, though^ thence, thither^ with. Some people use wiS before a vowel and voiced consonant, and ivi9 in other cases. 106. Breathed fore-blade fricative. It differs from 9 in that the fore-blade of the tongue is raised towards the fore part of the teeth ridge. The point may be somewhat depressed without changing appreciably the quality of the sound. 107. The following words exhibit some of the different ways of writing the sound s : seam, sim, scene, sin, Ciren- cester, 'sisistar, miss, mis, schism, ^sizm, Worcester, 'wustar, purse, pArs, christen, ^krisn, boatswain, 'bosan, ceiling, 'siliTj, psalm, sa:m, prance, prans, quartz, kwprts. z 108. Voiced fore-blade fricative. Formed in the same way as s but with the addition of voice. 109. Examples: zone, zon, his, hiz, discern, di'zem, muzzle, 'mAzl, as, az, reason, Yiizan, furze, fArz, lense, lenz. 42 PHONETICS 110. Gaelic speakers should pay great attention to the z sounds, which they are very apt to unvoice. They should practise s and z singly and then in such contrasting words as : sink, siT)k, zinc, ziTjk, hiss, his, Ms, hiz, seal, sil, zeal, zil, 'pence, pens, pens, penz, pince, pins, pins, pinz, glass, glas, glaze, gleiz, hence, hens, hens, henz, 6^6s^, blest, hlazed, bleizd. / 111. Breathed after-blade fricative. When this sound is compared with s it will be found that in its formation the tongue is drawn further back so that the after-blade functions against the after-teeth ridge and the muscles are held less tense. Some speakers droop the point of the tongue towards the lower front teeth without changing the acoustic effect to any great extent. 112. This sound forms with t a kind of consonantal diphthong, e.g. chair, t/e:r, reach, rit/. In some districts of Scotland, viz. Caithness and the Shetland Isles, / is used initially in dialect pronunciation in many words that should have tj. If the teacher makes the pupil place the tip of the tongue on the apex of the teeth ridge in the beginning of the word, the correct pronunciation follows without difficulty. 113. The sound of / is most frequently written sh in our present spelling, as shed, /ed. Other examples : sugar, 'Jugar, pressure, '^t^^bt, nation, 'ne/en, racial, 'rejal, ocean, 'oJ9n, schist, jist. THE FRICATIVE CONSONANTS 43 5 114. Voiced after-blade fricative. Articulated in the same manner as the preceding but with the vibration of the vocal chords. It occurs in the consonantal group dj, e.g. fudge, dSAds. 115. In ordinary writing, there is no regular symbol for 3. Examples: azure, 'eisar, confusio7i, kanTjuissn, measure, 'lat^Qr, occasion, a'keisdn. 116. Gaelic speakers tend to unvoice this sound as well as z. The following contrasting words should be carefully studied : fashion, 'fa/an, vision, 'visan, church, t/ArtJ, judge, d5Ad5, hitch, hit/, hedge, hed5, chew, t/u:, Jew, d^ni, chin, t/in, gin, d5in, chest, t/sst, jest, d56st. 117. Voiced point fricative. It is articulated by the tip of the tongue against the teeth ridge, the front part of the tongue being somewhat hollowed (see fig. 8). It is a substitute with many Scottish speakers for the trilled r before consonants and finally (see § 83). Among many Gaelic speakers j in this position is replaced by the inverted consonant j, i.e. a fricative r sound pronounced with the tip of the tongue turned back towards the hard palate, j is used by many speakers after n, a strong trill in such a case giving the impression of d, e.g. Henri/, ^henji, instead of 'hendri. 118. In words where a long vowel or diphthong is followed by this consonant, an intermediate glide sound is heard from many speakers. Thus fear, four, fire, might PHONETICS be written in narrow transcription, fi®j, fo®j, fai®r. This intermediate sound should never develop into a (see § 150). In our texts we shall write fi:r, fo:r, etc., using the same symbol r for r (§ 81) or r (§ 83) or j. Fig. 8. Tongue-positions of the dental fricatives i. J 119. In pronouncing j the air passage is narrowed by raising the front of the tongue so as nearly to touch the hard palate. The sound is voiced and uttered with the minimum of audible friction in Standard Scottish. The tongue position is only a little higher than that for i (cf figs. 5 and 8). The consonant may be described as th^ voiced front fricative. ^ For the sake of clearness the mouth has been drawn wide open. As a matter of fact, in pronouncing s, z and J, j the teeth are generally almost in contact. THlfi FRICATIVE CONSONANTS 45^ 120. Initially it is very often written y as young, jAq. Other examples: union, 'junjan, beauty, 'bjuti, genius, 'd5inj9s, ewe, ju:, pure, pjuir, opinion, a'pinjan. 121. In Standard Scottish there is not the same tendency to change j after t into J and after d into 5. We still say 'netjar and edju'kejan in careful speech where in Southern English are heard more commonly 'neit/a and edsu'keijan. Former sj and zj have become J and 5 frequently in standard speech before a or a syllabic consonant as in nation, 'ne/an, ocean, 'ojdn, special, 'spe/al. There are a few examples in other cases, e.g. Juir for sure, and 'Jugar for ^w^a?^ 'ju:5ual for usual. For casual may be heard from educated people Hcaq'ual, Casual and ^kasjual. Note also soldier, 'sold5ar. 9 122. Breathed front fricative. It is heard frequently in Standard Scottish in words like hu£, huge, 9U: or 9Ju:, 9Ud5 or 9Jud5. hju: and hjud5 are also used. 123. It should be observed that w and j differ from the other fricatives in the fact that they cannot be held for any time without developing into a vowel. They seem to resemble the plosive in coming forth with a slight plosion, but on the other hand they resemble the fricatives in having the mouth passage open all the time. Both are accompanied by very little audible friction, w is consequently very nearly an u and j very nearly an i, and as a matter of fact, in the history of our speech, vowel and consonant frequently interchange, cf. one, WAn (Shake- speare's on or un) with alone, alon, and dialected young, uns, 'JAT] Anz, and Scotch 00 u: for wool, wul; formef diuk and modern djuk for duke. 46 PHONETICS 124.. In the utterance of an initial vowel in English, the voice effect is generally preceded by a gentle breath as the chords gradually close for the production of voice. When the breath current is accelerated so that friction is caused on the edges of the chords, we become conscious of a separate sound preceding the vowel. This sound is written h and may be termed the breathed glottal fricative. Its popular name — the aspirate — is not very appropriate, as initial vowels in Standard Scottish, where we hear no A, are also generally aspirated, i.e. preceded by a gentle breath. When this accelerated or stressed breath enters the oral cavity, the latter has assumed or is assuming the shape of the following vowel, h therefore must take the oral shape of the vowel it precedes and h sounds are really devocalized vowels and have as many varieties as there are vowels, who and he might be written uu, ii, only it would not be so convenient as the single symbol h. The so-called dropping of h is not unknown in Scottish dialect, e.g. in some of the fishing villages on the north-east coast and particularly in the Black Isle, Easter Ross. When a word is specially emphasized, the h is often restored. 125. In Scotch dialect, hit* and hAZ or haz are emphatic forms of it, it, and us, as. In familiar colloquial speech h is regularly dropped in pronominal words like him, her, his, which are habitually used with little stress, but the h is restored when the pronoun is emphasized, e.g. / told him so. Not HIM surely, af toldimso:. not 'him Juirli. In careful speech the h is more rarely 1 hit is the original form of the pronoun. THE FRICATIVE CONSONANTS 47 dropped, and in formal reading almost never. Note that in history y 'histari, the accent is on the first syllable and therefore h is pronounced, hence we say a history. In historical, is'torikl, the accent is on the second, no h is audible and hence we say an historical. The memory of history and the written h in historical combine to restore the pronunciation of h in historical, and hence we have at present two pronunciations of this word. Note also that humour and hotel are pronounced by some with the h and by others without it. CHAPTER VII THE VOWELS THE FRONT VOWELS i 126. The front vowels are articulated with the front of the tongue raised towards the hard palate and the whole body of the tongue moved forward from the back of the mouth (see fig. 5 (i), p. 19). The exit for the breath current' is between the forepart of the tongue and that part of the mouth roof which lies between the hard palate and the teeth. The lips are neutral and somewhat spread and the tip of the tongue generally touches the lower teeth. When the tongue is as high as possible without causing audible friction and the muscles are in a state of tension, the vowel i is produced as in feet, fit, feed, fid. In Standard Scottish i except before voiced fricatives, before r and finally, is 48 PHONETICS much shorter than in Southern English (see Chap. XIV). The complete designation of this sound is high front tense, 127. Its most common spellings are: ee, ea,e + con- sonant + e, ei, ey, ie, ^, eo. Examples : keel, kil, heat, bit, mere, iniir, fever, 'fiivar, ceiling, ^siliTj, key, ki;, relief, ri'lif, fatigue, fa'tig, people, 'pipl. N.B. real is 'rial and reel is ril. 128. High front lax. This vowel is produced in prac- tically the same position as the preceding. Owing to the muscles of the tongue being lax, the surface of the tongue is not so convex as in i and consequently the highest point may be slightly lower. This vowel is generally short in Scottish but is lengthened somewhat before voiced con- sonants. In final position, e.g. the second vowel of pity, it may be often heard with nearly full length. Note, however, that i is not the short of i as the two vowels differ in quality and may or may not agree in quantity. 129. The following are some of the ways of writing this sound : i (the most common), y (always when final), e, ui, ie, o, u, i -\- consonant + e. Examples : pin, pin, nymph y nimf, England, 'ingland, guilt, gilt, sieve, siv, women, 'wiman, puny, 'pjuni, busy, 'bizi, give, giv. Note king is kiTj and not kirj, and speak is spik and not spik. 130. When final, as in pity, i is generally somewhat lowered, e.g. compare first and second vowels in pity. In the verbal and plural termination es and in the adjectival and verbal ending -ed, and in the endings -less, -ness, -est, -et, many speakers use i, a vowel lying between e and i. Others use a. a tends to become a, an objectionable sound in these cases, i is a very convenient compromise between THE VOWELS 49 the extremes of a and i, although 9 in these terminations must be recognized as in use in Standard Scottish, i or i is also the second element in the diphthongs ai and ai and oi as in rive, rife, hoy^ raiv, raif, boi [ra^v], [ra^if], [boi] (see § 183). 131. .In Scotch dialect i may be pronounced according to district and neighbouring souiid 6-»-, 6-, a-^, a, \,\ (for ^ - see § 39). Thus hill is often pronounced as if it were hull or hell or something between these two. Speakers of Scotch dialect and Gaelic should pay great attention to the clear enunciation of the i vowel. 132. Note also that i is not a permissible substitute for I in stressed open position, as in city, spirit ^ position. Scotch dialect has 'site ^ /spire -^t, po'zi/n for the Standard 'siti, 'spirit, pa'zi/an. 133. Mid front tense as in fate, fet. It is not diphthongized as in Southern English. It is very tense ajid raised somewhat above the middle position (see fig. 5(1), p. 19). This raising should not be exaggerated as it gives the impression of an i sound. To an English- man the Scottish Mary, meiri, often sounds like miiri. This vowel occurs generally long, but see Chap. XIV. 134. The most common spellings for this vowel are, a + consonant + e, ai, ay, ei, ey, ea, eigh. Examples : gale, gel, rain, ren, ray, re:, vein, ven, obey, o'be:, great, gret, weigh, vrei. Note also: straight, stret, reign, ren, gauge, ged5, gaol, d5el, dahlia, 'delja, eh, ei. Speakers accustomed to use Scotch dialect tend to use 6 or § or a vowel between these two, instead of e. G. 4 50 PHONETICS 135. Many if not most Scottish speakers still use this vowel e in words ending in are, air, ear, eir, ere, as care, keir, stair, steir, tear, te:r, heir, e:r, ere, e:r. For other pronunciations of this class of word see §§ 140, 141. 136. Mid front law. The front of the tongue is raised towards the hard palate barely reaching the mid position, the muscles are lax and the lips neutral. This vowel is short except when used instead of e before r (see § 140). 137. It is written e (most commonly), ea, a, ue, ei, eo, ie, u, ai, as beg, beg, bread, bred, many, 'mem, guest, gest, leisure, 'lesar + 'li:5ar, leopard, 'lepard, friend, frend, bury, 'ben, said, sed. 138. Most Scottish speakers still use this vowel (written e) before r or r 4- consonant as in confer, kdnfer, fern, fern, etc. For another pronunciation see § 178. 139. This vowel is often wrongly substituted for a (see § 143) in words like cab, man, etc. 'dseks'be/fhet is an affected form for Standard Scottish 'dsaksH^a/t'hat, Jack's bashed hat. This e for a may be an attempt to render the Southern English se (see § 142). In the North East, e is often wrongly replaced by i before m and n. remember, Henry, send are pronounced n'mimbar, 'hinn, Bind, for ri'membar, 'henri, send. 140. Many speakers now use e: in words spelled air, ere, etc. (see § 135) before the point fricative j instead of the old e: . e in such cases is fully long and sometimes is followed by a slight glide. Thus care, stair, ere would be keir, steir, e:r. When e is thus lengthened, it tends to be THE VOWELS 51 lowered, hence approaching in many speakers the vowel ^ of southern speech. If ^ is used in these words, it can never be followed by trilled r without giving a dialectal effect. Note that the adverb there, generally Beir, is often pronounced 8e:r when very emphatic. In familiar speech in unstressed position it frequently becomes War, e.g. at the beginning of a sentence, there was once a man, Sarwaz'wAnsa'man. The adjective their when stressed is Ssir, when unstressed tSer, or in careless speech ?Sar. 141. Low front tense {or half tense). This vowel is used by many Scottish speakers in words of the * care ' type instead of the more common e (see § 135). In this case the trilled r is replaced by the point fricative j. The use of § for e or e in any other case is strongly suggestive of dialect speech and must be discountenanced. 142. Low front lax. Place the point of the tongue on the ridge of the lower teeth, raise the fore part slightly towards the front palate and open the mouth wide, without making the muscles of the tongue tense. The resulting sound will be a practical approximation to the Southern English vowel in man, etc. This sound actually occurs in a Scotch Dialect (see Murray's Dialect of the Southern Counties of Scotland) as a substitute for 6 in words like pen, Nell, bell, etc. Its use by some speakers instead of a (see § 143) in words of the man type is probably an importation from Southern English. It is heard most frequently about Edinburgh and Glasgow. Most Scottish speakers who attempt to pronounce maen 4—2 52 PHONETICS say men which is a Cockney pronunciation and to be avoided. A convenient name for the low front lax would be the front a, a (the vowel in man) 143. When the point of the tongue is retracted from the ae position and the whole tongue shifted slightly backwards, a new sound is produced which in acoustic effect is midway between ae and a (see §§ 142, 147). It is the most common substitute for ae in words like man (see § 142), among Scottish speakers and is very similar to the sound heard in the French patte. Some speakers use a short a (as in German Mann) in this class of words but this sound must be considered dialectal. A less objection- able variety is heard when the tongue is slightly advanced from the back position, but those who use this vowel tend to fall back on the objectionable short a. The symbol a may be understood to indicate a vowel distinct from a and ae which is most conveniently called the low front lax retracted or shortly the front a retracted, 144. a is generally the first ^element in the diphthong ai heard in highy rise, etc., but see § 147. Many good speakers use ai wherever this diphthong occurs, but the majority of Scottish speakers use a distinct variant (see §183) when the diphthong is not final nor followed by r, z, V, «. 145. The following are some of the ways in which this diphthong is spelled : t, t + consonant + e, eigh, y, y + consonant -h e, ui, ig, igh, ai, eye. Examples : find, faznd, mile, mail, height, hait, cry, krai, style, stail, guide, gaid, sign, sain, sight, sait, aisle, ail, eye, ai. THE VOWELS 53 146. a (sometimes a) is the first element in the diphthong in house. The diphthong is commonly written ou and ow, also ough: doubt, daut, fowl, faul, plough, plan. In Scotch dialect this diphthong takes the form AU but this is not recommended for Standard Scottish. The Back Vowels Unrounded a (as in father) 147. In the formation of this vowel, the back of the tongue rises in the direction of the soft palate, the rest of the tongue slopes towards the lower teeth, the point touching or approaching the roots. In Scottish speech the back of the tongue rises well towards the mid position as a general rule but a deeper variety of the vowel may also be heard with the tongue in the low position. As these two varieties are not employed to distinguish different classes of words in Scottish speech, it will be sufficient for our purposes to call them both the hack a. An objectionable variety of this vowel is heard when the tongue is in the low position and the muscles of the tongue and cheeks are drawn tight. The vowel thus produced reminds one of an o sound, thus father, faittar, sounds almost like fauther,fQ:V9r or foitSar. a sometimes occurs as the first element in the diphthongs heard in high and how, hai, hau, but a (see §§ 144, 146) is more common. A shortened form of a is heard from many speakers as a substitute for a (see § 143) but its use is deprecated. Although a is generally shorter than in Southern English, it is long compared with a or A under similar conditions. 54 PHONETICS Distribution of the a Yowels 148. a is used (1) in all monosyllabic words and their derivatives ending in r, e.g. car, bar, tar, etc., ka:r, ba:r, tair, etc., but note war, wart, WQir, WQrt, etc. where the influence of "W has rounded the a; (2) in words ending in r -f consonant, e.g. harp, harsh, farm, parse, farce, charge, garb, hard, park, etc. Add sergeant, Derby, 'sardsant, 'darbi; (3) in words ending in -If -Ive, -Im — half, halve, halm, calm, haf, ha:v, baim, kaim. (4) In words where an a vowel is followed by a breathed fricative, there is a marked tendency in Southern English to use a instead of ae, thus bath, ba9, path, pa9, pass, pas, ask, ask, rasp, rasp, etc. In some of these words, e.g. path, ask, a may also be heard in Scottish but most speakers use a (the Scottish equivalent for Southern English ae) in this class of words; thus baG, staf, pas, etc. (5) So also in words of Romance origin ending in an + consonant, a is more common in Scottish than a. Examples: grant, grant, chance, t/ans, dance, dans, command, ka'mand. Note Scottish has only 'faitJer, and 'raiUar. For the use of a in Southern English see Jespersen's Modern English Grammar, pp. 297-310. 149. a is most commonly represented by the letter a in our ordinary spelling. The following cases may be specially noted: (1) Monosyllables ending in a plosive or nasal, roAik, rak, rap, rap, sat, sat, sang, saij, Sam, sam. THE VOWELS 55 (2) Words of native origin ending in n + consonant , sand, sand, land, land, etc. Most words of Romance origin in ii + consonant follow same pronunciation although the a sound is coming in. (8) Words spelled with double consonants, especially rr, II, e.g. happen, Hiapn, battle, Hiiatl, hammer, ^amar, rabbit, 'rabit, ma7Tow,JinsLro, sparrow, 'sparo, mallow, 'malo, callow, 'kalo, etc. Note also r and I followed by a vowel, parasol, 'parasol, character, ^araktar, paladin, 'paladin. In such a word as starry, 'stain, the analogy of star, stair, has of course prevailed. A (the vowel in but) 150. Mid back tense. The tongue is raised half way at the back, the muscles seem to be tense, the tip generally rests on the floor of the mouth, the lips are neutral or spread. 151. It is written u (most common letter), o, oo, ou, oe. Examples : duck, dAk, son, SAn, come, kAm, blood, blAd, touch, tAt/, does, dAZ, far, Tat, work, WArk, hu7% hArt. For another pronunciation of fur, luork, hurt, see § 154. 152. Except before r, this vowel, when stressed, shows no tendency to be advanced or flattened to the mixed position as in Southern English. In Scotch dialect it is often lowered and with the tightening of the cheeks gives the impression of a rounded vowel. This pronunciation should be avoided even although in words like come and doth it seems to correspond to the spelling. 153. Before r this vowel is still retained by the majority of speakers. A strong trill in such a case is to be deprecated. If a nasal or lateral consonant follows 56 PHONETICS a strongly trilled r, a very objectionable vowel sound is often heard; hums becomes bAFAnz instead of bAmz [bAjnz] or [bArnz]. 154. When the trill is replaced by a fricative the result is almost invariably a modification of the vowel in the direction of the m'ixed position." The vowel inter- mediate between a and a might be indicated by a. Thus the most common pronunciation of fur, churn, ward, is still fAF, t/Arn, WArd, but fir [f ii] etc. is heard from very good speakers, while far [faj] is not unknown. In our texts we shall use the A symbol, thus fAr. 155. When a vowel follows r, written 7Ty the preceding A is never modified, e.g. hurry, furrow, burrow, are 'hAri, 'fAro, 'bAro. The adjective/i^rr^/ follows the pronunciation of fur, i.e. 'fAn or 'fin according to individual habit. The Back Vowels Rounded u (the vowel in food) 156. High hack tense rounded. This vowel is pro- duced in the back of the mouth with the tongue as high up as possible without producing audible friction (see fig. 5 (2), p. 19). The tongue is tense, the cheeks are pressed inwards, the lips rounded and sometimes protruded. The back of the tongue is slightly advanced from the full back- position in normal speech. In some parts of Scotland, viz. Gaelic districts and in and around Glasgow, this advancing is very marked and should be corrected. This vowel occurs long when final and before r, z, 5, 8, and v. In ordinary Scottish pronunciation words Wkefull do not differ from words Vike fool, food, in quality and only very slightly in quantity, u is not diphthongized in Scottish. THE VOWELS 57 157. Some spellings for this sound are oo (most common), u, u + consonant + e, ou, ue, ew, ui, oe. cool, kul, truth, truG, rude, rud, wound, wund, blue, hlui, crew, kru:, fruit, frut, shoe, Jui. 158. The so called diphthong ju occurs in many spellings, e.g. u 4- consonant + e, u, eau, ew, iew, ue, eu, tune, tjun, use, juiz (verb), dual, 'djual, beauty, 'bjuti, use, jus {no\m),few, fju:, view, vju:, due, d.]\ii,feud, fjud. 159. After I (not preceded by a consonant), s and z, ju and u may both be heard but u is more common. Thus we hear Ijut, 'absaljut, sju'prim, sjut, pri'zjum as well as lut, 'absalut, su'prim, sut, pri'zum. It is wrong to use J or 3 instead of sj, zj in these cases, although that is the natural development of the sound and in a very few words has actually been reached in standard speech, viz.: Ju:r, '/uirli, 'Jugar, for sure, surely, sugar. 160. High back lax rounded. This vowel has prac- tically the same tongue position as u but the lips show less rounding and protrusion and the muscles of the tongue and cheeks are lax. It is of rare occurrence in genuine Scottish but may be heard sometimes in unaccented position, e.g. in the suffix ful, in the preposition to, and as the second element in the diphthong au. Examples : 'plentiful, tu, nau. Many speakers use it in the word woman, 'wuman. Within the last few years, through the influence of Southern English, some speakers have begun to use it in the same classes of words as in Southern English, i.e. (1) in words with the oo spelling followed by k, e.g. cook, book, etc., (2) in words with u spelling 58 PHONETICS preceded by a lip consonant as put, pull, hull, full, hush, push, puss, (3) words with oo or ou spelling with an original short vowel or a long vowel shortened, wool, wood, hood, stood, foot, soot, could, would, should, (4) in wolf, woman, worsted. The Scottish pronunciation of the last, viz. : 'wArst|d, is giving way before the other, 'wust^d. o (the vowel in road) 161. Mid back tense rounded. In pronouncing this vowel the back of the tongue is raised in the direction of the soft palate rather higher than the mid position, the tongue and cheeks are tense, the lips rounded and some- times protruded (see fig. 5 (2), p. 19). The back of the tongue is also very slightly advanced from the fully back position. Among some speakers, especially in the east, the tongue is raised too far towards the high position and the lips are overrounded, giving to Southern ears the impres- sion of an u sound. This pronunciation should be avoided. This vowel is not diphthongized in Scottish, and tends to medium length. It may be heard fully long, finally and before r, z, 3, v, tJ. 162. Its spellings are: ■\- consonant -\- e, oa, ou, ow, 0, 00, ough, oe, ew ; rode, rod, road, rod, soul, sol, sow, so: , most, most, hrooch, brotj, dough, do:, woe, wo:, sew, so:. 163. In Scottish this vowel is still used in many words ending in r -\- consonant, viz.: (1) afford, hoard, ford, hoard, horde, sword, (2) court, courteous, courtesy, courtier, fort, fourteen, port, comport, deport, import, report, support, sport, {^) forth, fourth (but o in forty), (4) coarse, course, divorce, force, hoarse, resource, (5) home, mourn, sworn, torn, worn, (6) forge, (7) pork. Many who use o THE VOWELS 59 in the others use o in pork, sword, sworn, torn, worn ; fortify and fortification have always o although fort has o. Note that corps is sounded koir, but corpse is korps. 164. The following words mostly ending in oar and ore have o in Scottish : hoar, bore, boreal, core, door, floor, fore, four (but o in forty), gore, hoar{y), more, oar, pour, porous y restore, score, shore, snore, soar, sore, store, story, swore, tore, wore. See, however, § 169. o (the vowel in rod) 165. Mid back lax rounded. The tongue position for this vowel is a little lower than for o, the muscles are lax and the lips only slightly rounded. 166. and a after w are the most common letters for this sound. Examples : rod, rod, hot, hot, want, wont, watch, wot/, was, woz. Note also knowledge, 'nol^ds, Gloucester, 'glostar, broad, brod, hough, hok, shone, Jon. 167. Many speakers lower this vowel very consider- ably, influenced doubtless by Southern speech. This cannot be objected to and is much to be preferred to the half tense vowel — approaching the o sound — which many use. The fully low back lax rounded is indicated by the symbol 9. 168. The letter before r + consonant has generally the value of o ; for exceptions see § 163. Examples : (1) accord, chord, cord, lord, order, record, (2) form (with derivatives), storm, (3) adorn, born, corn, horn, morn, scorn, shorn, (4) cork, fork, stork, York, (5) resort, short, snort, sort, (6) north, (7) George, gorge, (8) corse, corpse, gorse, remorse. 60 PHONETICS 169. Through the influence of Southern English, many speakers use this vowel o (1) in all words of the r -{• consonant class (see § 163), and (2) in those ending in oar and ore (see § 164). In the second case o is long and in both classes the r becomes a point fricative. 170. o is the first element in the diphthong oi in boi/, boil, oil, toil. The tense o is often heard here and is objectionable, so also are a or a as a substitute for o in this diphthong. 171. As in the case of e:r (see § 140) a slight glide sound is often developed before r in words of the or class (§ 164), but it has not been considered necessary to indicate this in the texts. 9 (the vowel in law) 172. Low back tense rounded. This vowel, is produced with the tongue in the low position in the back of the mouth, 'the muscles of tongue and cheeks tense and the lips rounded (see fig. 5 (2), p. 19). 173. aly aw, au, augh, are the most frequent spellings; walk, WQk, wall, wpl, war, iVQir, hawk, hpk, laud, Igd, caught, kpt. Note that haunch, haunt, jaundice, jaunt, launch, laundry, vaunt, are heard both with q and a. 174. o (generally lowered) is a common substitute for this vowel. Words like thought, brought, are very frequently pronounced 9ot, brot, even by some 9ot, brot. This last is particularly objectionable and 9 is recommended in all these cases as the vowel at which most careful speakers aim. The deep a sound which is used in this class of words (al, au, aw), in many Scotch dialects, should also be avoided. Thus walk is not vrak, or ivok, or ivok, but W9k. the vowels 61 The Mixed Vowels 175. Mid mixed law (or tense). The tongue is lying nearly flat in the mouth as in the position for easy breathing, the highest point is in the middle with an equal slope to back and front. The mouth is half open, but the jaw may be lowered from the mid position. The muscles are generally lax but may become tense before r. 176. There are cases where this vowel may replace almost any of the other vowels in unstressed position. This is very common in familiar conversation. Thus: e becomes 9 in moment, 'inomant, but mo'inentas a „ a „ miracle, 'mirakl, „ miYakjulds a „ a „ vineyard, 'vinjard, „ jard o „ 9 „ harmony, 'harmani, „ har^monjas q „ a „ Augusta, a'gAsta, „ 'Qgast. 177. In very careful speaking there is, in many cases, a tendency to replace a by strong vowels, i.e. vowels which can occur in stressed ' syllables. The tongue takes up the position of the strong vowel but glides almost instantaneously to or towards the mixed position. The acoustic efiect is something intermediate between the strong and reduced vowel. Thus in very careful speaking moment would not be pronounced either 'momant, as in ordinary conversation, or 'moment, but the last vowel, would be something in acoustic effect between e and a. In acknowledge the first vowel in careful speech would be something intermediate between a and a. So we have intermediate vowels between q and a, a and a, o and a. 62 PHONETICS o and a, e and 9, a and a. We indicate these modified vowels in the notation a, i', d, 6, q. 6, i and a, etc. Conversational Careful pronunciation pronunciation vineyard 'vinjard 'vinjdrd forget far'get for'get exercise ^eksarsaiz 'eksersaiz polite pa'lait po4ait or po4ait authority a'Goriti 9'9oriti or o'Soriti 178. Scottish speakers who do not use 6 in words of the fern class (see § 138) use a vowel intermediate l^etween 6 and a before fricative r. Examples : stern, stem, serve, serv, earth, erS, err, er, confer, 'kanf er, pearl, perl, verdict, Wirdikt, 179. Those who do not use a before final r or r + consonant (see §§ 153, 154) have also an intermediate vowel. Examples: fur, fir, church, t/irtj. In these case r is a fricative. 180. Notice that in both these cases the original vowel must be used when a vowel follows r or rr, e.g. peril, 'peril, hurry, 'hAri, errand, 'erand, curry, 'kAri, merry, 'men. For furry see § 155. 181. The mid mixed vowel is used in Scottish speech in words spelled ir or ir + consonant The vowel is generally- tense. Examples : bird, bard, first, farst, gird, gard, firm, farm, chirp, tjarp, fir, far, virgin, 'vardsin, virtue, 'vartju, girl, garl or gjarl. 182. Some speakers use here also an intermediate vowel which we should write in narrow notation i", e.g. bird. In the central districts of Scotland a book pronunciation z THE VOWELS 63 is very common as bird, but this is not to be recommended. When a vowel follows r, i is the only correct sound, e.g. miracle, mirror, 'mirakl, 'mirar. 183. Many speakers use a as the first element in the diphthong in ricey light, etc. instead of a (see § 144). This is allowable except when the diphthong ends the syllable or stands before r, z, v, 8. In ai, the first element seems half tense and slightly raised and the i is not lowered as in ai. Ai or Aj is in all cases dialectal. Examples are : rise, raiz, rice, rais, tie, tai, tight, tait, rive, raiv, W/b, raif, tied, taid, tide, taid, sigh, sai, sight, sart, writhe, raiB, withe, wai9. 184. Note that an inflectional ending does not alter the sound, e.g. sigh, sai, sighed, said. It sometimes happens also that people who observe the rule of ai and ai are occasionally influenced by analogy, e.g. they will say waivz instead of waivz, because of the singular waif. In our texts we use only one form of the diphthong, viz. ai, as most convenient for general purposes, leaving it open to readers to use ai in all cases or differentiate as above. CHAPTER VIII NASALIZATION AND INVERSION Nasalized Sounds 185. Nasalized sounds (§ 35), other than the nasal consonants (§ 27 ii), are represented in phonetic transcrip- tion by the mark ~ placed above the symbol of the normal 64 PHONETICS sound. The best known cases of nasalized sounds are the French vowels I, a, o, & (which are approximately the nasalized forms of the normal vowels 6, a, o, (b) heard in vin, vi, sanSj sa, bon, bo, uriy &. Such sounds do not occur in Modern English. 186. Celtic speakers often nasalize vowel sounds, especially those in contact with nasal consonants. Even when nasalization is the result of habit and not of any physical defect, it is not easy to get rid of and can be cured only by constant practice of isolated vowels. It is better to start practising with high vowels, there being always less tendency to nasalize these. It is also a good plan to pronounce z before each vowel, because z is a sound which cannot be nasalized without losing most of its characteristic quality. When by means of exercises such as ziizi:..., zuizuizu;..., the student is enabled to pronounce a pure i and u, which should not require much practice, the opener vowels may be rendered pure by exercises such as ieie..., uouo..., ii..., uu..., pronounced without a break of any kind between the i and e, u and o, etc. When all the isolated vowels can be pronounced without nasalization, easy words should be practised. The greatest difficulty will probably be found in words in which the vowel is followed by a nasal consonant, e.g. wine, virain ; such words should therefore be reserved till the last. In practising a word such as wain a com- plete break should at first be made between the i and the n, thus wai-n ; this interval may afterwards be gradually reduced until the normal pronunciation is reached. nasalization and inversion 65 Inverted Sounds 187. Inverted sounds are defined as sounds in which the tip of the tongue is turned upwards towards the hard palate. They are represented in phonetic transcription by . placed below the symbol of the normal sound. Varie- ties of all the dental consonants may be formed with the tongue inverted. 188. Vowels also may be inverted, that is, pronounced with a simultaneous turning back of the tip of the tongue towards the hard palate. Gaelic speakers often use such a vowel in words spelled with r + consonant^ e.g. hirdy bad. See § 84, and fig. 7, p. 36. OHAPTEE IX THE BREATH GROUP 189. The sounds produced in a single breath for the purpose of conveying a thought or a definite part of a thought are styled a breath group. A breath group may consist of a single word containing one or more syllables, or of a number of words, e.g. Jump I If you hesitate, you are lost, 'd5Amp ! || ifju'hezitetjuar'lost ||. The parallel lines indicate the end of each breath group. If we pause for a new draught of breath at hesitate instead of jump, we change the meaning entirely or render the sequence of sounds unintelligible. The breath groups are generally indicated by the semicolons, colons and periods, and some- times also by the commas. a, 5 66 phonetics' 190. Within a breath group it is possible to have one or more slight pauses without actually renewing the breath current. The pause may be made for the purpose of drawing attention to some particular word or phrase, but it should take place rarely when the sentence consists of a simple subject, predicate, object or enlargement. When any of the parts of the sentence become composite, a slight pause is often advisable and sometimes necessary. In the second group in § 189 a pause is possible after hesitate, so also he was well aware that all had perished, hiwazw6la'we:r| tSat'Qlhad'penJt ||. In public reading and speaking, the pauses become necessary to make the meaning clear to the audience. Notice how the meaning may be completely changed by a wrong pause, e.g. a sailor going to sea, his wife desires the prayers of the congregation, a'selargoiTjtu'si: | hiz'waifdi'zairzSa'prearz- avSakoTjgri'ge/anll. Put the pause at wife and the announcement becomes ludicrous. CHAPTER X SOUNDS IN THE BREATH GROUP Glides 191. We have hitherto supposed that it is possible to break up a word or group of words into a definite number of distinct sounds, e.g. ball is supposed to consist of three sounds, b, 9 and 1. Now this is only a convenient way of regarding the sounds in combination, and that it is not absolutely correct may be inferred from the fact SOUNDS IN THE BREATH GROUP 67 that if one pronounces these three sounds distinctly with a very slight pause between each, one does not thus reconstitute the word hall, although one may hear a sequence of sounds that suggest the correct pronunciation of the word. If, again, we pronounce the word hall very slowly, without destroying its identity, it is possible to recognise a sound between 9 and 1 which resembles u or u and a very faint sound between b and q which is not the vowel we know as 9. The vowel 9 would seem to consist of at least three parts, an initial, a middle and a final. The middle part appeals most to the ear and is what we understand practically as the vowel 9. So also the 1 consonant may be regarded as having a beginning different from the acoustic effect by which it is generally recognised, so that it is not easy to say where the 9 ends and the 1 begins ^ These intermediate sounds are com- monly called glides. The term glide literally applies to the movement of the vocal organs before or after the positions for definite speech sounds and has been extended to the sound or sounds associated with their movements. The on-glide is the sound preceding and the off- glide the sound following, the principal sound. These faint sounds just standing on the border of consciousness often affect the ordinary sounds in a word, frequently even supplant them, or develop into regular sounds alongside of them. Thus in Southern English the long tense vowels e and o as in fade, fed, load, lod, have developed the off-glide until the present sound is now a diphthong, feid, loud. Nation was originally pronounced naisiun ; the influence ^ See Scripture's The Study of Speech Curves, Qualitative Analysis, p. 43 : **The change from one sound to another is gradual — speech is a. fusion and not an agglomeration." 5—2 68 PHONETICS of the glides /, j has gradually changed the medial con- sonant into /, hence our modern nejan. In the Scotch form of hall, viz. bai, the final consonant has been absorbed by the preceding glide ; thus ba"! becomes bau and is then monophthongized into bai; so also knoll becomes knou, knAU. Compare in Standard Scottish folk, half, now fok, haf Sometimes the glide affects the preceding vowels without absorbing the consonant, as in Modern English hall, bgl, where the original a has been rounded through the influence of the u-like glide before 1. 192. Within the breath group, as in the single word, the recognised sounds are likewise connected by a flow of intermediate sounds so that the ear alone would not enable us to distinguish between the different words. Hence changes occur in the breath group as in the single word, e.g. '8atl'pli:5u for that will please you compared with pleasure, 'ple58r. This change in the breath group continues only for that particular group or for a group where similar sounds come into contact and the original form of the word is restored in other conditions. This fusion of sounds in the breath group leads often to a complete obliteration of the word-division, hence the Scotch sidlm for see till him, the Modern English a newt for an ewt, a'njut, an orange for a norange, a'nonnd5. It accounts also for the loss of n in a, my, thy as compared with an, mine, thine. Vowels 193. In the word all, q\, at the beginning of a breath group, the on-glide from silence to the vowel effect is breath, i.e. the vocal chords close gradually and breath and whisper SOUNDS IN THE BREATH GROUP 69 occur before the chords begin to vibrate for the vowel. We may realize this better if we contrast such a gradual beginning of the vowel with the clear beginning (where the vocal chords begin to vibrate without any preliminary breath) which is rarer in Modem English but common in German. When the breath beginning is stressed, it gives the so-called aspirate (see § 124), and when the clear beginning is emphasised we have the glottal catch (see § 60). The final vowel in Scottish is not partially de- vocalised as in some languages but continues voiced to the end. In Scotch dialect a vowel preceding a final breath consonant is sometimes followed by a breath as in whaty Maat ! Plosives 194. We have already seen (§ 27 i) that a plosive consonant is formed (1) by completely closing the air passage at some point, and then (2) suddenly removing the obstacle so that the air escapes with an explosion. These two elements in the production of a plosive we call (1) the stop, (2) the plosion. Every plosion must be preceded by a stop, but every stop is not necessarily followed by a plosion. 195. If we pronounce a plosive, say p, alone, the plosion can be heard as a breathed off-glide, when the articulating organs (the lips) are separated, p** might be used to represent fully the two elements — stop and plosion. Note that nothing is heard during the stop. 196. When we pronounce b alone, the plosion is voiced — in other words the off-glide is a rudimentary vowel and we might write the consonant b* In b voice 70 PHONETICS may be heard during the whole or part of the stop, but sometimes not until the articulating organs have released the breath current. 197. When a breathed plosive occurs before a vowel in connected speech in Standard Scottish, the emission of breath is barely perceptible, being strongest in the case of the back plosive. It never strikes the ear in the same way as in Southern English or Irish, where pasSy pas, might be written p^'as. When a breathed stop occurs at the end of a breath group (see § 189) the plosion can be distinctly heard. 198. When a breathed plosive is followed by 1 or r, it is possible to pronounce 1 and r in such a way that voice begins simultaneously with the plosion. Very often there is a slight delay before the chords begin to vibrate, and as the mouth is in the position for 1 or r, a breathed 1 or r is heard before the regular voiced consonant. Hence try, ply, are often heard as trrai, pllai (see § 212). 199. When initial voiced plosives are followed by a vowel, the voice may not break out until the release of the stop. Generally, however, voice may be heard before the end of the stop. Between vowels, the stop of a voiced plosive is altogether voice, e.g. abbey, 'abi. At the end of a breath group, the plosion of a voiced plosive is very often unvoiced, e.g. bad becomes bad**. Amongst Gaelic speakers the stop is also very often unvoiced, thus bad, which is objectionable. 200. When a plosive is followed by a nasal formed in the same part of the mouth, as rotten, sodden, 'rotn, 'sodn, the vocal organs keep the. same position until the voice SOUNDS IN THE BREATH GROUP 71 has passed through the nose. In 'rotn the first part of the stop is breathed, the second part voiced and nasalized, in 'sodn the stop is voiced throughout and the second part also nasalized. In broken, 'brokn, k is a pure stop, and no plosion takes place in passing from the back to the point position, but the voice that follows the silence is passed through the nose. So also in open, 'opn, the point of the tongue forms a closure with the teeth ridge before the lips are parted and nasalized voice follows. In these two last cases, there is a strong tendency to keep the same position throughout, and hence such pronuncia- tions as 'broki] and 'opm are extremely common. Note that such pronunciations as 'brokAn, 'opAn should be avoided. When a nasal is followed by a vowel and pre- ceded by a stop, there should be no plosion of breath or voice between the stop and nasal, e.g. hackney is hakni and not hak^'ni or hak®ni. 201. In such a sentence as he came at ^erz, hi'kem- at'ten, the impression of a double t is necessary in careful speech and is caused by the prolonged cessation of sound before the plosion into the second vowel. The double t is really a long t. A breath plosion between the two ts would suggest a halt for lack of breath or thought. Very rarely such a plosion may be heard when the purpose is to call attention to a particular word. So also in a phrase like bad day, 'bad'dei, what we have in careful speech is a prolonged d, the intervention of a voiced plosion being abnormal. Sometimes the first part of the stop is breathed and the second voiced and vice versa, as in silk gown, 'silkgaun, dog-kennel, 'dogkenl, in both cases giving the impression of two distinct sounds. 72 PHONETICS 202. When two plosives, formed in different parts of the mouth, occur together, either in a single word or in separate words in a breath group, the first must always, in careful speech, be a pure stop, i.e. there must be no plosion between the two consonants. Thus we pronounce fact, fakt, not fakH, abdicate is 'abdiket and not 'ab®diket, hack door is 'bakdoir and not 'bak^'doir, red cart is 'red'kart and not 'red^'kart. Initial and Final Voiced Fricatives IN THE Breath Group 203. When a voiced pure fricative (§ 27 v), e.g. z, is initial or final, it is generally not fully voiced. When initial, as in zeal, zil, it begins breathed and ends voiced, and when final as in ease, i:z, it begins voiced and ends breathed. Hence the most correct way of writing ease would be iizz. When a final fricative is preceded by another voiced consonant, it is very often completely devocalised, hence heads, hed^. For distinctness, how- ever, it is better to voice the whole or at least the first half of the sound, thus hedzz, haivzz. When voiced fricatives are preceded and followed by voiced sounds in the breath group and have therefore no pause before or after them, they are voiced throughout. THE SYLLABLE 73 CHAPTER XI THE SYLLABLE 204. If we pronounce the word respecting, ris'pektiTj, without any intentional pause between the sounds, we are still conscious of a grouping of the sounds round three centres, viz. i, e and i. Yet the sounds seem to flow into each other so that one cannot say for certain where the group belonging to i ceases and the group belonging to e begins. In e very-day language we say that the word respecting has three syllables and we know that in the great majority of words the centre of the syllable is a vowel. The liquids also, more especially the nasals and 1, may be used in this way, i.e. to form syllables, although our ordinary spelling generally conceals the fact, e.g. button, 'bAtn, bottle, 'botl, where we have two syllables and only one vowel. Only very rarely are other consonants used to form a syllable as in the exclamation pst. As we have already seen (see §§ 20, 21) that vowels are the most sonorous of sounds, that liquids come next to them, and that the other consonants have the minimum of sonority, it is easy to infer a connection between the sonority of sounds and their power to form syllables. But even vowels are not always syllabic, e.g. in the diphthongs (see § 208), and the liquids are more frequently non-syllabic than syllabic, as 1 in bolt, bolt, and n in bunt, bAnt. If 'botl and bolt are compared, it will be noted that in the first word there are two heights of sonority in o and 1 with a deep fall between them in t; while in the second word, bolt, there is only 74 PHONETICS one height, viz. in o, as there is a fall from o to 1 and from 1 to t without any rise. An undulating line to represent the flow of sound and the rise and fall of the sonority, makes this plain to the eye. Ojotl bolt 205. These facts may be briefly expressed in the fol- lowing form : when two sounds of a group are separated by one or more sounds less sonorous than each of them, the two sounds are said to belong to diflferent syllables; and conversely a group of sounds is said to form a single syllable when no two of the sounds are separated by a sound less sonorous than both of them. Thus in botl o and 1 are separated by t, a sound less sonorous than either, and consequently form two syllables, but in bolt o and t are separated by 1, which is less sonorous than o but more sonorous than t, hence there is only one syllable. In the word strange, strend5, although there are seven sounds, there is only one syllable, because from s to e there is no break in the rise of sonority, and from e to 5 THE SYLLABLE 75 there is no break in the fall— i.e. there is only one height of sonority. 206. The most sonorous sound in a syllable is said to be syllabic. Syllabic consonants are marked when necessary by , placed under the consonant symbol. It is, however, necessary only when a vowel follows. Thus it must be inserted in 'glAtni (the alternative pronunci- ation of 'glAtani) to show that it does not rhyme with chutnee, 't/Atni; but the mark is quite superfluous in 'pipl because the 1 cannot be sounded in this position without being syllabic. 207. When two consecutive vowels, or a liquid and a vowel, form two syllables, there must be either a slight decrease in the force of the breath between them, or an insertion of a trace of some consonant or consonantal vowel (see § 208). The former may be observed especially when the two vowels in question are identical or very similar as in we saw all, wVsq'ql, be easy, bi'iizi. The renewal of stress on the second q and i gives the im- pression of a new identity. In words like create, Crimean, kri'et, krf mian, a trace of the consonant j may sometimes be heard, and in words like lower, 4oar, flower, 'flauar, bower, 'bauar, a trace of w. 208. When two vowels are not separated either by consonantal sounds or by a decrease in the force of the breath, they cannot constitute more than one syllable. They are then said to form a diphthong. Examples of diphthongs in Scottish are ai as in high, hai, au as- in how, hau, oi as in boy, boi. It should be noted that the second vowel in these diphthongs is less sonorous than the first, and may be called a consonantal vowel. 76 PHONETICS 209. In the diphthong iu, the second vowel is the more sonorous, and the first through lowering of stress and sonority becomes consonantal, so that it may be conveniently written ju as in duke, djuk. CHAPTER XII ASSIMILATION 210. When a sound is influenced by another sound near it, it is said to undergo an assimilation. For the influence of glide sounds in this process see § 191. As- similations are of various kinds. The most important are (i) assimilations from voice to breath and breath to voice, (ii) assimilations affecting the position of the tongue in pronouncing palatal and dental consonants, (iii) assimila- tions affecting the position of the lips, (iv) assimilations under the influence of a nasal consonant. 211. (i) An example of the first kind of assimilation is found in the English inflectional terminations s of the genitive and plural of nouns, and 3rd person singular of verbs, and -ed of the past tense and participle of verbs. In dogs, dogz, the z is voiced under the influence of the preceding consonant g, in cats, kats, the s remains breath because t is a breathed consonant. So we have robed, robd, and roped, ropt, blazed, bleizd, and blessed, blest. Note, however, blessed, 'blesid, and pitted, 'pit^d. In Scotch dialect^ generally, syllabic -ed of participles and adjectives, has the d unvoiced. Thus crabbed, 'krab|d, ^ Caithness i^ an exception. ASSIMILATION 77 i, 'sit^d, are pronounced 'krabat and 'sitat. This should be avoided. Note also the form of is in colloquial speech, the man's at home, 'Sd'manzat'hom, but the cat's lost, Salcats'lost. 212. Partial assimilation of voice to breath regularly occurs where a liquid or semi-vowel is preceded by a breathed consonant in the same syllable; thus in small, smQl, snuff, snAf, place, pies, sweet, swit, try, trai, pew, pju:, the consonants m, n, 1, w, r, j, are partially de vocal* ized, the sounds beginning breathed and ending voiced. Thus snimQl, s^nAf, piles, SAVwit, trrai, P9Ju:. With some speakers the assimilation is complete, the words becoming smQl, etc. 213. (ii) Assimilations affecting the position of the tongue. Back consonants followed by front vowels are often advanced towards the front position. Thus the k of key, kii, is further advanced than that of cot, kot. If the end of a pencil is placed on the line of contact between the tongue and the roof of the mouth in each sound position, the distance between the two articulations may be approximately measured. Sometimes the back articulation becomes a front one, e.g. in the word girl, garl, j-arl^ may sometimes be heard. On the other hand the effort to preserve the back consonant leads often to the objectionable Scotch pronunciation gJArl. Under the influence of a back consonant, n often changes to tj, e.g. bacon, 'bekn, often becomes Hijekij. In words like month, anthem, heathen the n has become a point- teeth consonant through the influence of 9 or "5. The change of kn and 1 J is the symbol for the voiced front plosive or stop, the plosive corresponding to the fricative j. 78 PHONETICS gn to n in words like knee and gnaw is probably first a change in position and then a nasalization, see § 35. Thus the process would be kn, cn^ tn, nn, n. The East Forfarshire tnii, tnok for knee and knock give an inter- mediate stage. Such assimilations as horse shoe, 'hor/Ju:, does she, 'dAsJii, of course she does, av'korJJi'dAZ, for 'hors/u:/dAz/i:, avTcorsJi'dAz, are heard in rapid speech but are avoided by careful speakers (see also § 121). * 214. (iii) Assimilations affecting the position of the lips. The k in quite, kwait, is pronounced with lip- rounding under the influence of the following w. A lip-teeth nasal consonant is sometimes used instead of m when followed by f or v, as in comfort, nymph, 'kAinfart, nimf. In these cases the assimilation is regressive, but in the same words the process may be progressive and the f made a pure lip sound to agree with m ; compare also the pronunciation of obvious and hopeful, 'obvias, 'hopful. Note also the rounding effect of w in words like was, watch, war, ^voz, wot/, WQir. Before a back consonant, this rounding is stopped, e.g. wag, wax, ^vag, waks. 215. (iv) Nasalizations under the influence of a nasal consonant. The disappearance of d in kindness, 'kainnis, grandmother, ^granmAtSar, in familiar speech is due to this. When the d is nasalized, it becomes n, which then readily disappears or leaves in a lengthened n evidence of its former existence, cf. Scotch Ian for land, ^hAijri for 'hATjgn. In longer, 'loTjgar, as compared with long, loTj, we have an example of the opposite process, denasal- ization. The tongue position is the same for Tjg and tj, 1 c is the symbol for the breathed front plosive or stop. ASSIMILATION 79 only in the first the soft palate has been raised to close the nasal passage before the tongue position has been shifted. In the second, the shifting of the tongue position and the raising of the soft palate are simultaneous. CHAPTER XIII STRESS 216. The force of the breath with which a syllable is pronounced is called stress. Stress varies from syllable to syllable. Syllables which are pronounced with greater stress, than the neighbouring syllables are said to be stressed, 217. It is possible to distinguish many degrees of stress. If we use the figure 1 to denote the strongest stress, 2 to denote the second strongest and so on, the stress of the word opportunity might be marked thus: 2 4 15 3 opar'tjuniti. Such accuracy is, however, not necessary for practical purposes, it is in fact generally sufficient to distinguish two degrees only — stressed and unstressed. Stressed syllables are marked when necessary by ' placed immediately before them, thus father, Ta:8ar, arrive, a'raiv, opportunity, opar'tjuniti, what shall we do?, 'Aiotjalwi'du:?. 218. The same words and sentences are not always stressed in the same way. Variations are sometimes necessary for making the meaning clear, and they are sometimes due to rhythmical considerations. Thus the 80 PHONETICS word injudicious when simply taken to mean ' foolish ' would have the stress on the third syllable, thus, he was very injudicious^ hiwaz'v6riind5u'di/as, but when used in contrast with judicious , the chief stress would be on the first syllable, the stress on the third being only secondary, e.g. that was very judicious y Satwaz'veri- d5u^di/9S, / should call it very injudicious, 'ai/odkplit- veri'indsudi/ds. Untrained speakers often fail to bring out contrasts of this kind properly. 219. In 'Aiot/alwi'du:, Aiot'/alwi'du:, 'Aiotjarwi:- du:, the variations in stress actually modify the meaning of the words. 220. The word unknown, Annoin, shows clearly how rhythm may affect stress. Compare an unknown land, an'Annom^and, with quite unknown, 'kwaitAn'noin. When isolated, the word would generally be pronounced 'An'noin, the two syllables having equal stress. The rhythmical principle underlying these changes is a tendency to avoid consecutive stressed syllables when possible. 221. When we wish to emphasize a whole word (not any special part of it, such as the in- of injudicious) we usually increase the amount of stress on the syllable which is normally stressed. Thus when magnificent, mag'nifisant, is pronounced with great emphasis, the second syllable received a very strong stress, although it is a very unimportant syllable from the point of view of meaning. Occasionally an additional stress is put on some syllable other than that which is normally stressed, e.g. absolutely when emphasised is sometimes pronounced 'absa'ljutli instead of ^absaljutli. STRESS 81 222. Words of one syllable that are habitually used with a low degree of stress in the breath group generally weaken the vow^el. Such words may have two or more forms, the strong form with the original vowel being still retained for' emphasis . and the weaker forms having generally a mixed vowel. Words of this class include monosyllabic conjunctions and prepositions, auxiliary verbs, some pronouns, and the articles. Consonantal change often goes along with this grading of the vowel, the voiced consonant and the loss of the aspirate accom- panying the weaker stress. Examples: andy and, and, an, n (as in bread and butter, bredn'bAtar, colloquial), as, az, az, that, Bat, Bat, conjunction and relative compared with Bat, demonstrative adjective or pronoun, of, ov, av (as in he is fond of you, hiiz'fondavju), but the adverb off (the same word originally) being stressed is always pronounced of, has, haz, haz, az, z, her, his, har, ar, hiz, iz, the, before vowels Bi, Bi, before consonants Ba, a and an, a before consonants, an before vowels. 223. In words of more than one syllable, the vowel in the lightly stressed syllable very often undergoes a change of quality. Most of the vowels in weak position may in rapid conversation be reduced to the mixed vowel (see § 176), but all degrees between the original quality and a may be observed in actual speech. Long vowels being shortened in unstressed position, tend to become half lax or fully lax. Thus i becomes i and u very often u. Examples, prepare, pri'peir (a would be careless speech here), torture, 'tortjur. The vowels u, o, 9, may all be heard in a lax form in some cases, in others they are reduced to a vowel intermediate between their normal position and a. G. 6 82 PHONETICS The tongue has moved towards the mixed position of a and the rounding of the lips has been decreased. The symbols for these reduced vowels are ii, u, 6, o, 9. For other examples see § 177. Note also value, 'valju, 'valju, 'valjij, hollow, 'holo, 'holo, Hiolo. 'valja and 'hola, the last stage in the gradation, are not yet admitted in careful speech. CHAPTER XIV QUANTITY 224. Sounds differ from each other in the time which is taken to pronounce them. No one sound has a constant duration. Its length is conditioned by stress, intonation, the influence of neighbouring sounds and lastly by the character of the subject matter of the speech. A subject begetting laughter, mirth, impatience, excitement, calls for a quick movement; gravity, deliberation, judgment, demand slow and solemn speech, and all degrees are possible between these two extremes. Although it is not diflBcult for the ear to distinguish many degrees of length in vowels, we shall not have to consider more than three, long (sign :), half long (which may be marked if necessary by ■), and short (unmarked). The following indications of vowel length may be useful. Vowel Quantity 225. (i) The tense vowels as a rule are longer than the corresponding lax ones under the same conditions. Thus i in heat, hit, is longer than 1 in hit, hit, i in heed, QUANTITY 83 hid, is longer than i in hid, hid. So o in rotey rot, is longer than o in rot, rot, and e in gate, get, than 6 in get, get. (ii) The high vowels are shorter than the mid and low vowels under the same conditions. Thus the a in mat is about as long as the i m meat, though the latter is a tense vowel, the o in moss about as long as the u in goose. Hence if we call i, e, ^, o, q, u, long vowels and 1, e, ae, a, o, u, short vowels, it means that each vowel is long or short as compared with a vowel of nearly corre- sponding height under the same conditions. (iii) a is generally not so long as in Southern English. It is longest before final r and a silent I followed by a voiced labial as bar, halm, bair, baim; also before 8 as paiSz, faiSar, raiSar. A short form of a is often used as a substitute for a (see §§ 143, 147) but is not recommended. A in hut is quite short but is lengthened somewhat before voiced consonants. (iv) The consonant following the vowel or diphthong modifies the quantity of the latter. Before voiced con- sonants all vowels may generally be reckoned longer than they are when a breath consonant follows. Thus the o of loathe, lo:8, is much longer than the o of loath, lo9. Hence a lax vowel before a voiced consonant is often as long as a tense vowel before a breathed consonant. Thus rod, rod, and rote, rot, are nearly of the same length. (v) Diphthongs and final vowels may be regarded as long, but the latter often become short in monosyllabic words with weak stress, e.g. we, he, you, wi, hi, ju. (vi) Shortening of the vowel or diphthong takes place before a liquid consonant followed in turn by a breathed consonant. Thus the 9 in fault, fQlt, is shorter than the 9 m falls, fglz. 6—2 84 PHONETICS (vii) Vowels and diphthongs are shorter in un- stressed syllables than in stressed. They are shorter also before another vowel. Thus the 9 in audamous, Q'de/as is not so long as the 9 in audible, '9dibl, the a in carna- tion, kar'nejan, is not so long as the a in scarlet, 'skarl|t, the i in feeing, 'f iiTj, is shorter than the i in fee, fi: . 226. Standard Scottish differs from Southern English in shortening tense vowels before plosive consonants. This shortening is specially marked in the high vowels, but is less noticeable with lower vowels. Thus the vowel in hrew, bru:, is fully long; so is it also in the past tense of the verb brewed, bruid, the inflectional ending not affecting the vowel length. In brood, brud, the vowel is stopped by the d and at the most is only half long. Compare in the same way feud, fjud, and feued, Quid, rude or rood, rud, and rued, ruid, greed, grid, and agreed, agriid, road, rod, and rowed, roid. 227. In our texts the mark for full length : will be used only (1) for tense vowels (except a) when these are final or precede r, z, 3, v, B ; for a see § 225 (iii) ; (2) for 6, used instead of e in words of the ' fare ' type (see § 140) ; (3) for o used instead of o in words of the ' more ' type (see § 169). Consonant Quantity 228. The length of consonants also varies, but not to the same extent as that of vowels. The following are the only rules of importance. QUANTITY 85 (i) Final consonants are longer when preceded by one of the lax vowels than when preceded by one of the tense vowels or by a diphthong. Thus the n in sin, sin, is longer than those in seen, scene, sin, sign, sain. Very often, in the case of 1, m, n, tj, the length is equally distributed over vowel and consonant, e.g. call, kpl. (ii) The liquids 1, m-, n, tj, are longer when followed by voiced consonants than when followed by breathed consonants. Thus the n in wind, ^vind, is longer than that in hint, hint, the 1 in bald, bpld, is longer than that in fault, fqlt. CHAPTER XV INTONATION 229. All voiced sounds have a musical quality, arising from the vibration of the vocal chords. In actual speech, the voiced sounds are constantly varying in pitch, and this rise and fall is called Intonation. As the great majority of our speech sounds are voiced, the intonation of any given breath group may be regarded as practically con- tinuous. 230. In singing the voice passes from one pitch to another by definite intervals indicated in music by notes, but in speaking one pitch melts imperceptibly into an- other. Hence intonation in speech is best indicated by 86 PHONETICS a curving line, corresponding to the rising and falling of the pitch. The line h. p. (high pitch) denotes the upper limit and the line 1. p. (low pitch) de- . .» , , . , , 1- . n 1 hi'toldmiso: notes the lower limit of the ran^e , , , « . , ^. Til. he told me so 01 intonation. in declamatory speech this range may extend to two octaves in the case of men and one and a half in the case of women. 231. When the pitch of the voice rises, we call it a rising intonation^ when it falls, we call it a falling intona- tion. In a breath group, there may be a uniform rise or a uniform fall, or more commonly the pitch rises and falls in the course of the utterance (see § 230). When the pitch remains on one note for an appreciable time, it is said to be a level intonation. This is comparatively rare in English speech; a high level tone gives a plaintive effect and a low level suggests hesitation, suspense of judgment. 232. The pitch of the human voice answers in subtle fashion to the feeling of the speaker; for instance, by varying the intonation, the single word Oh ! may be made to express many different emotions — joy, sorrow, pain, alarm, surprise, etc. In answer to the question " Are you cold ? " the same word rather may be made, by varying the tone, to express quite different meanings: h.p. 1. p.. 'raittar 'raitSar i.e. a little, not very. i.e. very much so. INTONATION 87 The extent of the rise or fall varies with the intensity of the feeling, e.g. h. p. 1. p. X indicates great astonishment. MOt h.p. -^ indicates merely a question. ALOt marks a calm statement of fact. 'idi6{ aiv^gotanai'did Edithy Tve got an idea. (p. 138.) marks excitement. IdiOazv'gotanai'dia 233. No two persons would agree absolutely in their intonation in reading or reciting the same passage because no two persons would approach it in exactly the same attitude of mind or draw exactly the same meaning from the words. Indeed it is questionable if the same person could repeat a passage with exactly the same intonation as he used on the first occasion. Nevertheless there are some general principles which have been noted in English intonation. If they are applied with discretion, they may prove of some service to those who are influenced by dialect intonation. The Scotch dialects differ from each other in this respect and educated speakers very often carry into their speech some trace of dialect intonation. It is not possible for us to recommend any other standard than the general English one. 234. If, in pronouncing the sentence " he came home 88 PHONETICS to see me," we stop at the word ' home,' anyone listening would notice that the sense had been suspended. He would probably rejoin "Well, what then!" or ask "Do you doubt it?" On the other hand if the idea in the mind of the speaker was merely "he came home," the fall of the voice on ' home ' would indicate the conclusion of the sense to the hearer. The pitch curves for the two examples would be h. p. — I — - — , , , h. p* hikem'homta'siimi hikem'hom This simple example illustrates the fundamental principle at the root of intonation, viz. the rising tone suggests suspension, want of finality , question, the falling tone indicates completion and certainty. An ordinary statement uttered with conviction and without conflict of feeling tends to take a rising and falling curve as in the last example. If the general tone is high, we associate the conversation or narrative with feelings of cheerfulness and vivacity, and if low, with an attitude of dejection, seriousness or solemnity. Ordinary narrative would be couched in an intermediate tone, but of course all degrees are possible even in a single conversation or passage. The following rules will be helpful to the student. 235. The falling intonation is used for : (1) Complete statements without any suggestion of doubt and requiring no rejoinder, h.p. xt8'Sa'best'9ii]axv'6var'dAn It's the best thing I've ever done. (p. 136.) INTONATION 89 (a) But sentences that are grammatically indepen- dent of each other are often bound together by a rising intonation to indicate that they are regarded as parts of a whole. h.p. hi^wentta'Sa'/opand't/oiza'prszant He went to the shop and chose a present, (6) Note also the antithesis : h.p. ValetarncileGbattSd'spirit'gzve&laxf TJie letter killeth hut the spirit giveth life. (2) Complete commands : h.p. 'telASMotJuraxttSa'prestoon Tell us what you write the presto on, (p. 135.) (a) Sometimes a person does not wish to insist too strongly on his right to obedience. Hence a polite com- mand may have a slight rise at the end : h.p. ^razttSa'nem'pliiz Write the name, please, (b) When there are several items in a command, the law. of suspension holds and only the last has the falling tone: h.p. 1. p. JumAst'sainjur^nemand'entarit'hiir You must sign your name and enter it here. 90 PHONETICS (c) Note that a sentence in question form some- times really contains a command: h. p. wilju'durazjuar'told Will you do ds you are told ? (3) Complete questions containing a specific inter- rogative word or phrase : h.p. Motduju'minbax^Qat What do you mean by that ? h.p. 1. p. wot'duijuminbax'Sat What do you mean by that ? But if the question is repeated, the intonation does not fall : h.p. l.p. 'Aiotduai'minbai'Vat What do I mean by that ! (4) The last of two or more alternative questions : h. p. l.p. dKyusei'Jesor'no: Did you say yes or no ? INTONATION 91 236. A rising intonation is used for : (1) Complete questions not containing a specific interrogative word or phrase : h.p. 'zz'SarsAtJaOiTjazd'grild'bon Is there such a thing as a grilled bone ? (p. 131.) (a) The intonation is sufficient to indicate the question even without the interrogative form : b.p. l.p. JuargoiT)'hom You are going home t (6) When the question form is used rhetorically, the falling tone may be used: h.p. l.p. arwlQlmad Are we all mad ! (2) Dependent clauses when the principal clause follows : h.p. 'iftt'werso: | xtwdza^griivas^fQlt If it were so, it was a grievous fault, (p. 98.) (3) Entreaty : ^du:s6]imisAm8iT)^els Do send me something else. (p. 131.) 92 PHONETICS 237. Note that the effect of a rising intonation is greater if it is immediately preceded by a falling intona- tion, and the effect of a falling intonation is greater if it is immediately preceded by a rising. Thus compare azm'Qflx'sori axm'Qflfsarz ax'dzdit I did it, i.e. a simple statement of fact. h. p. — I — , — 'azdzdit / did it, i.e. I and no one else. azm'Qfli'son Fm awfully sorry! (p. 136.) h. pv — ..P.Z 'Ju You! Implies a question or surprise. You! Implies downright disbelief or withering scorn. The compound fall and rise often indicates contrast, warning, doubt, the compound rise and fall is associated with sarcasm and irony. INTONATION 93 238. In the declaratory sentence Scottish speakers very often jerk up the voice at the end instead of letting it fall gradually to the close, contrary to § 235 (1), e.g. h.p.. ai'sQihimrAniT) / saw him running. So also with the interrogative sentence containing a specific interrogative word, see § 235 (3) * h.p. I. p. Motaiju'duiT] What are you doing ? Students ought to train themselves to modify the pitch of the voice at their own discretion. It is best to start with exercises that give practice in the simple rise and fall. A few of such exercises are given in Part III, pp. 158, 159. PART II: PHONETIC TRANSCRIPTIONS STYLE A 1. Psalm xxiii 1 Sa 'lord iz mai 'Jspard; ai 'Jal not 'wont. 2 hi 'mekeB mi tu 'lai 'daun in 'grin 'pastjurz^ : hi 'lideS mi bfsaid Sa 'stil 'wgtarz. 3 hi ris'to;re0^ mai 'sol: hi 'lideO mi in Sa 'paiSz^ 8V 'raitjasnis for hiz 'nemz 'sek. 4 'je:, So^ ai 'wgk 9ru; Sa 'vali ov Sa '/ado ov 'de9, ai wil 'fi;r 'no; 'i;vil: for 'Sau art wi0^ mi; Sai 'rod and Sax 'staf ^ 'Se; 'kAmfort mi. 5 Sau prfpeirest^ a 'tebl bffoir^ mi in 5a 'prezans ov main 'enimiz: Sau a'nointest mai 'hed wi0^ 'oil; mai 'kAp rAneG 'o;var. 6 'Juirli 'gudnis^ and 'msrsi^^ Jal 'folo mi 'gl Sa 'de:z ov mai 'laif : and ai wil 'dwel in Sa 'haus ov Sa 'lord for 'evar. Alternative Forms ^ 'pastjurz 2 ris'toirsG ^ 'pa0s * 0o ^ wiS ^ 'staf ^ pri'psirest ^ bi'foir ^ 'gudnis ^^ 'mersi 96 PHONETIC TRANSCRIPTIONS 2. 1 Corinthians xiii 1 So^ ai 'spik wi0^ Sa 'tAgz ov 'men and ov 'endgilz, and hav not 't/ariti, ai am bfkAm az 'saundir) 'bras^, or a 'tirjklir) 'simbal. 2 and So^ ai hav Sa 'gift ov 'profesi, and Andar'stand '^1 'mistariz, and 'gl 'noledg ; and So^ ai hav '9I 'fe0, so: Sat ai kud* rfmuiv 'mauntinz, and hav not 't/ariti, ai am 'nAGir). 3 and So^ ai bfsto: '(^1 mai 'gudz^ tu 'fid t5a 'pu:r, and So^ ai giv mai 'bodi tu bi 'bArnd^, and hav not 't/ariti, it 'profiteS mi 'nA0ir). 4 'tjariti 'sAfareO 'lor), and iz 'kamd; 'tjariti 'snvieB not; 't/ariti 'vgnteB^ not it'self, iz not pAft 'Ap, 5 dA6 not bfheiv itself An'simli, 'sikeS not har 'on, iz not 'iizih pro'vokt, '6ir)k60 'no: 'i:vil, 6 ri'dgoiseB not in in'ikwiti, bat rfdjoisee in Sa 'tru0 ; 7 'be:r80^ 'gl '6ir)z, bi'li:v80 'gl '6ir)z, 'hopeS 'gl '8it)z, en'dju:r80 'gl '0it)z. 8 't/ariti 'nevar 'fel80 : bAt AveSar Ser bi 'profesiz, 'Se: Jal 'fel; AveSar Ser bi 'tAijz, 'Se: Jal 'sis; AveSar Ser bi 'noledg, 'it Jal 'vanij a'we:. 9 for wi 'no: in 'part, and wi 'profesai in 'part. 10 bAt A\.en 'Sat MitJ iz 'perfekt^ iz 'kAm, Sen 'Sat AMtJ iz in 'part Jal bi dAn a'we:. 11 Aven ai waz a 't/aild, ai 'spek az a 'tjaild, ai Andar'stud^^ az a 't/aild, ai '0gt az a 't/aild : bAt Aven ai bikem a 'man, ai put^^ a'we: 't/aildij '0ir)z. 1 00 2 ^j^ 3 /j^pQ^g 4 ]jud ^ 'gudz ^ 'bXrnd 7 'vant60 ® 'be:r60 ^ 'perfekt ^^ Andar'stud ^^ put STYLE A 97 12 far 'nau wi 'si: Gru a 'glas^ 'darkli; bat 'Sen 'fes tu 'fes : 'nau ai 'no: in 'part ; bat 'Sen Jal ai 'no: 'i:vn az 'qIso ai am 'no:n. 13 and 'nau a'baidsG 'fe0, 'hop, 'tjariti, 'Si:z '0ri: ; bAt Sa 'gret^st ov 'Si:z iz 't/ariti. 3. Milton Paradise Lost, Book ii. 11. 43 — 70 hi 'sist; and 'nekst him 'molox, 'septerd 'kig, stud 2 'Ap. Sa 'strorjgist and Sa 'firsist 'spirit Sat 'fgt in 'hevn; 'nau 'firsar bai dis'pe:r^: hiz 'trAst 'woz wi9^ Si i'ternal^ tu bi 'dimd 'ikwal in 'strer)9, and 'ra:Sar San bi 'ks 'ke:rd6 not tu 'bi at '^1; wiG* 'Sat 'ke:r6 'lost went 'gl hiz 'fi:r; ov 'god, or 'hel, or 'wArs^ hi 'rekt not, and 'Si:z 'wArdz^ Ser'aftar^ 'spek. "mai 'sentens iz for 'opan 'w9:r: ov 'wailz, 'mo:r^^ Aneks'pert^^ ai 'bost not; 'Sem let 'So:z kon'traiv hu 'nid, or 'Aven Se 'nid, 'not 'nau. for. Avail Se 'sit kon'traivir), Jal Sa 'rest, 'miljanz Sat 'stand in 'armz, and 'loT)ir) wet Sa 'signal tu a'send, sit 'liggarir) 'hi:r, 'hevnz 'fjudsitivz, and for Ser 'dwelirjples ak'sept Sis 'dark o'probrias 'den ov 'Jem, Sa 'prizan ov 'hiz 'tirani hu 'renz bai aur di'le: ? 'no:, let as 'ra:Sar 't/u:z 'armd wi0* 'hel 'flemz and 'fju:ri 'gl at 'wAns ^ 'glas 2 stud ^ dis'pe:r ^ wiS ^ i'ternal ^ 'ke:rd, ke:r iTArs ^ 'wArdz ^ 'aftar ^^ 'mo:r ^^ Aneks'pert PHONETIC TRANSCRIPTIONS oir 'hevnz 'hai 'tauarz tu 'fors^ rfzistl^s 'we:, 'tArnir)^ aur 'tortjurz intu 'horid 'armz a'g exist So 'tortjurar; Avsn tu 'mit S9 'noiz ov hiz gl'maiti 'snd3iii hi Jal 'hi:r in'fernaP '0Andar; and for 'laitnir) si: 'blak 'fair and 'horor 'Jot wi6* 'ikwal 'redg emAT) hiz 'endgilz; and hiz '0ron it'self 'mikst WI0* tar'te:ri8n^ 'sAlfXr and 'strendg 'fair, hiz 'on in'ventid 'torments." 4. William Shakespeare Passage from Julius Caesar, Act iii. Scene 2 (A phonetic transcription of the original 16th century pronuncia- tion of this passage will be found in Victor, Shakespear^s Pronunciation, vol. ii. p. 131.) 'antoni. 'frendz, 'romanz, 'kAntrimen, 'lend mi jur 'i:rz; ai 'kAm tu 'ben 'si:z8r, 'not tu 'pre:z him. 5i 'i:vil Sat 'men 'du: 'livz 'after® t5em; Sa 'gud^ iz 'oft in'ter:[d^ wi8^ Ser 'bonz; 'so; let it bi wi0* 'si:zor. Sa 'nobl 'brutas ha0 'told ju 'si:z8r woz am'bi/as; 'if it 'wer so:, it woz a 'gri:v8s 'fglt, and 'gri:vasli ha0 'si:z8r 'ansard it. 'hi:r, Andar 'li:v ov 'brutas and 5a 'rest — for 'brutas iz an 'onorabl man; ^ 'fors 2 /^jXrnir) ^ in'fsrnal ^ wi9 ^ tar'te:rian 'aftar ^ 'gud ^ m'ter^d STYLE A 99 'so: ar Se 'gl, 'gl 'onorabl msn — 'kAm 'ai tu 'spik in 'si:z8rz 'fjunaral. 'hi; woz mai 'frend, 'feSfrjl and 'dgAst tu 'mi: ; bAt 'brutas 'ssz hi woz am'bi/as; and 'brutes iz an 'onorobl man. hi haQ 'brgt 'mem 'kaptivz 'hom tu 'rom, huz 'ransamz did Sa 'dgenorol 'koforz 'fil; did 'Sis in 'si:z8r sim am'bi/os ? 'Avsn Sat So 'pu:r hav 'kraid, 'si:z9r ha9 'wept; am'bi/an Jud^ bi med ov 'sterner^ 'stAf; jst 'brutas 'sez hi woz am'bi/os; and 'brutas iz an 'onorabl man. ju 'gl did 'si: Sat on So 'Ijuperkal ai 'Grais prfzent^d him a 'kirjh 'kraun, AiitJ 'hi did '9rais ri'fju:z. woz 'Sis am'bi/an ? jet 'brutas 'sez hi woz am'bi/as; and, '/u:r, hi iz an 'onorabl man. ai 'spik 'not tu 'dis'pru:v Avot 'brutas 'spok, bAt 'hi:r ai 'am, tu 'spik Avot ai du 'no:. ju '9I did 'Iav him 'wAns, 'not wiGaut^ 'kQ:z; 'Avot 'kQ:z wiG'holdz^ ju Sen, tu 'mom^ for him ? 'o: 'dgAdgment ! Sau art 'fled tu 'brutij 'bists, and 'men hav 'lost Ser 'ri:zan. 'be:r^ wi6^ mi; max 'hart iz in Sa 'kofin 'Se:r^ wi6^ 'si:zar, and ai mAst 'pQ:z, til it 'kAm 'bak tu mi. The student should compare this version with the transcription given in Jones' Pronunciation of English y p. 103. ^ Jud 2 'sternar ^ wiSaut, wiS'holdz, wiS * 'morn ^'be:r ^ 'Se:r 7—2 100 phonetic transcriptions 5. Carlyle Passage from the Essay on Burns 'bairan and 'bArnz^ wer sent 'forS^ az 'mi/anariz tu Ser djenar'e/en, tu 'tit/ it a 'haiar 'doktrin, a 'pjuirar 'tru0; Se had a 'mes^ds tu dfhvar, iwitj 'left Sem 'no: 'rest til it woz a'kompli/t; in 'dim 'Oroiz ov 'pen, Sis dfvain bfhest le: 'smoldanr) wiG'in^ Sem ; for Se 'nju: not Avot it 'ment, and 'felt it 'onli in mis'tiirias antisfpejan, and Se had tu 'dai wiGaut^ ar'tikj uletli 'Atarir) it. Se cir in Sa 'kamp ov 5i 'Ankon'vertid* ; jet 'not az hai 'mesindgarz ov 'ngaras So;^ benignant 'tru0, bAt az 'soft 'flatarir) 'sigarz, and in 'plezant 'felo/ip wil Se 'liv '5e:r^: Se ar 'farst 'adjuletid, 'Sen 'persikjutid^; Se a'komplij 'litl for 'ASarz; Se 'faind 'no: 'pis for Sem'selvz, bAt 'onli 'de9 and Sa 'pis av Sa 'gre:v. wi kon'fes, it iz 'not wiGaut^ a 'sertan^ 'mornfuF 'g: Sat wi 'vju: Sa 'fet ov 'Si:z 'nobl 'solz, so: 'rit/li 'giftid, jet 'ruind tu so: 'litl 'pArpas^^ wi0^ 'gl Ser 'gifts, it 'simz tu as Sar iz a 'stern ^^ 'moral 'tgt in 'Sis pis ov 'histori, — 'twais told as in aur 'on 'taim ! '/u:rli tu 'men av 'laik 'dginjas, if Ser bi 'em 'sAtJ, it 'kariz wi0^ it a 'lesan ov 'dip im'presiv sig'nifikans. '/u:rli it wud^^ bfkAm 'sAtJ a man, 'fArni/t^^ far Sa 'haqst ov 'gl 'entar- praiz^z, 'Sat ov biir) Sa 'po^t ov hiz 'ed5, tu kon'sidar 'wel Aiot it 'iz Sat hi a'tem^ts, and in 'Avot 'spirit hi a'tempts 1 'bXrnz ^ 'for0 ^ wiS'in, wiSaut, wiS * 'Ankon'vert^d ^ 0o: ® 'Se:r ^ 'persikjut^d ^ 'sertan ^ 'mornftjl 1^ 'pXrpas ^^ 'stem ^^ wud ^^ 'fArni/t it. for Sa 'wArdz^ ov 'miltan ar 'tru: in 'gl 'taimz, end wer 'never 'truer San in 'Sis: "'hi;, hu wud^ 'rait hi'roik 'po^mz, mAst 'mek hiz 'hoi 'laif a hi'roik 'po:[m." if hi kanot 'ferst 'so: mek hiz 'laif, 'Sen 1st him 'hesn from 'Sis a'rina; for naiSer^ its 'lofti 'glo:riz^, nor its 'fiirftjl 'psrilz, ar 'fit for 'him. 1st him 'dwindl intu a 'modij 'balad- mATjgar; 1st him 'wAr/ip^ end bi'sit) Si 'aidalz ov Sa 'taim, and Sa 'taim wil not 'fel tu ri'wgrd him. if, indid, hi kan en'djuir tu 'liv in 'Sat ka'pasiti ! 'bairan and 'bArnz^ 'kud^ not liv az 'aidal 'prists, bAt Sa 'fair ov Ssr 'on 'harts kon'sjumd Sem; and 'bstar it 'woz for Sem Sat Se 'kud^ not. for it iz 'not in Sa 'feivar ov Sa 'gret or ov Sa 'smgl, bAt in a 'laif ov 'tru0, and in Si insks'pjunabl 'sitadel ov hiz 'on 'sol, Sat a 'bairanz or a 'bArnz^z 'streijG mAst 'lai. let Sa 'gret stand a'luf from him, or 'no; hau tu 'revarans him. 'bjutiful iz Sa 'junjan av 'welG wi0^ 'fe;var and 'fArSarans^ for 'litaratjar; laik Sa 'kostlr[st 'flauar 'd3a;r en'klo:zir) Sa 'Uvliist 'amaran8. 'jet let 'not Sa rfle/an bi mis'tekn. a 'tru; 'po^t iz not 'wAn hum Se kan 'hair bai 'mAni or 'flatari tu bi a 'minister av Ser 'plegerz, Ser 'raiter ov o'ke:5enel 'versiz^^, Ser per'veer ev 'tebl'wit; hi 'kanot bi Ser 'minjel, hi 'kanot 'i;vn bi Ser 'partizan. at Se 'peril ov 'bo6 'partiz, let 'no: sAtJ 'junjen bi e'temptid 1 wil a 'korsar^^ ov Sa 'sAn wArk^^ 'softli in Se 'harms ov a 'dre:hors ? hiz 'hufs ar ev 'fair, end hiz 'pa0^^ iz Sru; Se 'hevnz, 'briijir) 'lait tu 'gl 'landz; wil 'hi: 'Umber on 'mAd 'haiwez, 'dragir) 'el for 'erGli^^ 'apitaits from 'do:r^^ tu 'do;ris ? ^'wXrdz ^wud ^ni:Ser ^'glo:riz ^'wXrJip ^'bXmz ^ 'kud ^ wiS ^ 'fXrSerans ^^ 'vers^z ^^ 'korsar ^^ wXrk 1^ 'pae 1* 'ereh ^^ 'do:r 102 i»HONETIC TR^iNSCRIPTIONS 6. Sir Henry Wotton A Happy Life hau 'hapi iz 'hi: 'born and 't^t Sat 'S£rve6^ not o'nASarz 'wil; huz 'armar iz hiz 'on^st 'S^t and 'simpl 'tru6 hiz 'Atmost 'skil; huz 'pa/anz 'not hiz 'mastarz ar, huz 'sol IZ 'stil pri'peird^ for 'de0, An'taid Antu Sa 'wArld^ bai 'ke;r^ ov 'pAbhk 'fern, or 'praivit 'bre0 ; hu 'snviz 'uAn Sat 't/ans dA0 're:z nor 'vais; hu 'nsvar Andar'stud^ hau 'dipisfc 'wundz ar 'givn bai 'pre;z ; nor 'rulz av 'stet, bAt 'rulz av 'gud^: hu ha0 hiz 'laif from 'rumarz 'friid, huz 'kon/ans iz hiz 'stror) rftrit; huz 'stet kan naiSar^ 'flatararz 'fid, nor 'rum 'mek o'presarz 'gret; hu 'god dA0 'let and 'erli^ 'pre: 'mo:r^ av hiz 'gres San 'gifts tu 'lend; and entar'tenz Sa 'harmlis 'de: wi0^^ a ri'lidgas 'buk^^ or 'frend. 'Sis 'man iz 'fri:d from 'servaiP^ 'bandz ov 'hop tu 'raiz, or 'fi:r tu 'fgl: 'lord ov him'self, So:^^ 'not ov 'landz; and, havir) 'nA0ir), 'jet ha0 'gl. ^ 'S8rve0 ^ pri'pe:rd ^ 'wXrld * 'ke:r ^ Andar'stud « 'gud ^ niSar ^ 'erli ^ 'mo:r ^^ wiS ^^ 'buk 12 'servail ^^ 0o: STYLE A 103 7. William Pitt Passage from Reply to Walpole Si a'tro/as 'kraim av 'biiij a 'jat) man, AutJ Si 'onorabl 'dsentlman haz, wi6^ 'sAtJ 'spirit and 'disansi, 'tjardsd Apon mi, ai Jal naiSar^ a'tsm^^t tu 'pallet, nor di'nai ; bAt kon'tent maisslf wi9^ 'wijir) Sat 'ai me: bi WAn av '5o:z huz 'foliz 'sis wi6^ Ser 'ju6; and 'not ov 'Sat 'nAmbar hu ar 'ignorant in 'spait ov sks'piirians. AieSar 'ju6 kan bi im'pjutid tu 'em 'man az a ri'protj, ai 'wil not as'jum Sa 'provins ov di'tsrminir)^: bAt, 'Juirli, 'edj me; bikAm 'djAstli kon'tsmptibl, if Si opor'tjunitiz Avit/ it 'brirjz hav 'past^ a'we: wiBaut^ im'pruivment, and 'vais a'piirz tu pri'vel Aven Sa 'pajanz hav sAb'said^d. Sa 'rstj Sat, 'aftar^ haviij 'sin Sa 'konsikwensiz ov a 'Sauzand 'erorz, kon'tinjuz 'stil tu 'bUndar, and huz 'edg haz 'onh 'adid 'obstinasi tu stju'piditi, iz 'Juirh Si 'obd3ikt ov aiSar^ ab'horens or kon'tem|)t ; and di'zervz^ not Sat hiz 'gre; 'hsd Jud^ sfkjuir him from 'insAlts. 'mAtJ moir^ iz 'hi; tu bi ab'hord 'hu;, az hi haz ad'vanst in 'edg, haz rfsidiEd from 'vartju, and bfkAmz 'mo;r^ 'wikid wi6^ 'les tem'te/an, hu 'prostitjuts himself for 'mAni AvitJ hi 'kanot en'djoi, and 'spendz Sa ri'menz ov hiz 'laif in Sa 'ruin ov hiz 'kAntri. ^ wiS, wiSaut ^ ni;Sar, i;Sar ^ dfterminir) ^ 'past ^ 'aftar ^ di'zervz "^ Jud ^ mo;r STYLE B 8. C. S. Calverley Contentment (after the manner of Horace) 'frsnd, Ser bi '5e: on hum mis'hap or 'nevor or 'so: 'reirli^ 'kAmz, Sat, Aien Se 'Oigk Ss:rof, Se 'snap dfraisiv '6Amz; and Ser bi 'Se: hu 'laitli 'lu;z Ser 'gl, jet 'fil 'no: 'ekir) 'void ; Jud^ 'gt o'noi Sam, Se ri'fju:z tu bi o'noid ; end 'fen wud^ 'ai bi i:n oz 'Si:z ! 'laif iz WI0* 'sAtJ 'q1 'bi:r and 'skitlz; Se 'a:r not 'difikolt tu 'pli:z o'baut Ser 'vitlz; So 'traut, So 'graus, Si 'erli^ 'pi:, bai 'sAtJ, if 'Se:r^, ar 'frili 'tekan ; if 'not, Se 'mAn/ wi0^ 'ikwol 'gli: Ser 'bit ov 'bekan; 're:rli ^ jud 3 ^^d * wiS ^ 'erli ^ 'Se:r STYLE B 105 and Aven Se 'wgtks a 'litl 'ge: and 't/af^ Sa 'pAblik aftar^ 'Unjan, if Seir kan'frAntid wi0^ a 'stre; paiismanz 'trAnJan, t5e 'ge;z Seirat* wi0^ 'autstretjt 'nsks, and 'laftar AvitJ 'no: '0rsts kan 'smASar, and 'tsl Sa 'horarstrik^n 'eks Sat 'hi;z a'nASar. in 'sno:taim if Se 'kros a 'spot jABir^ 'AnsAs'pektid 'boiz hav 'slid, Se 'fgl not 'daun — '60;^ Se wud^ 'not 'maind if Se 'did; Aven t5a 'sprir) 'ro:zbAd AvitJ Se 'we:r^ 'breks 'Jort and 'tAmblz fram its 'stem, 'no: '6gt av biir) 'ar)gri 'e:r^ 'dgnz apon 't5em; 'So:^ twaz dsfmaimaz 'hand Sat 'plest, (az 'wel ju 'win) at 'i:vnir)z 'auar, in Sa 'lAvd 'bAtnhol Sat 'tjest and 't/en/t 'flauar. and A\.sn Se 'travl, if Se 'faind Sat Se hav 'left Ser 'pokit'kAmpas or 'mAri or '0ik 'buts^^ bihaind, Se 're:z 'no: 'rAmpas, bat 'plod sfrinli 'on wiG'aut^; 'noir) its 'betar tu tn'dju:r Si 'i:vl AvitJ bijond 'gl 'daut ju 'kanot 'kju:r. I'tjaf ^aftar ^ wiS, wiS'aut * Se:rat ^ Ave:r ^'00: ^ wud ^ 'we:r ^ 'e:r ^^ 'buts 106 PHONETIC TRANSCRIPTIONS Aven far Sat 'erli^ 'tren Se:r 'let, Se du not 'mek Ssr 'wo;z Sa 'tekst 8v 'ssrmanz^ in Sa 'taimz, bat 'wet 'on far Sa 'nskst; and 'djAmp in'said, and 'onli 'grin fud^ it a'piir Sat 'Sat 'drai 'wag, Sa 'gard, o'mitid tu 'put* 'in Ssr 'karpitbag. 9. Goldsmith Passage from the Vicar of Wakefield aur 'litl habi'te/an waz 'sitjuetid at Sa 'ftit^ av a 'slopir) 'hil, 'Jeltard wi6^ a 'bjutifal 'Andarwud^ bfhaind, and a 'pratlir) 'rivar b^foir^; on 'wAn said a 'medo, on Si 'ASar a 'grin, mai 'farm kan'sistid av abaut 'twsnti 'ekarz av 'eksalant 'land, havir) 'givn a 'liAndrid 'paund for mai pridfsesarz gud'wiF. 'nA0ir) kud^^ ik'sid Sa 'nitnis av mai 'litl in'kloigarz, Si 'elmz and 'h£d3ro:z a'piirirj wi6^ in^ks'presibl 'bjuti. mai 'haus kan'sistid av bat 'wAn 'stoiri^^ and waz 'kAvard wi6^ 'OatJ, AvitJ 'ge:v it an 'eir^^ av 'gret 'snAgnis ; Sa 'wglz on Si in'said wer 'naisli 'Avaitwo/t, and mai 'dgtarz Andar'tuk^^ tu a'dorn Sem wi9^ 'piktjarz av Ser 'on di'zaimr). So^* Sa 'sem 'rum ssrvd^^ as far 'parlar and 'kit/^n, 'Sat onli 'med it Sa 'wgrmar. bfsaidz, az it waz 'kept wi9^ Si 'Atmast 'nitnis, Sa 'di/^z, 'plets, and 'koparz biirj 'wel 'skaurd, and 'gl dis'poizd in 'brait 'ro;z 1 'erli 2 'sermanz ^ Jud * 'put ^ 'fut ^ wiS ^ Andarwud ^ hiffoir ^ gud'wil ^^ kud ^^ 'stoin 12 'e:r ^^ Andar'tuk ^^ 0o; ^^ servd STYLE B lOT on Sa 'Jelvz, Si 'ai waz o'griabli ri'liivd, and did not 'wont 'rit/ar 'fArmtjar^. Sar war '6ri; 'ASar a'partniants — 'wAn far mai 'waif and mi, a'nASar far aur 'tu: 'dgtarz, wiGin^ aur 'on, and Sa '6ard, wiO^ 'tu; 'bsdz, far Sa 'rest av Sa 't/ildran. Sa 'litl rfpAblik tu 'AntJ ai geiv '1q:z waz 'regjuletid in Sa 'foloir) 'manar : bai 'sAnraiz wi 'gl a'sembld in aur 'koman a'partmant, Sa 'fair biir) 'priiviasli 'kindld bai Sa 'servant ^ aftar* wi had sa'ljutid it/ 'ASar wiS^ 'propar 'serimom^ for ai 'glwiz Sgt 'fit tu kip 'Ap 'sAm mi'kanikl 'formz av 'gud^ 'bridir), wi6'aut^ 'AvitJ 'fridam 'evar di'stroiz 'frend/ip, wi 'gl 'bent in 'gratitjud tu 'Sat 'biir) hu 'ge:v as a'nASar 'de;. '5is 'djuti biir) par'formd, mai 'sAn and 'ai went tu par'sju; aur 'juigual^ 'indastri a'brod. Avail mai 'waif and 'dgtarz im'ploid Samselvz in pro'vaidir) 'brekfast, Mitf waz 'glwiz 'redi at a 'sertan^ 'taim. ai a'laud 'haf an 'auar far 'Sis 'mil, and an 'auar far 'dinar ; 'AvitJ 'taim waz 'tekn 'Ap in 'inosant 'mar9 bitwin mai 'waif and 'dgtarz, and in filo'sofikl 'argjumants bitwin mai 'sAn and 'mi:. az wi 'ro;z wiQ^ Sa 'sAn, 'so; wi 'nevar par'syu;d aur 'lebarz aftar* it waz gon 'daun, bat rftArnd^ 'hom tu Si ik'spektir) 'famili, Aveir^^ 'smailig 'luks^^, a 'nit 'harO, and 'plezant 'fair, war pri'pe:rd^^ far aur rfsep/an. nor wer wi wiO'aut^ 'gests; 'sAmtaimz 'farmar 'flambara, aur 'tgkativ 'nebar, and 'ofn Sa 'blaind 'paipar, wud^^ 'pe; as a 'vizit and 'test aur 'gusberi^* 'wain, far Sa 'mekir) av AvitJ wi had 'lost naiSar^^ Sa rfsit nor Sa repju'te/an. Si:z 'harml^s 'pipl had 'several 'we:z av biir) gud^ 'kAmpani ; ^ 'firmtjar ^ wiSin, wiS, wiSaut ^ 'servant * 'aftar ^'serimoni ^'gud '''juizjual ^'sertan ^rftArnd ^^Ave:r 1^ 'luks ^^ pri'pe;rd ^^ wud ^^ 'guizberi ^^ ni:Sar 108 PHONETIC TRANSCRIPTIONS Avail 'wAn 'ple:d, Si 'ASdr wud^ 'sir) SAin 'suiSir) 'babd, "'d3oni 'armstror)z 'last^ gud^'nait" or "Se 'kruelti ev 'bcLrbara 'alan." Sa 'nait waz kon'kludid in Sa 'maner wi bfgan So 'mornir), mai 'JAggist 'boiz biir) 9'pointid tu rid Sa 'lesnz av Sa 'de: ; and 'hi: Sat red 'laud^st, dis'tir)A;t^st, and 'best waz tu hav a 'hepni an 'sAnde tu 'put* intu Sa 'puirz boks. 'doktar. kor'dilia. 'dgentlman. 'doktar. kor'dilia. 'doktar. kor'dilia. 10. William Shakespeare Passage from King Lear, Act iv. Scene 7 so: 'pli:z jur 'madgasti kent. kor'dilia. Sat wi me: 'wek Sa 'kir) ? hi ha0 'slept 'lor). bi 'gAvarnd bai jur 'nolidg, and pro'sid I Sa 'swe: av jur 'on 'wil. iz hi a're:d ? 'ai, madam; in Sa 'hevinis av 'slip wi 'put* 'fre/ 'garmants on him. bi 'bai, gud^ 'madam, Aven wi 'du: a' wek him ; ai 'daut not av hiz 'temparans. 'ven 'wel. 'pli:z ju, 'drg: 'ni:r. 'laudar Sa 'mjuzik 'Se:r^ ! o mai 'di:r 'fa:Sar ! resto're/an 'har) Sai 'medisin on mai 'hps, and let 'Sis 'kis ri'pe:r^ 'So:z 'vaiolant 'harmz Sat mai 'tu: 'sistarz hav in Sai 'revarans 'med ! 'kaind and 'di:r 'pnnses ! had ju 'not bin Ser 'fa:Sar, 'Si:z Aiait 'fleks had 't/alandgd 'piti av Sam. woz 'Sis a 'fes ^ wud 2 'last gud 'put 'Se:r ri'pe:r STYLE B 109 tu bi e'poizd e'genst t5a 'wg;rir) 'windz ? tu 'stand a'genst Sa 'dip 'dredboltid 'GAndar? in Sa 'most 'teribl and 'nimbi 'strok ov 'kwik, kros 'laitnir) ? tu 'wot/, 'pu:r 'psrdy^ ! wi0^ 'Sis '8in 'hslm ? main 'enimiz 'dog, 'So; 3 hi had 'bit mi, Jud* hav 'stud^ 'Sat 'nait a'genst mai 'fair ; and wost Sau 'fen, 'puir 'fa;Sar, tu 'hAvP Si wi0^ 'swam, and 'rogz far'lom, in 'Jort and 'mAsti 'str^i ? a'lak, a'lak ! tiz 'wAndar Sat Sai 'laif and 'wits at 'wAns had not kan'klud^d '9I. hi 'weks ; 'spik tu him. 'doktar. 'madam, du 'ju: ; tiz 'fitist. kor'diha. hau 'dAz mai 'roial 'lord ? hau 'feirz^ jur 'ma- dgasti ? liir. ju du mi 'ror) tu 'tek mi aut a Sa 'greiv. 'Sau art a 'sol in 'blis; bat 'ai am 'baund apon a 'Avil av 'fair. Sat main 'on 'ti;rz du 'skgld laik 'moltn 'led. kor'diha. 'sar, du ju 'no: mi ? liir. ju ar a 'spirit, ai 'no; ; 'Aven did ju 'dai ? kor'diha. 'stil, 'stil, 'fa;r 'waid ! 'doktar. hi;z 'skers^ a'wek: let him a'lon aAs.ail. li:r. 'Ave;r^ hav ai 'bin ? A\.e;r 'am ai ? 'fe;r^ 'de;lait ? ai m 'maitili a'bju;zd. ai Jud^ 'i;n 'dai wi0^ 'piti tu si a'nASar 'Sas. ai 'no; not Avot tu 'se;. ai wil not 'swe:r^^ 'Si;z ar 'mai 'handz. lets 'si; ; ai 'fil Sis 'pin 'prik. 'wud^^ ai war a'/u;rd a V mai kan'di/an ! kor'diha. 'o;, 'luk^^ a'pon mi, sar, ^ y is rounded i ^ wiS ^ 'fe;rz ^ 'skers ^ 'A^.e;r 3 /, '60; */ud ^'stud ^'hovl iO'swe;r ^^ 'wud ^2/1^]^ 110 PHONETIC TRANSCRIPTIONS and 'hold jur 'handz in bsn^'dikjan 'o:r mi. 'no: sar, ju 'mAst not 'nil. li;r. pre:, 'du: not 'mok mi. ai am a 'vsn 'fiilij 'fond 'old 'man, 'fo:r8ko:r^ and 'Apward, not an 'aur 'mo:r^ or 'Iss; 'and, tu dil 'plenli, ai 'fi:r ai am 'not in mai 'perfikt 'maind. mi'Oirjks ai Jud^ 'no: 'ju:, and 'no: 'Sis 'man; 'jst ai am 'dautful : for ai am 'menli 'ignarant 'Aiot 'pies Sis 'iz, and 'q1 Sa 'skil ai hav rfmsmbarz not 'Si:z 'garmants, nor ai 'no: not 'AVer* ai did 'lodg 'last^ 'nait. 'du: not 'laf at mi ; 'for, az ai am a 'man, ai '6ir)k 'Sis 'ledi tu bi mai 't/aild kor'dilia. kor'dilia. and 'so: ai 'am, ai 'am. li:r. bi jur 'ti:rz 'wst ? 'jes, fe0. ai 'pre:, 'wip not. if ju hav 'poizn for mi, ai wil 'dngk it. ai 'no: ju du not 'Iav mi, for jur 'sistarz 'hav, az ai du ri'membar, 'dAn mi 'ror) ; 'ju: hav 'sAm 'kQ:z, 'Se: hav 'not. kor'dilia. 'no: 'kQ:z, 'no: 'kg:z. li:r. 'am ai in 'frans ? kent. in jur 'on 'kiijdam, sar. li:r. 'du: not a'bju:z mi. * * * * fit kor'dilia. wilt 'pli:z jur 'hain^s 'wgk ? li:r. ju mAst 'be:r® wi0^ mi. 'pre: ju nau, far'get and far'grv; ai m 'old and 'full/. i'fo:rsko:r ^'moir » /ud *'Ave;r ^'lost *'be:r ^wi8 STYLE B 111 11. Francis Thompson Aveir^ Sa '0isl 'lifts 9 'pArpP 'kraun 'siks 'fut^ aut 8v 5a 'tArf*, and Sa 'heirbeF 'Jeks an Sa 'windi 'hil— o Sa 'breO av Sa 'distant 'sArf^! — Sa 'hilz luk'' 'o:var an Sa 'sau0, and 'sau9ward 'drimz t5a 'si: ; and, wi0^ Sa 'si:'bri:z 'hand in 'hand, kem 'inosans and 'Ji:. 'Aveir^ mid Sa 'gors Sa 'rasberi^ 'red far Sa 'gaSarar 'sprirjz, 'tu; 't/ildran did wi 'stre: and 'tgk 'waiz, 'aidl, 't/aildij '0itjz. Ji 'hsnd wi0^ big'hpt sar'praiz, 'brestdip mid 'flauar and 'spam : har 'skin waz laik a 'grep, huz 'venz 'rAn 'sno: instsd av 'wain. Ji 'nju: not 'So:z 'swit 'wArdz^^ Ji 'spek, nor 'nju; har 'on 'swit 'we; ; bat Sarz 'nevar a 'bard, so 'swit a 'sor) '0ror)d in huz '0rot '5at 'de; ! 'o;, 5ar war 'flauarz in 'storiijtan on Sa 'tArf * and on 5a 'spre; ; bat 5a 'swit^st 'flauar on 'sAs^ks 'hilz waz 5a 'de;zi 'flauar '5at 'de; ! i'Ave;r ^ /p^^^pi 3 /fot ^ /^xrf ^ /hg.rbel ^ /gj^j.f '^ lyk ^ wi5 ® 'rcL;zberi ^^ 'wArdz 112 PHONETIC TRANSCRIPTIONS her 'bjuti 'smuiSd srGs^ 'fArod 'fes! Ji 'ge:v mi 'toknz '0ri: — 9 'luk^, 9 'wArd^ 9V h9r 'wins9m 'mau0, 'and 9 'waild 'rasbsri*. 9 'ben 'red, 9 'gaiUis 'luk^, 9 'stil 'wArd^, — ^'strigz 9V 'sand ! 9nd 'jet Se 'med max 'waild, 'waild 'hart flax 'daun tu h9r 'Ixtl 'hand. for, 'standxr) 'artl^s 9z Si 'e;r^ 9nd 'kandxd 9z S9 'skaxz, Ji 'tuk^ S9 'beriz wx0^ h9r 'hand, 9nd S9 'Iav wx0^ h9r 'swit 'axz. S9 'feirist^ '0xr)z hav 'flit^st 'end: Ser 'sent S9r'vaxvz Ser 'klo:z, b9t S9 'ro:ztz 'sent iz 'bxt9m:[s tu 'him S9t 'lAvd 59 'ro:z ! Ji 'lukt2 9 'htl 'wistf9li, Sen 'went h9r 'sAn/axn 'we: : — S9 'si:z 'ai had 9 'mist on it, 9nd S9 'li:vz 'fel fr9m S9 'de:. Ji 'went h9r Anri'membanr) 'we;, Ji 'went, 9nd 'left in 'mi; S9 'par) 9V 'q1 S9 'partigz 'gon, 9nd 'partigz 'jet tu 'bi;. Ji 'left mi 'marvalir) jasli 'max 'sol W9Z 'sad t59t 'Ji; W9z 'glad; 9t '9I S9 'sadn^s in S9 'swit, S9 'switn^s in S9 'sad. 1 er0s 2 'ixjk, 'lukt ^ 'wXrd * 'ra;zberi ^ 'e;r « 'tuk 7 wi5 ^ 'fe;rtst STYLE B 113 'stil, 'stil ai 'sim tu 'si: har, 'stil luk^ 'Ap wi9^ 'soft ri'piaiz, and 'tek Sa 'beriz wiG^ bar 'hand, and Sa 'Iav wi9^ bar 'Uvh 'aiz. 'nA0ir) Wginz, and 'nA0ir) 'endz, Sat iz not 'pe:d wi9^ 'mon; for wi ar 'born in 'ASarz 'pen, and 'pen/ in aur 'on. 12. Charles Dickens A passage from Domhey and Son Analysis of tbe character of P. Dombey 5e war wi6in^ 'tu ar 0ri 'wiks av Sa 'bolidez, Aven, 'wAn 'de;, kor'niha 'bhmbar 'k^ld 'p^l intu bar 'rum, and 'sed, "'dombi, ai am 'goir) tu send 'bom jur a'nalisis." "'0ar)k ju, mam," rftArnd^ 'p^l. "ju 'no; wot ai 'min, du ju, 'dombi?" in'kwaird mis 'bhmbar, 'lukir)^ 'hard at him 0ru Sa 'spektaklz. "'no;, mam," sed 'pgl. "'dombi, 'dombi," sed mis 'bhmbar, "ai bfgin tu bi a'fred ju ax a 'sad 'boi. Aven ju 'dont 'no; Sa 'minir) av an iks'pre/an, Avai dont ju 'sik far infor'me/an ?" " misiz 'pipt/in 'told mi ai 'woznt tu ask^ 'kwestjanz," rftAmd^ 'p^l. "ai mAst 'beg ju 'not tu 'men/an misiz 'piptjin tu 'mi:, on 'em a'kaunt, 'dombi," ri'tArnd^ mis 'blimbar. " ai 'kud^nt '8ir)k av a'lauir) it. Sa 'kors^ av 'stAdi 'hi;r iz 'veri 'fa;r ri'mu:vd from 'eniBirj av 'Sat 'sort, a repfti/an ^ luk, 'lukir) 2 wiS, wiSin ^ ri'tArnd * ask ^ kud ^ 'kors G. H 114 PHONETIC TRANSCRIPTIONS 9v 'sAtJ a'ljuiganz wud^ mek it 'nss^sari far 'mi; tu ri'kwsst tu 'hi;r, wi0aut^ a mis'tek, bffoir^ 'brekfasttaim tu'moro 'mormr), from "verbAm person'aile' daun tu 'sfmilima signo. "ai 'didnt 'min, mam — '' bfgan litl 'pgl. "ai mAst 'trAbl ju 'not tu 'tel mi Sat ju 'didnt 'min, if ju pliiz, 'dombi," ssd mis 'blimbar, hu prfzervd* an 'gfal pa'laitnis in bar adman'i/anz. '' 'Sat iz a lain av 'argjumant, ai 'kud^nt 'drim av par'mitir)." 'pgl felt it 'sefist tu se: 'nA0ir) at 'gl, so hi 'onli 'lukt® at mis 'blimbarz 'spektaklz. mis 'blimbar havir) 'Jekn bar 'bed at him 'greivli, ri'ferd^ tu a 'pepar 'laiir) bffoir^ bar. "*an'alisis av Sa 'karaktar av 'pi: 'dombi/ if mai rekol'ekjan 'servz^ mi," sed mis 'blimbar, 'brekiij 'of, "Sa 'wArd^ an'alisis az o'poizd tu 'sin0isis, iz '5as dfiaind bai 'wgkar. *Sa rezo'lju/an ov an 'obdsikt, A^eSar ov Sa 'sens^z or ov Si 'intilekt, intu its farst 'elimsnts.' az o'poizd tu 'sinSisis, ju ob'zerv^^. 'nau ju 'no; Avot an'alisis 'iz, 'dombi." 'dombi 'didnt 'sim tu bi 'absa'ljutli 'blaindid bai Sa 'lait let 'in apon hiz 'intilekt, bat hi 'med mis 'blimbar a litl 'bau. ^ ^ ^ ^ * * "*it me bi 'd3enarali ob'zervd^^ ov 'dombi,'" sed mis 'blimbar, 'ridir) in a 'laud 'vois, and at 'evri 'sekand 'wArd^ dfrektir) bar 'spektaklz 'toardz^^ Sa 'litl 'figar bi'fo;r^ bar: "'Sat hiz a'bilitiz and inklin'e/anz ar 'gud^^ and Sat hi haz 'med az 'mAtJ 'progres^^ az Andar Sa 'sarkamstansiz 'kud^ hav bin eks'pektid. bAt it iz tu bi la'mentid 9v ^ wud 2 wiSaut ^ bi'fo;r ^ prfzervd ^ 'kud ® 'lukt ^ rfferd ^ 'servz ^ 'wXrd ^^ ob'zerv, ob'zervd ^^ 'toardz, 'twordz, 'twordz ^'^ 'gud ^^ 'progres STYLE B 115 '5is JAr) 'dgsntlmen Sat hi iz 'siTjgjulor (Avot iz 'juiguali^ 'tsrmd^ old'fa/and) in hiz 'karaktar and 'kondakt, and Sat, wiOaut^ pri'zsntir) 'sniGir) in 'aiSar* AvitJ dis'tiijtli 'kglz for repro'be/an, hi iz 'ofh 'veri An'laik 'ASar JAr) 'dssntlman av hiz 'edg and 'so/al po'zi/an/ 'nau, 'dombi," sed mis 'bhmbar, leir) 'daun Sa 'pepar, ''du ju Andar'stand 'Sat?" "ai 0ir)k ai 'du;, mam," ssd 'pgl. "'Sis an'alisis, ju si;, 'dombi," mis 'bhmbar kan'tinjud, "iz 'goiT) tu bi sent 'hom tu jur ris'psktid 'peirant^ it wil 'natjurah bi 'veri 'penful tu him tu 'faind Sat ju ar 'siggjular in jur 'karaktar and 'kondakt. it iz 'natjurali 'penful tu 'as; for wi 'kant laik ju, ju 'no;, dombi, az 'wel az wi kud^ 'wij." Ji 'tAt/t Sa 't/aild apon a 'tendar 'point, hi had 'sikr^th bikAm 'mo;r^ and 'mo;r^ sa'hsitas fram 'de; tu 'de;, az Sa 'taim av hiz dfpartjar 'dru; 'mo;r'' 'ni;r, Sat 'gl Sa 'haus Jud^ 'laik him. for sAm 'hidn 'ri;zan, 'veri im'psrfiktli^ Andar'studio bai him'self— if Andar'stud^^ at 'gl— hi 'felt a 'gradjuali in'krisir) 'impAls av a'fek/an, 'toardz^^ glmost 'evriGir) and 'svribodi in Sa 'pies, hi 'kud^ not 'be;r^2 tu '0iT)k Sat Se wud^^ bi 'kwait in'difarant tu him Aien hi waz 'gon. hi 'wontid Sem tu rfmsmbar him 'kaindli ; and hi had 'med it hiz 'biznis i;vn tu kan'siliet a 'gret 'hors^* 'Jagi 'dog, 't/end 'Ap at Sa 'bak av Sa 'haus, hu had 'pri;viasli bin Sa 'tsrar av hiz 'laif: Sat i;vn 'hi; mait 'mis him Avsn hi waz no 'lorjgar 'Se;r^^ 'litl '6ir)kiT) Sat in 'Sis hi 'onli '/o;d a'gsn Sa 'difarans bitwin him'self and hiz kom'pi;rz, 'pu;r 'taim 'pgl 'set it ^'ju;zjuali ^'termd ^wiSaut *'i;Sar ^'pe;rant ^kud "^ 'mo;r ^ Jud ^ im'perfiktli ^^ Andai-'stud ^^ 'toardz, 'twordz, 'twordz ^^ 'be;r ^^ wud ^^ 'hors ^^ 'Se;r 8—2 116 PHONETIC TRANSCRIPTIONS 'for6^ tu mis 'blimbar 8z 'wel ez hi 'kud^ and 'bsgd her, in dis'pait 9v 5i a'fijal a'nal^sis, tu hav Sa 'gudn^s^ tu 'trai an laik him. tu 'misiz 'bhmbar, hu had 'dgoind 6sm, hi prfferd* Sa 'sem pfti/an: and Aven '5at 'ledi kud^ not far'beir^, 'i:vn in hiz 'prezans, fram givir) 'Atarans tu har 'oft rfpitid a'pinjan, Sat hi 'woz an 'od 'tjaild, 'p^l 'told har Sat hi waz 'Ju:r Ji waz 'kwait 'rait; Sat hi '0Qt it 'mAst bi hiz 'bonz, bat hi 'didnt 'no; ; and Sat hi 'hopt Ji wud^ ovar'luk^ it, far hi waz 'fond av Sam 'gl. "not so 'fond," sed 'pgl, wi6^ a 'mikstjar av tfmiditi and 'perfikt^ 'frarjkn^s, JAitj waz 'wAn av Sa 'most pfkjuljar and 'most in'gedgir) 'kwohtiz av Sa 't/aild, "'not so 'fond az ai 'am av 'florans, av 'kors^^; 'Sat kud^ 'nevar bi. ju 'kud^nt iks'pekt 'Sat, 'kud^ ju, mam ? " "'o;, Si old'fa/and 'litl 'sol!" kraid misiz 'blimbar, in a 'Avispar. "bat ai 'laik 'svnbodi 'hi:r 'vsri 'mAtJ," par'syuid 'pgl, "and ai Jud^^ 'griiv tu go a'we, and '6iT)k Sat 'eniwAn waz 'glad Sat ai waz 'gon, or 'didnt 'ke:r^^." 13. Elizabeth Barrett Browning The Forced Recruit in Sa 'rarjks av Si 'gstrian ju 'faund him, hi 'daid wi0® hiz 'fes tu ju 'gl; jet 'beri him 'hiir Aieir^^ a'raund him ju 'honar jur 'breiv^st Sat 'fgl. 1 'fore 2 ^kud 3 ^gudn[s ^ prfferd ^ bs:r « wud 7 luk 8 ^jg 9 /perf^kt 10 'kors ^^ Jud 12 ,^^,j. Aveir 13 STYLE B 117 ven'i/en, fe;r^ 'fitjord end 'slsndar, hi 'laiz Jot ttj 'de0 in hiz 'ju6, WI02 8 'small on hiz 'lips over 'tender , for em 'mi:r 'soldserz 'ded 'mau9. 'no: 'strendser, end 'jet not e 'treter, So^ 'eljen Se 'klo0 on hiz 'brest, Ander'niQ it hau 'seldem e 'greter 'JAT) 'hart hez e 'Jot sent tu 'rest! bai jur 'enimi 'tortjerd end 'godid tu 'mart/ wiS^ Sem, 'stand in Ser 'fail. hiz 'mAskit ('si;) 'never wez 'lodid, 'hi: 'fesif) jur 'gAnz wiG^ 'Sat 'smail! ez 'orfenz 'jern* 'on tu Ser 'mASerz, hi 'jernd^ tu jur 'petriet 'bandz; — "let mi 'dai for aur 'iteli, 'brASerz, if 'not in 'ju:r 'rarjks, bai 'ju:r 'handz ! "'em 'stretli, 'fair 'stedili ! 'spe:r^ mi 9 'bgl in Sa 'bodi AvitJ me: dflivar mai 'hart 'hi:r, end 'te:r^ mi 'Sis 'badg ev Si 'gstrien e'we: ! " 'so: 'Sgt hi, 'so: 'daid hi, Sis 'mornir). Avot 'Sen? 'mem 'ASerz hev 'daid. 'ai, bAt 'i:zi fer 'men tu dai 'skornir) Se 'deGsfcrok, hu 'fgt 'said bai 'said: — 'wAn 'traikAler 'flotir) e'bAv Sem; strAk 'daun mid trafAmfent e'klemz ov en 'iteli 'reskjud tu 'Iav Sem end 'ble:zn Se 'bras^ wi0^ Ser 'nemz. fe:r ^ wiS ^ 0o * 'jernd ^ 'spe:r ^ 'te:r '' 'bras 118 PHONETIC TRANSCRIPTIONS bAt 'hi:, — wiSaut^ 'witnis or 'onar, 'Se:r^ 'Jemd in hiz 'kAntriz ri'gard, wi0^ Sa 'tairants hu 'mart/ in a'pon har, 'daid 'feefal and 'pasiv: 'twoz 'hard. twoz sa'blaim. in a 'krual ris'trikjan kAt 'of fram Sa 'gerdan^ av 'sAnz, wi0^ most 'fikal* o'bidjans, kan'vik/an, hiz 'sol 'kist Sa 'hps av har 'gAnz. 'Sat 'muivz ju ? 'ne:, 'grAdg not tu 'Jo: it, Avail 'digir) a 'greiv far him 'hi:r: Si A'Sarz hu 'daid, sez jur 'po:it, hav 'glo;ri^ — 1st 'him hav a 'ti;r. 14. James Boswell A passage from the Life of Johnson Johnson, "'sar, Aven 'pipl 'wot/ mi 'naroli, and ai 'du: not 'wot/ mai'self, Se wil 'faind mi 'aut tu bi av a par- 'tikjular 'kaunti. in Sa 'sem 'manar 'dAnir) me bi faund 'aut tu bi a 'devan/air^ man. 'so; 'most 'skot/man me bi faund 'aut. 'bAt, sar, 'litl aba're/anz ar av 'no: disad- 'vant^dg. ai 'nsvar kat/t 'malat in a 'skot/ 'aksant; and 'jet 'malat, ai sa'po:z, waz 'past^ faiv and 'twenti bi'fo:r^ hi 'kem tu 'kndan." apon a'nASar a'ke:3an ai 'tgkt tu him an Sis 'sAbdg^kt, havir) mafself 'tekn 'sAm 'penz tu im'pru:v mai pronAn- sfe/an, bai Si 'ed av Sa 'let mistar 'Iav, av 'dru:ri 'len 'Giatar, Avsn hi woz a 'plear at 'ednbAra, and 'glso av 'old 1 wiSaut, wiS 2 'Se:r ^ 'gerdan * 'filjal ^ 'glo:n ® 'devan/ir ^ 'past ® 'bifo:r STYLE B 119 mistar 'Jsridan. 'd3ons8n 'sed tu mi, "'sar, jur pronAn- si'e/an iz not o'fensiv/' wiG^ '5is kan'ssjan ai waz 'priti 'wel 'satisfaid, and 1st mi 'giv mai 'kAntriman av 'nor9 'britan an ad'vais 'not tu 'em at 'absaljut par'fek/an in 'Sis ris'pekt ; 'not tu 'spik 'hai 'iT)gli/, az wi ar 'apt tu 'kgl Avot IZ 'fair rfmuivd fram Sa 'skotj, bat AvitJ iz bai 'no: minz 'gud^ '^^^^^fy ^nd meks "Sa 'fulz hu 'ju:z it" 'truli rfdikjulas. 'gud^ '159I1/ iz 'plen, 'i:zi, and 'smuiS in Sa 'mau9 av an Ana'fektid 'irjglij 'dgentlman. a 'stAdid and fak'ti/as pronAnsfe/an, AvitJ ri'kwairz par'petjual a'tenjan, and im'poiziz par'petjual kan'strent, iz :[k'sidir)li dis'gAstir). a 'smgl intar'mikstjar av pro'vin/al pikjulfaritiz 'me;, parhaps, hav an a'griabl ffskt, az Sa 'nots av 'difarant 'bardz kan'kAr^ in Sa 'harmani av Sa 'gro;v, and 'pli;z 'mo;r^ San if 5e war 'gl ig'zaktli a'laik. ai kud^ 'nem SAm 'dgentlman av 'airland, tu hum a 'slait pro'por/an^ av t5i 'aksant and resita'tiiv av 'Sat 'kAntri iz an ad'vantidg. Sa 'sem obzar've/an wil a'plai tu Sa 'dgentlman av 'skotland. ai du not 'min Sat wi Jud^ 'spik az 'brod az a sertan^ 'prosparas membar av 'parlamant from 'Sat 'kAntri; 'So;^ it haz bin 'wel ab'zsrvd^^. Sat it " haz bin av 'no; 'smgl 'jus tu him ; az it 'rauziz Si 'aten/an av Sa 'haus bai its An- 'komanis: and iz 'ikwal tu 'trops and 'figarz in a 'gud^ 'iTjgliJ 'spikar." ai wud^^ 'giv, az an 'instans av 'Avot ai 'min tu reka'mend tu mai 'kAntriman, Sa pronAnsi'e/an av Sa 'let sar 'gilbart 'eliat ; and me ai prfz^'um tu 'ad 'Sat av Sa 'prezant 'erP^ av 'martjmant, hu 'told mi, wi0^ 'gret gud 'jumar, Sat Sa 'mastar av a 'Jop in 'kndan, Aveir hi ^ WIS 2 /gud 3 kan'kXr ^ 'mo;r ^ kud ® pro'por/an '^ Jud ^ 'sertan ^ '60; ^^ ab'zervd ^^ wud ^^ 'erl 120 PHONETIC TRANSCRIPTIONS wez not 'nom, 'sed tu him, "ai sa'poiz, sar, ju ar an a'merikan/' "'Avai'so:, sar?" sed hiz 'lord/ip. "bfk^iz, sar," rfplaid Sa 'Jopkipar, "ju 'spik naiSar^ 'i^^lij ^^^ 'skotj, bat 'sAm0iT) 'difarant from 'bo0, AvitJ ai kan'klud iz Sa 'lar)gwid5 av a'merika." 15. Lord Byron Grreece 'klaim av Si Anfar'gotn 'breiv ! huz 'land from 'plen tu 'maun tin 'ke:v woz 'fridamz 'hom or 'gloiriz^ 'greiv ! '/rain av Sa 'maiti! kan it 'bi:, 5at 'Sis iz 'gl rfmenz av 'Si: ? a'prot/, Sau 'kreivn, 'kraut/ir) 'sleiv: 'se;, iz not 'Sis 0er'mopili ? 'Siiz 'wgtarz 'blu; Sat raund ju 'le:v, o 'servaiP 'ofsprii) av Sa 'fri: — pro'nauns 'Avot 'si; 'Mot '/o;r* iz 'Sis? Sa 'gAlf, Sa 'rok av 'salamis ! 'Siiz 'sinz, Ser 'sto;n^ not An'nom, a'raiz, and 'mek a'gen jur 'o;n; 'snatj from Si 'aj^z av jur 'sairz Si 'embarz av Ser 'formar 'fairz; and 'hi: hu in Sa 'straif ^ks'pairz wil 'ad tu 'Se:rz a 'nem av 'fi:r Sat 'tirani Jal 'kwek tu 'hi:r, and 'li:v hiz 'sAnz a 'hop, a 'fem, 'Se: 'tu: wil 'ra:Sar 'dai San 'Jem: ni:Sar ^ 'glo:riz ^ 'servail * '/o:r ^ 'sto:ri STYLE B 121 for 'fridamz 'batl 'wAns bi'gAD, bfkwiiSd bai 'blidiT) 'sair tu 'sah, So^ 'bafld 'oft iz 'ever 'wAn. beir^ 'witnis, 'gris, Sai 'livir) 'peds ! a'test It 'mem 9 'deSlis 'edg ! Avail 'kir)z, in 'dAsti 'darkni^s 'hid, hav 'left 9 'neml^s pira'mid, '5ai 'hiiroz, So^ Sa 'dsenral 'dum ha8 'swept Se 'kolam from Ser 'tum, 8 'maitiar 'monjumant ka'mand, Sa 'mauntinz av Ser 'netiv 'land! '5e;r^ points Sai 'mju;z tu 'strendgarz 'ai, Sa 'greivz av 'Soiz Sat 'kanot 'dai! twar 'lor) tu 'tel, and 'sad tu 'tres, 'it/ 'step from 'splendar tu dis'gres; fnAf — ^'no: 'form 'fo: kud* 'kwel Sai 'sol, til from it'self it 'fel ; 'jes! selfa'besmant 'pe;vd Sa 'we; tu 'vilan 'bondz and 'despot 'swe;. 16. James Russell Lowell My Oar den Acquaintance Passage from My Study Windotus Sa 'robin haz a 'bad repju'te/an amAij 'pipl hu 'du not 'valju Samselvz 'les far biir) 'fond av 't/eriz. Sar 'iz, ai ad'mit, a 'spais av vAl'gariti in him, and hiz 'sor) iz 'raiSar av Sa 'blumfild 'sort, 'tu; 'lardgli 'balastid wi0^ 1 00 2 l^g.,. 3 /g^.p 4 }^ud ^ WIS 122 PHONETIC TRANSCRIPTIONS 'proiz. hiz 'eOiks ar av Sa pu:r 'rit/ard 'skul, end Sa 'men 't/ans AMtJ 'kglz 'for0^ 'gl hiz 'snardgi iz 'gltageSar av Sa 'bell, hi 'nevar haz 'So:z 'fain 'intarvalz av 'lunasi intu 'AvitJ hiz 'kAznz, Sa 'katbard and Sa 'me: vis, ar 'apt tu 'fgl. bat " far 'a Sat, an 'twais az 'mAkl z 'a Sat," ai 'wud^ nat ^ks't/endg him far 'gl 5a 'tjsriz Sat 'ever kem 'aut av eiga^ 'mainar. wi9^ Avot'svar 'fglts, hi haz nat 'hoh 'forfitid 'Sat s/upiirforiti AvitJ bfloriz tu Sa 't/ildran av 'netjar. hi haz a 'fainar 'test in 'frut San kud^ bi dis'tild fram 'msni SAk'sesiv ko'mitiz av Sa horti'kAltjaral so'saiati, and hi 'its wi9^ a 'rehjii) 'gAlp not in'fiiriar tu daktar 'dgonsanz. hi 'filz and 'frih 'eksarsaiziz hiz 'rait av 'eminant do'men. 'hiz IZ Si 'srliist^ 'mes av 'grin 'pi;z ; 'hiz 'gl Sa 'mAlbsriz ai had 'fansid 'main, bat if hi gets 'glso Sa 'laianz '/e:r^ av Sa 'rasberiz^, hi iz a 'gret 'plantar, and 'so:z 'So:z 'waild wAnz in Sa 'wudz^ Sat 'solas Sa pedestrian and giv a 'momantari 'ka:m 'i;vn tu Sa 'dgedid 'viktimz av Sa 'Avait 'hilz. hi 'kips a 'stnkt 'ai ovar wAnz 'frut, and 'no;z tu a 'Jed av 'pArpl^^ Aven jur 'greps hav 'kukt^^ 'lor) inAf in Sa 'sAn. 'djuiriT) Sa sfviir 'draut a fju 'ji;rz ago:, Sa 'robinz 'holi 'vanijt from mai 'gardan. ai naiSar^^ 'sg: nor 'herd^^ WAn for '8ri: 'wiks. 'minAvail a 'smgl 'form 'grep'vain, ra:Sar 'Jai av 'be:rir)^*, simd tu 'faind Sa 'dAsti 'e:r^^ kan'dginjal, and, 'drimirj par'haps av its 'swit 'argos a'kros Sa 'si:, 'dekt itself wi9* a 'sko:r^^ or so av 'fe:r^^ 'bAn/^z. ai 'wot/t Sem from 'de: tu 'de: til Se Jud^^ hav sfkrit^d 'Jugar inAf from Sa 'sAnbimz, and at 'last^^ med 'Ap mai ^ 'e/a * WIS ^ kud ^ 'erlqst 9 'wudz 10 'pXrpl 11 'kukt i*'be:rir) i^ 'e:r i« 'sko:r ^'^ '{sir I'fore 2'wtrd ' '/e:r 8 'ra:zberiz 12 'ni:S9r i» 'herd 18 /ud i» 'lost STYLE B 123 'maind Sat ai wud^ 'selibret mai 'vint:[d5 Sa 'nekst 'mornir). bat Sa 'robinz 'tu: had 'sAmhau kspt 'not av Ssm. Se mAst hav 'sent 'aut 'spaiz, az 'did 5a 'dguiz intu Sa 'promist 'land, biToir^ ai waz 'starir). Avsn ai 'went wi0^ mai 'baskit*, at list a 'dAzn av Siz 'wir)id 'vintidsarz 'bAsld 'aut fram a'mAr) Sa 'liivz, and a'laitir) on Sa 'niirist 'tri;z intar't/endsd SAm '/ril ri'marks a'baut mi av a dfrogatari 'netjar. Se had 'fe;rli^ 'sakt Sa 'vain, 'not 'wslirjtanz 'vetaranz med 'klinar 'wArk^ av a 'spam/ 'taun; 'not 'fedaralz or kan'fedarets war 'evar 'moir^ im'par/al in Sa konfis'ke/an av 'njutral 't/ikanz. ai waz kipir) mai 'greps a 'sikr][t tu sar'praiz Sa 'fe:r^ fi'd^l wi0^ bat Sa 'robinz 'med Sam a pro'faundar 'sikrit tu 'har San 'ai had 'ment. Sa 'tatard 'remnant av a 'siggl 'bAnJ waz 'gl mai 'harvist 'hom. hau 'pgltri it 'lukt^ at Sa 'botm av mai 'bask^t^ az if a 'hAmirjbard had 'led har 'eg in an 'iglz 'nest ! ai 'kud^ not 'help 'lafiij ; and Sa 'robinz simd tu 'dgoin 'hartili in Sa 'merimant. Sar waz a 'netiv 'grep'vain 'klos 'bai, 'blu: wi6^ its 'les rffaind a'bAndans, bat mai 'kAnirj '0i:vz prfferd^^ Sa 'form 'fleivar. kud^ ai 'taks Sem wi0^ 'wont av 'test? 17. Sir Walter Scott Young Lochinvar o, 'JATj loxjn'vair iz kAin 'aut av Sa 'west ! 0ru 'gl Sa 'waid 'bordar hiz 'stid waz Sa 'best; and, 'se;v hiz 'gud^^ 'brodsord^^ hi 'wepanz had 'nAn; hi 'rod 'gl An'armd, and hi 'rod 'gl a'lon ! so 'fe0fal in 'Iav, and so 'dgntlis^^ in 'wg:r, Sar 'nevar waz 'nait laik Sa 'jat) lox/n'vairl iwud ^bffoir 3 WIS 4'baskit ^ 'fe;rli, 'feir ^'wXrk ^'mo:r ^'lukt ^kud ^^ prfferd ^^gud ^^sord ^^'dantljs 124 PHONETIC TRANSCRIPTIONS hi 'sted not far 'brek, and hi 'stopt not far 'ston, hi 'swara Si ssk 'rivar Ave:r^ 'ford^ Sar waz 'nAn — bAt, e;r^ hi a'laitid at 'nsSarbi 'get, Sa 'braid had kan'ssnt^d ! — ^Sa 'galant 'kem 'let — for, a 'lagard in 'Iav, and a 'dastard in 'wg;r, waz tu 'wsd Sa 'fe;r* 'elan av 'bre;v lox/n'va;r. so 'boldli hi 'entard t5a 'nsSarbi 'h^l, amAr) 'braidzman and 'kinzman and 'brASarz and 'gl; 5sn 'spok Sa 'braidz 'faiSar, hiz 'hand on hiz 'sord^ — for Sa 'pu;r, 'kreivn 'braidgrum sed 'nevar a 'wArd^— " o 'kAm ji in 'pis hi;r, or 'kAm ji in 'wg:r ? — or tu 'dans^ at aur 'braidal ? — 'jat) 'lord loxjn'vair!" '*ai 'lor) 'wuid jur 'dgtar, mai 'sjut ju dfnaid: 'Iav 'swelz laik Sa 'solwe, bAt 'ebz laik its 'taid ! and 'nati ai am 'kAm, wi8^ Sis 'lost 'Iav av 'main tu 'lid bAt 'wAn 'me3ar, 'drir)k 'wAn kAp av 'wainj— Ser ar 'mednz in 'skotland, 'mo:r^ 'IavIi bai 'fair, Sat wud^^ 'gladli bi 'braid tu Sa 'jat) loxin'vair ! " Sa 'braid kist Sa 'goblit ! Sa 'nait tuk^^ it 'Ap, hi 'kwaft^^ 'of Sa 'wain, and hi '0ru; 'daun Sa 'kAp! Ji 'lukt^^ 'daun tu 'bUJ, and Ji 'lukt^^ 'Ap tu 'sax— wi0^ a 'small an har 'lips, and a 'ti;r in har 'ai. hi 'tuk^^ har 'soft 'hand, e;r^ har 'mASar kud^* 'bair,— "nau 'tred wi a 'msgar!" sed 'JAr) loxjn'vair. so 'stetli hiz 'form, and so 'IavIi har 'fes. Sat 'nevar a 'hgl sAtJ a 'galjard did 'gres! Avail har 'mASar did 'fret, and har 'fa;Sar did 'fjum, ^ Aveir 2 'ford ^ e:r * 'fe:r ^ 'sord ^ 'wArd 7 'dans ^ WIS » 'mo;r ^^ wud ^^ tuk ^^ ^kwgft + a 13'lukt i^kud STYLE B 125 and (5e 'braidgrum stud^ 'darjglir) hiz 'bonit end 'pljum ; and Sa 'braidmednz 'Avispard, '' twer 'bstar bai 'fair tu hav 'matjt aur 'fe:r'^ 'kAzn wi8^ 'JAij loxzn'vair." 'wAn 'tAtJ tu har 'hand, and 'wAn 'wArd* in har 'i;r, jAsn Se 'rit/t Sa 'hgl 'doir^, and Sa 't/ardsar stud^ 'ni:r — so 'lait tu Sa 'krup 6a 'feir^ 'ledi hi 'swAr), so 'lait tu Sa 'sadl bifo;r^ har hi 'sprAij ! — "Ji iz 'wAn! wi ar 'gon, ovar 'barjk, 'bu/^, and 'ska;r! Sell hav 'flit 'stidz Sat 'falo!" kwo0 'JAij bx/n'va;r. Sar waz 'mauntirj mAT) 'gremz av Sa 'neSarbi 'klan: 'fostarz, 'fenwiks, and 'mAsgrevz, Se 'rod and Se 'ran; Sar waz 'resirj and 'tjesirj on 'kanabi 'li:— bat Sa 'lost 'braid av 'neSarbi 'neir did Se 'si;, so 'deiriij^ in 'Iav, and so 'd^ntlis^ in 'wgir, hav ji 'e:r hsrd^^ av 'galant laik 'jat) lox/n'va:r ? 18. Austin Dobson The Cures Progress 'moe^^sj^^^ Sa 'ky:^^re 'daun Sa 'strit 'kAmz wi0^ hiz 'kaind 'old 'fes, — wi0^ hiz 'kot worn^* 'beir^^, and hiz 'stragliij 'heir^^, and hiz 'grin Am'brela 'kes. ju me 'si: him 'pas bai Sa 'litl 'grad^^ 'plas' and Sa 'taini 'o'tel d^ 'vil'; hi 'smailz, az hi 'go;z, tu Sa *'flce^^:rist 'ro;z' and Sa ' po^^pje 'teo'fil.' 1 stud 2 .fg.j. 3 ^jg 4 r^^j-d ^ 'doir ^ bifoir ^ 'buj ^ 'deirir) ^ 'dantlis ^^ herd ^^ oe is e rounded, § 33 12 )rf is e rounded, § 33 ^^ y is i rounded 1^ worn 1^ 'bsir ^^ 'heir ^^ a is a nasalized, § 35 1^ 5 is o nasalized, 5 35 126 PHONETIC TRANSCRIPTIONS hi 'tArnz^, az a 'rul, 6rii Se 'marje 'kul, Aveir^ Sa 'noizi 'fi/waivz 'kgl; and hiz 'komplimant 'pe;z tu Sa 'bsl te'reiz, az Ji 'nits in har 'dAski 'stgl. Sarz a 'letar tu 'drop at (5a 'loksmi8s 'Jop, and 'toto, Sa 'loksmi0s 'nis, haz 'd3ubilant 'hops, for 5a 'ky:^re 'grops in hiz 'telz far a "pe* de'pis.' Sarz a 'btl dis'pjut wi6^ a 'mert/ant^ av 'frut, hu iz 'ssd tu bi hstaro'doks, Sat wil 'sndid bi wi9^ a '"ma 'fwa, 'wi!" and a 'pm/ fram Sa 'kyi^rez 'boks. Sar IZ 'qIso a 'wXrd Sat 'no wAn 'herd tu Sa 'fAriarz 'dgtar 'lu:; and a 'pel 't/ik 'fed wiS^ a 'flikarir) 'red, and a "'bo^ 'dj0^ 'gard m'sj0^!'' bAt a 'grandar 'we; for Sa 'su pre'fe, and a 'bau for 'mamzel 'an, and a 'mok of 'hat tu Sa 'notariz 'kat, and a 'nod tu Sa 'sakrfstan. for 'evar 0ru 'laif Sa 'ky:^e 'go;z wi0^ a 'small on hiz 'kaind old 'fes, — wi0^ hiz 'kot wom^ 'beir^^, and hiz 'straglir) 'he:r^\ and hiz 'grin Am'brela 'kes. ^ 'tAmz 2 Aie;r ^ y is i rounded * I is 6 nasalized, § 35 ^ wiS ^ 'mert/ant ^ 5 is o nasalized, § 35 ^ fiise rounded, § 33 ^ worn ^^ 'be:r ^^ 'heir STYLE 19. George Eliot* A passage from The Mill on the Floss (Standard Edition, Vol. i. pp. 226, 227) "'o;, ai 'se:, 'magi," sed 'tom at 'last\ 'liftir) 'Ap Sa 'stand, "wi mAst 'kip 'kwaiat 'hiir, ju no;, if wi 'brek sniSiT), misiz 'stelii) 1 'mek ^s 'krai pe'kaivi." ''Avot s '5at ? " sed 'magi. "'o;, it s Sa 'latn far a 'gud^ 'skoldiij," sed 'tom, 'not wi0aut^ 'sAm 'praid in hiz 'noladg. " iz Ji a 'kros wuman^ ? " sed 'magi. " 'ai bfliiv ju ! " sed 'tom, wi0^ an im'fatik 'nod. "ai 0ir)k 'gl 'wiman ar 'krosar San 'men,*' sed 'magi, "'ant 'gleg z a 'gret dil 'krosar San 'Agkl gleg, an 'mA0ar 'skoldz mi 'mo;r^ San 'faiSar dAz." "'wel, 'ju: 1 bi a 'wuman* 'sAm de:," sed 'tom, " so 'ju; nidnt tglk." "bat 'ai Jl bi a 'klevar wuman*," sed 'magi, wi0^ a 'tos. "'o;, ai 'de:rse^ and a 'nasti'' kan'sitid '0ir). 'evribodi I'hetju." ^ 'last ^ 'gud ^ wiSaut ® 'de;rse ^ 'nasti * In this and the following extract, consult the corresponding passages in Jones' Pronunciation of English, pp. 85, 87. 128 PHONETIC TRANSCRIPTIONS " bat ju 'gtnt^ ta 'het mi, torn ; it 1 bi 'veri 'wik^d av ju, far ai Jl 'bi; jur 'sistar." "'jes, bat'if ju ar a 'nasti^ disa'griabl '6ir), ai '/al het ju." "'o bat, torn, ju 'wont ! ai 'Jant bi disa'griabl. ai Jl bi 'veri 'gud^ ta ju — and ai Jl bi 'gud^ tu 'evribodi. ju 'wont het mi 'riali, 'wil ju, tom ? " "'o:, 'boSar! 'nevar 'maind ! 'kAm, its 'taim far mi ta 'lern* mai 'lesnz. 'si: 'hi;r ! JAot ai v got ta 'du:," sed 'torn, 'drgir) 'magi 'toardz^ him an 'Joiij Aar hiz 'Biaram, Avail Ji 'pujt^ Aar 'heir^ bihaind Aar 'i;rz, and prfpeird^ harsslf ta 'pru:v Aar kepa'biliti av 'helpir) him in 'juklid. Ji bfgan ta 'rid wi6^ 'fuP^ 'konfidans m har 'on 'pauarz, bat 'prezntli, bikAmiT) 'kwait bfwildard, har 'fes 'flA/t wi6^ irftejn. it waz Ana'voidabl — Ji mAst kan'fes har in'kompitansi, and ji waz 'not 'fond av cjumilfe/n^^. ^' it s 'nonsns ! '' /i ssd, " an 'veri 'Agli 'stAf — 'nobadi nid 'wont ta mek it 'aut." "'a:, 'Se:r nau, mis 'magi!" ssd 'tom, 'drgirj Sa 'buk^^ a'we:, and 'wagir) hiz 'hed at Aar, "ju 'si; ju ar 'not so 'klevar az ju '6gt^^ ju war." "'o;," sed 'magi, 'pautiij, "ai 'de;rse^* ai kad 'mek it 'aut, if ai d 'Isrnt* Avot 'go;z bi'fo:r^^ az 'ju: hav." "bat 'Sat s Avot ju 'd5Ast 'kudnt^^, mis 'wizdam," sed 'tom, "far its '9I Sa 'hardar Aven ju 'no: Avot 'go;z bi'fo:r^* ; far 'Sen ju V got ta 'se; 'Avot deffni/n '6ri; iz, and 'Avot 'aksiam 'faiv iz. bat 'get a'lor) wi0^ ju 'nau ; ai mAst 'go: 'on wi0^ 'Sis. 'hi;rz Sa 'latn 'gramar. 'si; Aiot ju kan 'mek av 'Sat. ^ 'otnt 2 'nasti ^ 'gud ^ 'lern, 'lernt ^ 'toardz, 'twordz, twordz ^'pujt ^'he:r ^'pri'pe;rd ^wiS ^^'ful 11 hjumilfe/n ^^ .^uk ^^ ^Qry^ u 'de;rse ^^ bi'fo:r i« 'kudnt STYLE C 129 Same Extract rendered in Southern English^ '''ou, 'ai 'ssi, 'maegi/' sed 't^m at 'laist, 'lifbir) 'Ap Sa stsend, " wi; mas^ 'ki;p 'kwaiat 'hia, ju: nou. if wi; 'brsik em0iT), 'misiz 'stslir) 1 'meik as 'krai pe'keivai." "'w^t s 'Saet?" sed 'msegi. " 'ou, it s Sa 'Isetin far a 'gud 'skouldir)," ssd 'torn, 'not wiSaut 'sAm 'praid in kiz 'nolidg. " ig Ji; a 'kr^s wuman ? " sed 'msegi. "'ai b/'li:v ju:!" sed 't^m, wiS an im'fsetik 'n^d. "ai 0iT)k '9;! 'wimin a 'krgisa^ ?5an 'men," sed 'maegi. "'amt 'gleg z a 'greit di:l 'krgisa^ San 'AT)kl gleg, an 'mASa 'skouldz mi: 'mg: San 'fa:5a dAz." "'wel, 'ju: 1 bi a 'wuman 'sAm dei," sed 't^m, "sou 'ju; m:dnt tQ:k." " bat 'ai Jl bi a 'kleva wuman," sed 'msegi wiS a 'tQ:s^. "'ou, ai 'd§a 'sei, and a 'na:sti 'kansi:tid '6ir). 'evrib;?di 1 'heit ju:." "bat ju: 'g:tnt ta 'heit mi, tqm ; it 1 bi 'veri 'wikid ^v ju:, far ai Jl 'bi: jg: 'sista." "'jes, bat 'if ju ar a 'na:sti disa'griabl '0ir), ai 'Jsel heit ju:." "'ou bat, t^m, ju: 'wount ! ai '/a:nt bi disagriabl. ai Jl bi 'veri 'gud ta ju: — and ai Jl bi gud tu 'evrib^di. ju: 'wount heit mi 'nali, 'wil ju:, t^m?" "'ou, 'boSa ! 'neva 'maind! 'kAm, its 'taim fa mi: ta 'la:n mai 'lesnz. 'si: 'hia ! w^t aiv g^t ta 'du:," sed 't^m, 'drg:ir) 'msegi ta'wgidz^ him. anc? 7^uir) ha:r iz 'Giarem, wad Ji: 'pujt Aa: 'hga bihaind Aa:r 'laz, anc? pri'pgad Aa:self ^ 'krosa ^ 'tos ^ 'tg:dz * See Jones' The Pronunciation of English^ p. 85. For the exact value of Mr Jones' symbols see pp. xiv, xv in his book. a. 9 130 PHONETIC TRANSCRIPTIONS ta 'pruiv Aa: ksipa'biliti av 'helpir) him in 'juiklid. Ji; bfgaen ta 'ri:d wiS 'ful 'konftdans in Aa:r 'oun 'pauaz, bat 'prszntli, bikAmii) 'kwait bfwildad, ha: 'fsis 'flA/t wiS irftsi/n. ifc waz Ana'vgidabl — Ji: mas^ kan'fes Aa:r in- 'kompitansi, and Ji: waz 'not 'fond av hju:mili'eijn. "it s 'nonsns ! " Ji sed, " anc? 'veri 'Agli 'stAf — ^'noubadi ni:d 'wont ta msik it 'aut." "'a:, 'S§a nau, mis 'mgegi!" sed 't^m, 'drQ:ir) Sa 'buk a'wsi, and 'wsegir) hiz 'hsd set ho:, "ju: 'si: ju a 'not sou 'klsvar az ju: '0Q:t ju: wa:." " 'ou," sed 'msegi, 'pautir), " ai 'd§a'sei ai kud 'meik it 'aut, if ai d 'la:nt wot 'gouz bffg:, az 'ju: hsev." "bat 'Saet s w^t ju: 'dgAst 'kudnt, mis 'wizdam," sed 'tom. "far its 'q:\ Sa 'ha:da wen ju: 'nou w^t 'gouz bffg: ; fa 'Sen ju: v g^t ta 'sei 'wot deffmjn '0ri: iz, and 'w^t 'aeksiam 'faiv iz. bat 'get a'lor) wiS ju 'nau; ai mas^ 'gou 'on wit5 'Sis. 'hiaz Sa 'Isetin 'grsema. 'si: w^t ju: kan 'meik av 'Saet." 20. E. F. Benson A passage from Dodo (Chap. 4)^ With intonation curves^ P Ot'Sis'momant | a'Jnl'vois'kgld'dodoframSa'drQiijrum. 1 Reproducpd by kind permission of Mr Benson and the publishers, Messrs Methuen. 2 See Part I, Ch. xv. p^ f, etc. are here used with their usual musical values to indicate the average loudness of the group. For || and I see Part I, §§ 189, 190, It is instructive to compare these curves with those given for the same passage in Jones* Pronunciation of English, STYLE C / p 131 \r "'dodo'dodo"it^ kraid, " Sa'man'brgtmi'tui'tepid^pot/t'egz ! || / / ^duisenmisAmOiri'els || ^izt^arsAt/dOiijaza'gnld'bon ? " | P P 'tJiizn'markswer'spidilifolod'Ap | bai5ia^pi:ransav'mis''steiiz P P P &tt59'dainiTjrum'do:r^. || in'wAn'hand | /i'heldSadis'paizd'sgz | P P intJfASer | a'kwaiarav'mju:zikpepar. || 1 'do;r 9—2 132 P PHONETIC TRANSCRIPTIONS P bi'hai ndherfolode'fu tmon ^ | wiU ^ har'brskfastoe:, P iinks'kj uizabhgnaraiis | ezta'Motwazri'kwairdevAim. mf p ju^noiA^enaimkam'porziija'simfani | ai'wontsAm0ir)'mo:r^lk'saitiT)S8n'tu:'pot/t'egz. mf 'mistar'brokstnai'noil'tekmai'said. ^ 'futmen ^ wiS ^ 'mo:r STYLE C 133 inf nf £ ju'kudint'it'pot/t'egzata'bgl | — 'kud^ju? || mf mf tJemait'du : verf welfara'f j unral'martj | ora'nok t Am 2, mf mf batSe'wontduifera'simfani, | is'peJlifartJa'sk^rtso. / a'brandian'sodaanda'gnld'bon iZMOtwAn'rialfwontsfara'sk^rtso, mf onli'tJatadbi'kwaitautavtSa'kwestjan." 1 'kud 2 'noktXm 134 PHONETIC TRANSCRIPTIONS P 'idie'stenztgktina'lauddi'termindi'vois, || / p dndemfa'saizdhor'points | wielitPda/azen'flAn/az P ^/ avSa'di/av'pot/t'egz. || at'Sis'momant mf mf 'wAnavSamflu'ontaSa'floir^ | eadjks'plodad, batit8an'il'windSatblo;z'nobadieni'gud^ | 9nd8feniret'5i8n'li:vd5a'futmeD*fr9mAiz'stet9vindi'si3an, ^ dftermind ^ 'floir ^ gud * 'fotman STYLE C 135 hizfmidjat'mi/anwaz'kliirlitan'muivit. I mf mf 'dodo'6ru:AarsslfbakinAar't/e:r^ | wiO^a'pilav'laftar. " 'goi'on'goi'on "/i'kraid | "juanu /splendid. 'telasAiotjuraitSe'prestoon/' || / V ai'kant'westa'nAtJar^momant "sed'idi6 |1 "aiminSa'midlavSemostin'transiijmo'tif, 1 't/e:r wiS 136 PHONETIC TRANSCRIPTIONS mf Aot/iz'w Arkif) ^ au t'bj utifli. 1 1 'dju'maindmai'smokiijinSa'drQiTjrum ? || ann'gfli'sori | betitineks'QltJa'difranstamai'wArk^. || mf mf 'bArn^alxthnsenstJeir^'aftarwerdz* || 'duisanmia'bon'dodo mf 'kAmend'hi:rmiple:t5a'skgrtsoletar'on. || itsSa'best'Giijaiv'ever'dAn || 'o: | 'baiSa'we:, ^ 'wArkirj ^ bAm ^ tJeir * 'aftarwardz STYLE C 137 ai'teligraftteher'trAfanta'kAmto'moro — || 'hiizmaikon'dAktaqu'no: || juken'put^hnu^ApinSa'vi mf mf adj orSe'kolboli^u'laik || hiiz'kwaifhapi mf mf ifhi'getsi'nAfbi:r || hiizmai'dgerman^kan'dAktarju'no: mf mf afmedhimtn'tairli || ai'tuk^himtetJa'pnnsesSiAtJer'de: mf mf Aienaiwazat'eks | andwi'^lhad'biirtagsSar put 2 'dgermen ^ 'tuk 138 PHONETIC TRANSCRIPTIONS mf mf inSavd'randaavtJo'bo'sit. || julbia'mjuizdwie^Aim." mf p mf S "o'm:S9r"sed'dodo | 'Satlbi'Q?rait. || mf mf hikon'slipintJa'haus. || 'wilhikAm'erh^te'moro? || P P / f \ 'lets'si: — I ta'moroz'sAiidt || 'idi0 | aiv'gotanai'die. wilhave'diirlitl'ssrvis^intJe'haus — mf wi'kantgo:ta't/Art/*ifit'8no:z— || end'ju/al'pleijur'mas, 1 WIS 2 /grii 8 /ggrvis * 't/XTt/ STYLE C 139 / and'hsr'Avotshiznem/elkaii'dAkt, | mf mf 8n(d)'berti^an'granti8ndjuand'ailsir) || 'wontitbi'lAvli ? mf mf 'Juan(dyailsetlgr5at5isaft9r2'nun. || 'teligrafta'trAflar P rnf OFMot'evarAiz'nem'iz | ta'kAmbaiSi'et'twentL mf Senhilbi'hiirbai'twelv, endwilhavtJe'servis^ata'kwgrtar'past*." || ^ berti ^ aftar ^ 'ssrvis * 'past 140 PHONETIC TRANSCRIPTIONS " 'dodoSatlbi'grand ' sed'idiG. || afkant'wet'nau. mf mf gud^'bai || 'hAri'Apmai'brekfast — || mf p aim'gfli'/arp'set." || 'idiS'went'baktu^a'drgiriruin, P 'iiisli ijiDdpar'tikjdldrli'/ril'maDdr. gud SCOTCH DIALECT 141 21*. Gavin Greig Conversation between Shepherd and Souter From Mains Wooing, Act i. Sc. 2 Shepherd andante 'oi'ai'sutar i injer'ei'st^kn'tn ? || SOUTEE andante 'a][Af kurs | e'sutar'ei'st^ks'inteSa'last || Shepherd andante am'gle-'dta'finjtse^'tJiirii'n'Se'dA^l'teimz ^ Unaccented e is between e and 6. '^ A is lower than in Standard Scottish. * The dialect is that of central Aberdeenshire and the pronunciation and intonation are Mr Greig's own. Mr Greig, who is a well-known authority on Scotch folk-song, is a native of Aberdeenshire, and a graduate of Aberdeen University, and has resided in the county all his life. 142 PHONETIC TRANSCRIPTIONS SOUTER andante h.p. n'fa:widbi't/i:rig|na'suter'wizna? II Shepherd andante n'fatgis'hjimoni^ad'vantidj? II SoUTER andante gtnjiiwista'losjar'ail | f^twid'hapn || Shepherd andante h.p. 'o I asA'pozawid'dj^stbi'nunt | Souter andante '/uirli^ II b^tif ciiw][sta'los'ma{'a:l | awid'djtst'bctia'iiiSir^ || ^ Final % is often slightly diphthongized and becomes e-^l when prolonged. 2 'siirli is the older form. ^ a'nid+ir is the older form. SCOTCH DIALECT 143 andante Se'onlt'kost'Srsxpns || Shepherd larghetto andante 'oi'sutarmcui'Satl'di: || b^Sa'boi II andante widj^he'ontOiij'jaiQ^ApSe'wai | a 1 9 1 'knAu'hid j mebi? || SOUTER andante b.p. l.p. 'at5arz9'p§:ra'bitsa'inA2gi'anfsn8'hi:rt59tavbin'soln andante 7Jeme*xt^|aT)^te'knAu'hid | ifSad'fit'^nSem || ^ J is the voiced front stop. ^ A is lower than in Standard Scottish. ^ X in msj-xt, rexxt, etc., is articulated between the positions for x and 9. 144 PHONETIC TRANSCRIPTIONS Shepherd andante btt'kudnoSelbi'k^qt?!! SOUTER andante h.p. - i.p. :^ .^ 'sei^Je'le^klfwil || bit'fuierjt'spiirn? |J Shepherd larghetto h.p. h.p. a:'wilji8i:awtz'mebitebi | 'takna'tAm^run larghetto l.p. 'Sat'wai I Sa'ne^xt^ || ma'sgl || mebilciik | ji'ken | larghetto Ina'dj^st'Ooxtjisi: | eftarekAm^he'mft'Ca'figar || ^ A is lower than in Standard Scottish. 2 X in mexxt, re^xt, etc., is articulated between the positions for x and 9. SCOTCH DIALECT 145 larghetto a'meAxt'mebij][ken | laik || SOUTEB andante Ita'aireAXt^m^n || a'si:t5a0ir)'fain || andante jir'djtst'wAntin9n'i:rn'Aurt9si:'mAgi |1 * Shepherd larghetto SOUTER a/ndante its'aire^xt^nun || a'simpa'Siizwu^ || ^ X in me^xt, re^xt, etc., is articulated between the positions for x and 9. G. 10 146 PHONETIC TRANSCRIPTIONS andante for/i;za'foin'las'mAgi || |*na'twin'ju:n'mi: andante /i'oxttebi'rgal'vvil'sutit || Shepherd andante h.p.. l.p. SOUTER andante andante in'jiira'sutarfarar'hgrtn'han || dji'si; ? j Shepherd largo 'o:'suterman Sats'wa:rn'wa:r SCOTCH DIALECT 147 allegro 'gisSe'bitsnlatso'wa: | SOUTEB allegro 'he;min{niAkg6W| j^ || Shepherd andante 'eaijkjtsutorpgwid'dg: Note : andante indicates a moderately slow movement, largo, a very slow movement, larghetto, slightly accelerated, allegrOy lively. 22. Sir Walter Scott Passage from The Antiquary, Chap. XL az Si 'antikwori lifted Sa 'lat/ av Sa 'hAt, hi waz sar'praizd tu hi;r Sa '/ril 'tremjulas 'vois av 'elspa9 't/antir) 'forG^ an 'old 'balad in a 'waild and 'dolfal resita'tiiv. 'fore 10—2 148 PHONETIC TRANSCRIPTIONS "Sa 'hsrir) 'Iavz Sa 'men 'munlait, Sa 'makaral 'Iavz 5a 'waind, bat Si 'oistar iAvz Sa 'dred3ir) 'san, far Se 'kAm av a 'dsentl 'kaind." a 'dilidsant ka'kktar av Si;z 'ledgandari 'skraps av 'en/ant 'poitri, hiz 'fut^ rfjQuizd tu 'kros Se '0re/ald Aien hiz 'i:r waz 'Sas a'restid, and hiz 'hand m'stigtivh tuk^ 'pens/1 and memor'andam buk^ fram 'taim tu 'taim Si 'old 'wuman* 'spok az if tu Sa 'tjildran — "'u 'ai, 'he-^niz, 'Aii/t, 'Aii/t ! an ail b^'ge-i-n a 'boniar 'in San 'Sat — nu: 'had jar 'tAij, be9 'waif an 'kerl, an 'lasn, 'gret n 'sma: an ai waI 'sir) o glen'alnz 'jerl Sat 'foxt on Sa 'rid har'la;. Sa 'kronaxs 'kraid an bena'xi;, an 'dun Sa 'don an 'a:, an 'hiland an 'laland me 'mArnfa bi; far Sa 'se;r 'fild o har'la;. a 'de-^na 'main Sa 'nist 'vers 'wil — ma 'memriz 'felt, an Sarz 'Ar)ka 'Ooxts kAm 'Aur ma — ^'god 'kip as fre tem'te/n ! " 'hi;r har 'vois 'sAT)k in indis'tirjkt 'mAtarir). ''its a his'tonkl 'balad," sed 'oldbAk 'igarli, "a 'dgenjuin and An'daut:[d 'fragmant av 'minstralsi ! — 'persi wud ad'mair its sim'plisiti — 'ritsan 'kud not im'pjun its oSen'tisiti." "'ai, bat exts a 'sad 'Oe^r)," sed 'oxiltri, " ta 'si: 'gjuman 'ngtar 'se fair Auar'tin az ta bi 'ske^rlan at 'aid 'saijz an Sa 'bak o a 'los laik 'hArz/' " 'hA/, 'hA/! " sed Si 'antikwari, " Ji haz 'gotn Sa '0red av Sa 'stoin agen " — and az hi 'spok, Ji 'saij : ^ 'fut ^ tuk ^ buk ^ 'wuman SCOTCH DIALECT 149 "Se 'sedlt 9 'hAndar 'mAlkiweit 'stidz, Se he 'braidlt a 'hAndar 'blak, wi a 't/afran o 'stil on it/ 'horsas 'hid, an a 'goed 'tnict a'pon hiz 'bak." "'tjafranl" iks'klemd Si 'antikwari, — "fkwivalant, par'haps, tu 'Jsvero — t5a 'wArd z 'wAr6 a 'dolar/'— and 'daun it 'went in hiz 'red 'buk^. "Sa 'hadna 'ridn a 'mail, a 'mail, a 'mail, bit 'beirli 'ten, Avan 'donld kam 'brarjkan 'dun Sa 'bre; wi 'twinti 'Guiznd 'men. Sar 'tartanz Se war 'weivan 'waid, 5ar 'gleivz war 'glansan 'kliir, Sa 'pibroxs 'rAt) fre 'said ta 'said, WAd 'difan ja ta 'hi;r. Sa 'gret 'jerl in hiz 'stAraps 'stoed Sat 'hiland 'host ta 'si; ; 'nu; 'hi;r a 'knict Sats 'stut an 'gced me 'proev a dgepAr'di: ; Avot 'wudst Sau 'du;, mai 'skwaiar so; 'ge, Sat 'raidz bisaid mai 'ren, war 'ji; glen'alnz 'erl Sa 'de; and 'ai war 'roland 'tjen ? ta 'tArn Sa 'ren war 'sin n '/em, ta 'fait war 'wAndras 'perl, 'A^ot wud ju 'du nau, 'roland 'tJen, war 'ji; glen'alnz 'erl ? ' 'buk 150 PHONETIC TRANSCRIPTIONS ji man 'k§n, 'he -^^niz, Sat '5s-^s 'robnd 'tjin, far az 'poe;r an 'aid 9z ai 'se^t I Sa 't/Aml:i 'n;uk, waz mai 'foirbir, n an 'a:fA 'man hi 'waz 'Sat 'de: i Sa 'fext, bat 'spipi eftar Sa 'jsrl had 'faian; far hi 'blemd hims§l far Sa 'kunsal hi 'ge;, ta 'fext bifoir 'ma:r kam 'Ap wi 'msmz, n ebar'din, n 'agas." har 'vois 'ro;z and bikem 'mo;r 'animetid az /i rfsaitid Sa 'wgrlaik 'kaunsal av har 'ans^star : "'war 'ai glen'alnz 'jerl Sis 'taid, an 'ji: war 'roland 't/en, Sa 'spAr SAd bi in ma 'horsas 'said, an Sa 'braidl a'pon hicz 'men. if 'Se; he 'twinti '0u;znd 'bledz, an 'wi: twais 'ten taims 'ten, jet 'Se: he bit Sar 'tartan 'pledz, an 'wi: ar 'melkled men. ma 'hors /al 'raid 0ru 'rarjks se 'roed, az '6ru: Sa 'moe:rland 'fern, Sen 'ne:r let Sa 'dgentl 'norman 'bleed grAu 'kald far 'hiland 'kern.'" Note. The scene of The Antiquary is supposed to be laid in the neighbourhood of Arbroath, East Forfar. Elspeth's own speech would be the dialect of the district, but in reciting the ballad she would approximate to the Edinburgh standard, the old lingua Scottica, and introduce English pronunciations as lending more dignity to ,her subject. The dialect pronunciation of what, for instance — viz. fat — would not be introduced in the ballad. PART III QUESTIONS AND EXERCISES §§ 1-8 1. What do you mean by the term Phonetics ? 2. Why in Phonetics must we use a special alphabet ? 3. Distinguish between a narrow and a broad transcription. 4. Why is it necessary to set up a Standard of pronunciation ? 5. What do you understand by a Standard Scottish ? i9-16 1. Make a sketch to show the organs that are chiefly concerned in the production of speech. 2. Explain carefully what you mean by front of tongue^ blade of tongue^ hard palate, soft palate, uvula, 3. Describe the position of the vocal chords and their function in speech. 4. Define the terms glottis, voice, breath. 5. Describe an experiment to illustrate the distinction between breath and voice. 6. How would you explain to a class the difference between breathed sounds and voiced sounds? 152 QUESTIONS AND EXERCISES §§ 17-25 1. Define the terms vowel, consonant, whispered vowel, whis- pered consonant. 2. Name the sounds included under the term consonant. 3. What is meant by the sonority of sounds and on* what does it depend? 4. Compare vowels and consonants in regard to their sonority. 5. Repeat the following pairs of breathed and voiced sounds till you have mastered the distinction between breath and voice : P — ^ {P^^ — ^^^)) "t — d {tm — c?in), k — g (^een — ^^un), s — Z («on — 2one), f— v (/an — van), 9, 8 {thin — ^Aee). 6. Then try to unvoice the following r, 1, m, n, giving h I •?' ?• 7. Isolate the sounds in the following words and mark the breathed and voiced sounds as in the following example, c|l|u|ck|i|ng; olvl V I o |v|v remember the letters are often no guide to the sounds -.-^looked, choice, rejoice, when, weal, pleasure, azure, assure, rubbed, robed, placed, pleased, wrapped, resound, patch, drudge, institute, ellipse, pharynx, thin, though, lose, loosen, glottis, races, chords, tongue, wobs, example. §§ 26—29 1. What are the three principles on which we classify con- sonants ? 2. Classify consonants according to Place of Formation. 3. Classify consonants according to Manner of Formation. 4. Give the consonants formed (1) at the lips, (2) between the lip and teeth, (3) between the point of tongue and teeth, (4) at the tongue point, etc. 5. Explain carefully what is meant by stop, plosive, fricative, noisalf lateral, trill. QUESTIONS AND EXERCISES 153 6. Give the breathed fricatives beginning with the lips and shifting the area of articulation until the back of the tongue is reached thus M, f, 6, J, S, J, 9, X. 7. Give in the same way {a) voiced fricatives, (6) the breathed plosives, (c) the voiced plosives, {d) the voiced nasals. 8. How do the sounds Al and w differ from all the other consonants ? 9. Describe briefly the following consonants so as to com- pletely distinguish each from every other (e.g. v is voice, lip-teeth fricative): f, s, J, Z, 5, r, J, 1, m, n, TJ and C. 10. Pronounce the following pairs of consonants and show wherein they agree and wherein they differ: m— b, n— d, rj-g, 1— d, j— r, x— 9, v- w, f— m, 5— z, t— e, j~3, J— S, r— R. §§ 30—40 1. How can we show that the size of the mouth cavity is a necessary feature in distinguishing vowels? 2. How is the size of the oral cavity chiefly modified? 3. Explain the terms high, mid, low, hack, mixed, front, rounding, tenseness and laxness, nasalized vowel. 4. Give a vowel series (1) which will show the horizontal movement of the tongue, (2) which will show the vertical. 5. Name the following vowels : i in feet, e in fate, o in boat, 9 in call, A in hut. 6. Kound the vowel e and then unround at one breath (rounded e = is the vowel in French peu) ; thus e — ^ — e. Eound 6 or 9 and then unround at one breath (rounded e or 9 = OB is the vowel in French peur) ; thus 6— OB — 6. 7. Practise the unrounding and re-rounding of the back vowels U, O, 9, O in like manner. 8. Give as many pairs as you can of lax and tense vowels. 9. How does a nasalized vowel differ from a nasal consonant ? 164 QUESTIONS AND EXERCISES i 42-61 1. Describe fully the stop or plosive consonants in the following words and give in each case the phonetic symbol : — raspberry^ corps, corpse, subtle, ebb, diphtheria, John, missed, gnawed, diaphragm, echo, conquest, exchange, accept, actual, rupture. 2. Write down any words where you have found that you habitually mispronounce any plosive, and indicate in what the mistake consists. 3. What is meant by the glottal stop? Have you ever noticed the use of the glottal stop ? If so, give examples of words where it occurs. 4. Those who have difficulty in voicing and unvoicing should practise the following : rope — robe, crept — crabbed, back — bag, nip — nib, baked — begged, rack — rag, cap — cab, meant — mend, hough — hog, sop — sob, reached — raged, lock — log, caper — caber, matter — madder, sack — sag, pole — bowl, latter — ladder, jack— jag, pour — bore, lout — loud, rickle — wriggle, pin — bin, root — rood. i 62—87 1. Isolate and describe fully the nasal consonants in the fol- lowing, giving also the phonetic symbol : — triumvir, written, anxious, think, handkerchief, strength, increment, conqueror. 2. How do the clear 1 and the dark 1 differ in formation? Have you ever noted in your own speech if you make any distinction between these sounds of 1 ? If so, state in what cases each is used. 3. What sound in Standard Scottish corresponds most generally to the letter r ? 4. {a) What sound sometimes replaces trilled r and in what circumstances ? (6) What form of r do you yourself use habitually? 5. Describe the sound indicated by the symbol B. 6. How would you deal with a pupil who used B instead of r ? QUESTIONS AND EXERCISES 155 §§ 88—125 1. Isolate, describe and give the symbols for the fricative consonants in the following : thwart^ languish^ roughs clothes^ heathen^ worthy^ healthy^ sixths nuisance^ spasm, greasy, gosling, Harwich, soldier, transition, Asia, fortune, vignette, human. 2. Explain carefully the difference between all and hall. 3. When do we naturally use Vm for him ? Try to account for this. 4. Explain what is meant by saying that there are as many A's as there are vowels. 5. Account for the two pronunciations of historical. §§ 126—184 1. Write out the following words in phonetic characters : — quay, suite, tortoise, medicine, business, colonel, twopence, one, oven, flood, feign, campaign, stipend, insect, says, Gaelic, plait, sovereign, fountain, rife, rye, vivacious, Tuesday, legacy, iron, violence, comfort, bellow, cross, gone, movement, resolute, assume. 2. What vowel should be used in the following words : — lick, fill, mill, sell, cheek, week, seek, tale, bone, moan, rood, cap, hat, man, come, walk, wall, nod, sod, full, pull. 3. In the list of words in Question 2 indicate any vowel which you have heard used by careless or dialect speakers. 4. Write out the following in phonetic characters : — share, shear, shore, short, sword, soared, core, cored, cord, corn, earn, concern, desert, ferry, fairy, pert, Perth, mirth, worth, shirt, hurt, flurry, merry. 5. Classify the words in Question 4 according to their accented vowel sound and add to each class all the words you know of the same type. 6. In what classes of words would you expect to find a and in what classes a ? 7. Give cases where usage seems to waver between GL and a. 8. If you use the vowel XJ", would you state where it occurs in your speech] 156 QUESTIONS AND EXERCISES 9. Give the different spellings for the following vowels with examples other than those in the book : — i, i, e, 6, O, O, U, XT, 9, A, 9. 10. What vowels are indicated by the symbols 6, O, ii, A, a ? State under what circumstances they may be used. 11. Give examples of words (other than those in the book) where you have heard ju and u both used. 12. What diphthong or diphthongs do you use in rise and rice ? If you make a distinction, would you indicate in what words each diphthong is used ? §§ 185—188 1. If you have noticed any tendency to nasalize sounds in your own speech will you give examples ? 2. Describe a plan that will help speakers to get rid of the habit of nasalizing. 3. What is meant by an inverted sound ? If you have observed any in your own speech give examples. §§ 189—203 1. What is meant by the term breath group ? 2. Mark the breath groups in Extract 7, Part II, and indicate any subordinate divisions within each group. 3. What is meant by a glide ? 4. Account for the disappearance of 1 in such words as folk^ halm, and give similar examples. 5. A Cockney's " shake hands " was heard by a Scotchman as " shy cansP Can you account for this ? 6. Explain the Shakespearian nuncle alongside of the modern uncle. 7. What two things are essential to the complete pronunciation of a plosive consonant ? 8. What is the difference in the pronunciation of the 6's in about and bulbl QUESTIONS AND EXERCISES 157 9. Give examples (other than those iu the book) of words, or phrases, where pure stops are employed, (1) as short, (2) as prolonged, sounds. 10. What are the three possible ways of pronouncing tt in right time ? Which would you consider best for school purposes ? 11. When a child says lil^ 111, for little what action has the tongue failed to perform? §§ 204—208 1. When do two sounds constitute different syllables ? 2. What is meant by a syllabic consonant ? and what consonants are most often syllabic in English ? 3. Explain why we have only one syllable in hlot^ holt, lank, hulk, sink, and two in hottle, ankle, huckle, sicken, 4. What is meant by a diphthong 1 Name the diphthongs in Standard Scottish with examples of words where they occur. 5. When do two consecutive vowels form separate syllables ? §§ 210—215 1. What is meant by assimilation ? 2. Give examples of assimilations of voice to breath, or breath to voice, other than those in the text. 3. Give examples of assimilations {a) affecting the position of the tongue, (h) affecting the position of the lips. 4. Give examples of assimilations under the influence of a nasal consonant. 5. How do you pronounce girl, pew, nature, education, small, queen, hacon, nymph, anthem, conquest, concord, syncope, income, encounter, engage, inquiry, hronchitis, Anchises, melancholy, concrete^ Note any effect due to assimilation. §§ 216—223 1. What is meant by the term stress ? 2. Write out in phonetic characters the sentence, "You are walking to town," and show that the variation in stress is accom- panied by a variation in meaning. 158 QUESTIONS AND EXERCISES 3. What classes of words are regularly used with a minimum of stress in the breath group ? 4. Give examples to show that variations in stress in the word and in the breath group lead to variations in pronunciation. §§ 224—228 1. Name the vowels that are generally regarded (1) as long, and (2) as short. 2. Show by examples other than those in the book that the consonant following the vowel influences the vowel length. 3. Give examples to show that the length of the final consonant depends on the previous vowel. §§229—238 1. What is meant by intonation ? 2. Take the interrogative sentence, " Is it high or low? *' Note that there is a rising intonation on high and a falling one on low, thus p. izit'haior'lo: ? When you are in doubt about the direction of an inflection, remember this sentence. 3. Practise the rising and falling intonations with each of the vowels, at first through a considerable interval and then through shorter intervals until your ear can easily detect a rise or fall. Thus CL / rise \ fall / rise / rise \ fall o \\// e // \\ / \ i / \ / \\ / \ 4 Then go through similar exercises using words instead of single vowels, thus : bar, bair / \ // \ TEST EXERCISES FOR VOWELS 159 5. (1) Mark the rise and fall in the following sentences and (2) try and complete the speech curve for each : You said yes. Did you say yes? Yes. Is it hlack or white? It is hlack not white. Two men 1 honour and no third. What a piece of work is man ! Bo as you are told. SoTne more tea? No thank you. Are you quite sure of your facts? TEST EXERCISES FOR VOWELS I §§ 128—132 1. He sings pretty h^mns. 2. The position of the women will cause mischief. 3. At a given signal the Exhibition will be lit up with electricity. 4. The printer dips his finger in the ink. 5. His condition is pitiful. e §§ 133, 134 1. The baker may fail to resist temptation. 2. The sailor hates his daily rations. 3. The aged lady obeys the gaoler's relation. 6 §§ 133, 134 1. The gi^est says that he is not the friend of the enemy. 2. One cannot be merry when in peril. 3. The dead men were bi^ried in the ien. 4. At twenty he was steady and clever. 5. Henry never trembles on the bench. 160 TEST EXERCISES FOR VOWELS e: or e: §§ 135, 140 1. The pair stare at the hare. 2. He does not care where he bears the chair. 3. He dare not swear that the mai/or was there. a or SB §§ 142, 143 1. That man Jack lacks ballast. 2. The barrow stands on the fallow land. 3. Pat's fat cat sat on the mat. 4. The bandsmen stand on the sand with their mantles in their hands. a § 147 1. The calf is on the farm not far from the cart. 2. Mj father saw a mirage from his barge. 3. The class tries hard not to la?/gh at the master. 4. In Derby the sergeant lost his card. A §§ 150, 151, 152 1. The nwts were rough, and covered with di^st. 2. One of the cowple was cut off by the flood. 3. The ri^ddy hi^nter loves the sun. 4. If you ht^rry you will only cause worry. A or A §§ 154, 155 1. The cur has a fine fur. 2. Work h^^rts the worthy man. 3. He bwrns the chi^rns in the furnace. 4. The mwrderer ti^rned E^way without farther demi^r. TEST EXERCISES FOR VOWELS 161 a before r sometimes i §§ 181, 182 1. The fir was growing on the shore of the firth. 2. His b?Tth was a matter for mirth. 3. The birds whirled round Stirling Rock. 4. When the girl's horse stirred, its girths loosened. 6 or e §§ 138, 178 1. The earl is an earnest person. 2. He must not defer learning the verses. 3. Perth is in a ferment over the stern verdict. o §§ 165—168 1. Gloucester hopped softly across the cloth. 2. The dog has lost his salvage. 3. The swans and goslings have gone off. 4. The rod is not broad enough. o§§161— 164 1. The old folk don't know the road. 2. He was smoking in a poky hole. 3. He had a notion to go on a locomotive. 4. The yeoman 02^;es the beai^ more than he sho?^?s. 9 §§ 172—174 1. Walter has tat^ght us to respect the law. 2. ^11 that is mere ta^ of war. 3. He thoi^^At that he ought to have sought the awthor. G, 11 162 TEST EXERCISES FOR VOWELS u §§ 156—159 1. The 'puuj youth plwmes himself on his beauty. 2. The ewe moved thro2^gh the queue. 3. The frz^it renewed the crew's strength. 4. Buccle2^^A wooed the mwse. 5. On Tt^esday you may view the i^ew of the Le?;eson-Gowers. 6. There were feto Jews in the room. U or u § 160 1. The cook shook the hook at the rook. 2. He will not brook the soot on his foot. 3. The b?^ll stood in the nook of the wood. 4. He pwshed the wolf out of the bwsh. 5. Look at the book in the pwlpit. 6. Worsted shot^ld be made from wool. ai and ai §§ 144, 147, 183, 184, 208 1. The ch^ld is quite quiet. 2. Height is derived from high. 3. He must prize the rice that will rise in price. 4. The word mice was my surmise. 5. She sighed at his side when she saw the sight. 6. He will arrive before the news is rife. 7. The wine helps him to make his rhymes. Ol §§ 170, 208 1. The boy will not boil the oil. 2. With a joyous shout he pointed to the coi7 of rope. au §§ 146, 147, 208 1. How do you pronounce this ? 2. The plough is in the owt-ho^^se. 3. There are flowers in her bower. APPENDIX 1 ORDINARY SPELLING OF THE PIECES TRANSCRIBED IN PART II I. Psalm xxiii 1 The Lord is my shepherd ; I shall not want. 2 He maketh me to lie down in green pastures : he leadeth me beside the still waters. 3 He restoreth my soul : he leadeth me in the paths of right- eousness for his name's sake. 4 Yea, though I walk through the valley of the shadow of death, I will fear no evil : for thou art with me ; thy rod and thy staff they comfort me. 5 Thou preparest a table before me in the presence of mine enemies : thou anointest my head with oil ; my cup runneth over. 6 Surely goodness and mercy shall follow me all the days of my life : and I will dwell in the house of the Lord for ever. 2. 1 Corinthians xiii 1 Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal. 2 And though I have the gift of prophecy, and understand all mysteries, and all knowledge ; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 3 And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not charity, it profiteth me nothing. 11—2 164 APPENDIX I 4 Charity suftereth long, and is kind ; charity envieth not ; charity vaunteth not itself, is not puffed up, 5 Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil ; 6 Rejoiceth not in iniquity, but rejoiceth in the truth ; 7 Beareth all things, believeth all things, hopeth all things, endureth all things. 8 Charity never faileth : but whether there be prophecies, they shall fail ; whether there be tongues, they shall cease ; whether there be knowledge, it shall vanish away. 9 For we know in part, and we prophesy in part. 10 But when that which is perfect is come, then that which is in part shall be done away. 11 When I was a child, I spake as a child, I understood as a child, I thought as a child : but when I became a man, I put away childish things. 12 For now we see through a glass, darkly ; but then face to face : now I know in part ; but then shall I know even as also I am known. 13 And now abideth faith, hope, charity, these three ; but the greatest of these is charity. 3. Milton Paradise Lost, Book ii. 11. 43 — 70 He ceas'd ; and next him Moloch, scepter'd king, Stood up, the strongest and the fiercest spirit That fought in Heav'n ; now fiercer by despair : His trust was with th' Eternal to be deemed Equal in strength, and rather than be less Car'd not to be at all ; with that care lost Went all his fear ; of God, or Hell, or worse He reck'd not, and these words thereafter spake. * My sentence is for open war : of wiles, l^ore unexpert, I boast not : them let those Contrive who need, or when they need, not now. For while they sit contriving, shall the rest, ORDINARY SPELLING OF PIECES TRANSCRIBED 165 Millions that stand in arms, and longing wait The signal to ascend, sit ling'ring here, Heaven's fugitives, and for their dwelling-place Accept this dark opprobrious den of shame, The prison of his tyranny who reigns By our delay? No, let us rather choose Arm'd with Hell-flames and fury all at once O'er Heaven's high towr's to force resistless way. Turning our tortures into horrid arms Against the Torturer ; when to meet the noise Of his almighty engine he shall hear Infernal thunder ; and for lightning see Black fire and horror shot with equal rage Among his angels ; and his throne itself Mixt with Tartarean sulphur, and strange fire, His own invented torments.' 4. William Shakespeare Passage from Julius Caesar, Act ill. Scene 2 Ant. Friends, Romans, countrymen, lend me your ears ; I come to bury Caesar, not to praise him. The evil that men do lives after them ; The good is oft interred with their bones ; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious ; If it were so, it was a grievous fault, And grievously hath Caesar answer'd it. Here, under leave of Brutus and the rest — For Brutus is an honourable man ; So are they all, all honourable men — Come I to speak in Caesar's funeral. He was my friend, faithful and just to me ; But Brutus says he was ambitious ; And Brutus is an honourable man. He hath brought many captives home to Rome, Whose ransoms did the general coffers fill ; 166 APPENDIX I Did this in Caesar seem ambitious ? When that the poor have cried, Caesar hath wept ; Ambition should be made of sterner stuff; Yet Brutus says he was ambitious ; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse; was this ambition? Yet Brutus says he was ambitious ; And, sure, he is an honourable man. I speak not to disprove what Brutus spoke. But here I am, to speak what I do know. You all did love him once, not without cause ; What cause withholds you then, to mourn for him? judgement ! thou art fled to brutish beasts, And men have lost their reason. Bear with me ; My heart is in the coffin there with Caesar, And I must pause, till it come back to me. 5. Carlyle. Passage from the Essay on Burns Byron and Burns were sent forth as missionaries to their generation, to teach it a higher Doctrine, a purer Truth ; they had a message to deliver, which left them no rest till it was accomplished ; in dim throes of pain, this divine behest lay smouldering within them ; for they knew not what it meant, and felt it only in mysterious anticipation, and they had to die without articulately uttering it. They are in the camp of the Unconverted ; yet not as high messengers of rigorous though benignant truth, but as soft flattering singers, and in pleasant fellowship will they live there ; they are first adulated, then persecuted ; they accomplish little for others ; they find no peace for themselves, but only death and the peace of the grave. We confess, it is not without a certain mournful awe that we view the fate of these noble souls, so richly gifted, yet ruined to so little purpose with all their gifts. It seems to us there is a stern moral taught in this piece of history, — tunce told us in ORDINARY SPELLING OF PIECES TRANSCRIBED 167 our own time ! Surely to men of like genius, if there be any such, it carries with it a lesson of deep impressive significance. Surely it would become such a man, furnished for the highest of all enterprises, that of being the Poet of his Age, to consider well what it is that he attempts, and in what spirit he attempts it. For the words of Milton are true in all times, and were never truer than in this : **He, who would write heroic poems, must make his whole life a heroic poem." If he cannot first so make his life, then let him hasten from this arena ; for neither its lofty glories, nor its fearful perils, are fit for him. Let him dwindle into a modish balladmonger ; let him worship and besing the idols of the time, and the time will not fail to reward him. If, indeed, he can endure to live in that capacity ! Byron and Burns could not live as idol-priests, but the fire of their own hearts consumed them ; and better it was for them that they could not. For it is not in the favour of the great or of the small, but in a life of truth, and in the inexpugnable citadel of his own soul, that a Byron's or a Burns's strength must lie. Let the great stand aloof from him, or know how to reverence him. Beautiful is the union of wealth with favour and furtherance for literature ; like the costliest flower-jar enclosing the loveliest amaranth. Yet let not the relation be mistaken. A true poet is not one whom they can hire by money or flattery to be a minister of their pleasures, their writer of occasional verses, their purveyor of table- wit ; he cannot be their menial, he cannot even be their partisan. At the peril of both parties, let no such union be attempted ! Will a Courser of the Sun work softly in the harness of a Dray-horse ? His hoofs are of fire, and his path is through the heavens, bringing light to all lands ; will he lumber on mud highways, dragging ale for earthly appetites from door to door ? 6. Sir Henry Wotton A Happy Life How happy is he born and taught That serveth not another's will ; Whose armour is his honest thought And simple truth his utmost skill ; 168 APPENDIX I Whose passions not his masters are, Whose soul is still prepared for death, Untied unto the world by care Of public fame, or private breath ^ ; Who envies none that chance doth raise Nor vice ; who never understood How deepest wounds are given by praise ; Nor rules of state, but rules of good : Who hath his life from rumours freed, Whose conscience is his strong retreat ; Whose state can neither flatterers feed, Nor ruin make oppressors great ; Who God doth late and early pray More of His grace than gifts to lend ; And entertains the harmless day With a religious book or friend. This man is freed from servile bands Of hope to rise, or fear to fall : Lord of himself, though not of lands ; And, having nothing, yet hath all. 7. William Pitt Passage from Reply to Walpole The atrocious crime of being a young man, which the honour- able gentleman has, with such spirit and decency, charged upon me, I shall neither attempt to palliate, nor deny; but content myself with wishing that I may be one of those whose follies cease with their youth ; and not of that number who are ignorant in spite of experience. Whether youth can be imputed to any man as a reproach, I will not assume the province of determining : but, surely, age may become justly contemptible, if the opportunities which it brings have past away without improvement, and vice appears to 1 flattery. ORDINARY SPELLING OF PIECES TRANSCRIBED 169 prevail when the passions have subsided. The wretch that, after having seen the consequences of a thousand errors, continues still to blunder, and whose age has only added obstinacy to stupidity, is surely the object of either abhorrence or contempt ; and deserves not that his grey head should secure him from insults. Much more is he to be abhorred who, as he has advanced in age, has receded from virtue, and becomes more wicked with less temptation, who prostitutes himself for money which he cannot enjoy, and spends the remains of his life in the ruin of his country. 8. C. S. Calverley Contentment (after the manner of Horace) ^ Friend, there be they on whom mishap Or never or so rarely comes, That, when they think thereof, they snap Derisive thumbs ; And there be they who lightly lose Their all, yet feel no aching void ; Should aught annoy them, they refuse To be annoy'd ; And fain would I be e'en as these ! Life is with such all beer and skittles ; They are not difficult to please About their victuals ; The trout, the grouse, the early pea, By such, if there, are freely taken ; If not, they munch with equal glee Their bit of bacon ; And when they wax a little gay And chaff the public after luncheon. If they're confronted with a stray Policeman's truncheon, ^ Reproduced from Calverley's Fly Leaves by kind permission of the publishers, Messrs George Bell and Sons. 170 APPENDIX I They gaze thereat with outstretch'd necks, And laughter which no threats can smother, And tell the horror-stricken X That he's another. In snowtime if they cross a spot Where unsuspected boys have slid, They fall not down — though they would not Mind if they did ; When the spring rosebud which they wear Breaks short and tumbles from its stem, No thought of being angry e'er Dawns upon them ; Though 'twas Jemima's hand that placed, (As well you ween) at evening's hour, In the loved button-hole that chaste And cherish'd flower. And when they travel, if they find That they have left their pocket-compass Or Murray or thick boots behind, They raise no rumpus. But plod serenely on without ; Knowing it's better to endure The evil which beyond all doubt You cannot cure. When for that early train they're late. They do not make their woes the text Of sermons in the Times, but wait On for the next ; And jump inside, and only grin Should it appear that that dry wag. The guard, omitted to put in Their carpet-bag. ORDINARY SPELLING OF PIECES TRANSCRIBED 171 9. Goldsmith Passage from the Vicar of Wakefield Our little habitation was situated at the foot of a sloping hill, sheltered with a beautiful underwood behind, and a prattling river before; on one side a meadow, on the other a green. My farm consisted of about twenty acres of excellent land, having given a hundred pound for my predecessor's good- will. Nothing could exceed the neatness of my little enclosures, the elms and hedge- rows appearing with inexpressible beauty. My house consisted of but one story, and was covered with thatch, which gave it an air of great snugness ; the walls on the inside were nicely whitewashed, and my daughters undertook to adorn them with pictures of their own designing. Though the same room served us for parlour and kitchen, that only made it the warmer. Besides, as it was kept with the utmost neatness, the dishes, plates, and coppers being well scoured, and all disposed in bright rows on the shelves, the eye was agreeably relieved, and did not want richer furniture. There were three other apartments — one for my wife and me, another for our two daughters, within our own, and the third, with two beds, for the rest of the children. The little republic to which I gave laws was regulated in the following manner: by sun-rise we all assembled in our common apartment, the fire being previously kindled by the servant. After we had saluted each other with proper ceremony, for I always thought fit to keep up some mechanical forms of good breeding, without which freedom ever destroys friendship, we all bent in gratitude to that Being who gave us another day. This duty being performed, my son and I went to pursue our usual industry abroad, while my wife and daughters employed themselves in providing breakfast, which was always ready at a certain time. I allowed half an hour for this meal, and an hour for dinner ; which time was taken up in innocent mirth between my wife and daughters, and in philosophical arguments between my son and me. As we rose with the sun, so we never j)ursued our labours after it was gone down, but returned home to the expecting family where smiling looks, a neat hearth, and pleasant fire, were prepared 172 APPENDIX I for our reception. Nor were we without guests ; sometimes Farmer Flamborough, our talkative neighbour, and often the blind piper, would pay us a visit, and taste our gooseberry wine ; for the making of which we had lost neither the receipt nor the reputation. These harmless people had several ways of being good company; while one played, the other would sing some soothing ballad, "Johnny Armstrong's Last Good-night," or " the Cruelty of Barbara Allen." The night was concluded in the manner we began the morning, my youngest boys being appointed to read the lessons of the day ; and he that read loudest, distinctest, and best was to have an halfpenny on Sunday to put into the poor's box. 10. William Shakespeare Passage from King Lear, Act iv. Scene 7 Doctor. So please your majesty That we may wake the king? he hath slept long. Cordelia. Be govern'd by your knowledge, and proceed I' the sway of your own will. — Is he array'd ? Gentleman. Ay, madam; in the heaviness of sleep We put fresh garments on him. Doctor. Be by, good madam, when we do awake him; I doubt not of his temperance. Cordelia. Very well. Doctor. Please you, draw near. — Louder the music there! Cordelia. my dear father ! Restoration hang Thy medicine on my lips, and let this kiss Repair those violent harms that my two sisters Have in thy reverence made ! Kent. Kind and dear princess ! Cordelia. Had you not been their father, these white flakes Had challenged pity of them. Was this a face To be oppos'd against the warring winds ? To stand against the deep dread-bolted thunder? In the most terrible and nimble stroke Of quick, cross lightning? to watch — poor perdu ! — With this thin helm? Mine enemy's dog. ORDINARY SPELLING OF PIECES TRANSCRIBED 173 Though he had bit me, should have stood that night Against my fire ; and wast thou fain, poor father, To hovel thee with swine and rogues forlorn. In short and musty straw ? Alack, alack ! 'T is wonder that thy life and wits at once Had not concluded all. — He wakes ; speak to him. Doctor. Madam, do you ; 't is fittest. Cordelia. How does my royal lord 1 How fares your majesty ? Lear. You do me wrong to take me out o' the grave. Thou art a soul in bliss; but I am bound Upon a wheel of fire, that mine own tears Do scald like molten lead. Cordelia. Sir, do you know me ? Lear. You are a spirit, I know; when did you die? Cordelia. Still, still, far wide ! Doctor. He 's scarce awake; let him alone awhile. Lear. Where have I been ? Where am I ? Fair daylight 1 I am mightily abus'd. I should e'en die with pity. To see another thus. I know not what to say. I will not swear these are my hands. Let 's see ; I feel this pin prick. Would I were assur'd Of my condition ! Cordelia. 0, look upon me, sir, And hold your hands in benediction o'er me. No, sir, you must not kneel. Lear. Pray, do not mock me. I am a very foolish fond old man, Fourscore and upward, not an hour more nor less ; And, to deal plainly, I fear I am not in my perfect mind. Methinks I should know you, and know this man; Yet I am doubtful: for I am mainly ignorant What place this is, and all the skill I have Remembers not these garments, nor I know not Where I did lodge last night. Do not laugh at me; For, as I am a man, I think this lady To be my child Cordelia. Cordelia. And so I am, I am. 174 APPENDIX I Lear. Be your tears wet? yes, faith. I pray, weep not. If you have poison for me, I will drink it. I know you do not love me, for your sisters Have, as I do remember, done me wrong; You have some cause, they have not. Cordelia. No cause, no cause. Lear, Am I in France? Kent. In your own kingdom, sir. Lear. Do not abuse me. ***** Cordelia. Will 't please your highness walk? Lear. You must bear with me. Pray you now, forget and forgive; I am old and foolish. 11. Francis Thompson Daisy Where the thistle lifts a purple crown Six foot out of the turf, And the harebell shakes on the windy hill — O the breath of the distant surf! — The hills look over on the South, And southward dreams the sea ; And, with the sea-breeze hand in hand, Came innocence and she. Where 'mid the gorse the raspberry Red for the gatherer springs. Two children did we stray and talk Wise, idle, childish things. She listened with big-lipped surprise. Breast-deep 'mid flower and spine : Her skin was like a grape, whose veins Run snow instead of wine. She knew not those sweet words she spake. Nor knew her own sweet way ; But there's never a bird, so sweet a song Thronged in whose throat that day ! ORDINARY SPELLING OF PIECES TRANSCRIBED 175 Oh, there were flowers in Storrington On the turf and on the spray ; But the sweetest flower on Sussex hills Was the Daisy-flower that day ! Her beauty smoothed earth's furrowed face ! She gave me tokens three: — A look, a word of her winsome mouth. And a wild raspberry. A berry red, a guileless look, A still word, —strings of sand ! And yet they made my wild, wild heart Fly down to her little hand. For, standing artless as the air, And candid as the skies. She took the berries with her hand. And the love with her sweet eyes. The fairest things have fleetest end : Their scent survives their close. But the rose's scent is bitterness To him that loved the rose ! She looked a little wistfully, Then went her sunshine way : — The sea's eye had a mist on it, And the leaves fell from the day. She went her unremembering way. She went, and left in me The pang of all the partings gone. And partings yet to be. She left me marvelling why my soul Was sad that she was glad ; At all the sadness in the sweet, The sweetness in the sad. Still, still I seem to see her, still Look up with soft replies. And take the berries with her hand, And the love with her lovely eyes. 176 APPENDIX I Nothing begins, and nothing ends, That is not paid with moan ; For we are born in other's pain, And perish in our own. 12. Charles Dickens A passage from Domhey and Son Analysis of the character of P. Dombey They were within two or three weeks of the hoHdays, when, one day, Cornelia Blimber called Paul into her room, and said, "Dombey, I am going to send home your analysis." " Thank you, ma'am," returned Paul. "You know what I mean, do you, Dombey?" inquired Miss Blimber, looking hard at him through the spectacles. " No, ma'am," said Paul. "Dombey, Dombey," said Miss Blimber, "I begin to be afraid you are a sad boy. When you don't know the meaning of an expression, why don't you seek for information ? " " Mrs Pipchin told me I wasn't to ask questions," returned Paul. " I must beg you not to mention Mrs Pipchin to me, on any account, Dombey," returned Miss Blimber. "I couldn't think of allowing it. The course of study here is very far removed from anything of that sort. A repetition of such allusions would make it necessary for me to request to hear, without a mistake, before breakfast-time to-morrow morning, from Verbum personate down to simillima cygnoy " I didn't mean, ma'am — " began little Paul. " I must trouble you not to tell me that you didn't mean, if you please, Dombey," said Miss Blimber, who preserved an awful politeness in her admonitions. "That is a line of argument, I couldn't dream of permitting." Paul felt it safest to say nothing at all, so he only looked at Miss Blimber's spectacles. Miss Blimber having shaken her head at him gravely, referred to a paper lying before her. " * Analysis of the character of P. Dombey.' If my recollection serves me," said Miss Blimber, breaking off, " the word analysis as ORDINARY SPELLING OF PIECES TRANSCRIBED 177 opposed to synthesis, is thus defined by Walker. ^ The resolution of an object, whether of the senses or of the intellect, into its first elements.' As opposed to synthesis, you observe. Now you know what analysis is, Dombey." Dombey didn't seem to be absolutely blinded by the light let in upon his intellect, but he made Miss Blimber a little bow. " 'It may be generally observed of Dombey,' '^ said Miss Blimber, reading in a loud voice, and at every second word directing her spectacles towards the little figure before her : '^ ' that his abilities and inclinations are good, and that he has made as much progress as under the circumstances could have been expected. But it is to be lamented of this young gentleman that he is singular (what is usually termed old-fashioned) in his character and conduct, and that, without presenting anything in either which distinctly calls for reprobation, he is often very unlike other young gentlemen of his age and social position.' Now, Dombey," said Miss Blimber, laying down the paper, " do you understand that ? " "I think I do, ma'am," said Paul. " This analysis, you see, Dombey," Miss Blimber continued, " is going to be sent home to your respected parent. It will naturally be very painful to him to find that you are singular in your character and conduct. It is naturally painful to us ; for we can't like you, you know, Dombey, as well as we could wish." She touched the child upon a tender point. He had secretly become more and more solicitous from day to day, as the time of his departure drew more near, that all the house should like him. For some hidden reason, very imperfectly understood by himself — if understood at all — he felt a gradually increasing impulse of afifection, towards almost everything and everybody in the place. He could not bear to think that they would be quite indifierent to him when he was gone. He wanted them to remember him kindly ; and he had made it his business even to conciliate a great hoarse shaggy dog, chained up at the back of the house, who had previously been the terror of his life : that even he might miss him when he was no longer there. Little thinking that in this he only showed again the difference between himself and his compeers, poor tiny Paul set it forth to G. 12 178 APPENDIX I Miss Blimber as well as he could, and begged her, in despite of the official analysis, to have the goodness to try and like him. To Mrs Blimber, who had joined them, he preferred the same petition : and when that lady could not forbear, even in his presence, from giving utterance to her often-repeated opinion, that he was an odd child, Paul told her that he was sure she was quite right ; that he thought it must be his bones, but he didn't know ; and that he hoped she would overlook it, for he was fond of them all. " Not so fond," said Paul, with a mixture of timidity and perfect frankness, which was one of the most peculiar and most engaging qualities of the child, " not so fond as I am of Florence, of course ; that could never be. You couldn't expect that, could you, ma'am ? " " Oh ! the old-fashioned little soul ! " cried Mrs Blimber, in a whisper. "But I like everybody here very much," pursued Paul, "and I should grieve to go away, and think that anyone was glad that I was gone, or didn't care." 13. Elizabeth Barrett Browning The Forced Recruit In the ranks of the Austrian you found liim, He died with his face to you all ; Yet bury him here where around him You honour your bravest that fall. Venetian, fair featured and slender, He lies shot to death in his youth. With a smile on his lips over tender For any mere soldier's dead mouth. No stranger, and yet not a traitor. Though alien the cloth on his breast. Underneath it how seldom a greater Young heart has a shot sent to rest ! By your enemy tortured and goaded To march with them, stand in their file. His musket (see) never was loaded, He facing your guns with that smile ! ORDINARY SPELLING OF PIECES TRANSCRIBED 179 As orphans yearn on to their mothers, He yearned to your patriot bands ;— "Let me die for our Italy, brothers, If not in your ranks, by your hands ! "Aim straightly, fire steadily! spare me A ball in the body which may Deliver my heart here, and tear me This badge of the Austrian away ! " So thought he, so died he this morning. What then? many others have died. Ay, but easy for men to die scorning The death-stroke, who fought side by side : — One tricolour floating above them ; Struck down 'mid triumphant acclaims Of an Italy rescued to love them And blazon the brass with their names. But he, — without witness or honour, There, shamed in his country's regard, With the tyrants who march in upon her. Died faithful and passive : 'twas hard. 'Twas sublime. In a cruel restriction Cut off from the guerdon of sons, With most filial obedience, conviction, His soul kissed the lips of her guns. That moves you ? Nay, grudge not to show it. While digging a grave for him here : The others who died, says your poet. Have glory, — let him have a tear. 14. James Boswell A passage from the Life of Johnson Johnson. "Sir, when people watch me narrowly, and I do not watch myself, they will find me out to be of a particular county. In the same manner Dunning may be found out to be a Devonshire 12—2 180 APPENDIX I man. So most Scotchmen may be found out. But, Sir, little aberrations are of no disadvantage. I never catched Mallet in a Scotch accent ; and yet Mallet, I suppose, was past five-and-twenty before he came to London.^' Upon another occasion I talked to him on this subject, having myself taken some pains to improve my pronunciation, by the aid of the late Mr Love, of Drury Lane theatre, when he was a player at Edinburgh, and also of old Mr Sheridan. Johnson said to me, " Sir, your pronunciation is not offensive." With this concession I was pretty well satisfied ; and let me give my countrymen of North Britain an advice not to aim at absolute perfection in this respect ; not to speak High English^ as we are apt to call what is far removed from the Scotch^ but which is by no means good English^ and makes "the fools who use it" truly ridiculous. Good English is plain, easy, and smooth in the mouth of an unaffected English gentleman. A studied and factitious pronunciation, which requires perpetual attention, and imposes perpetual constraint, is exceedingly dis- gusting. A small intermixture of provincial peculiarities may, perhaps, have an agreeable effect, as the notes of different birds concur in the harmony of the grove, and please more than if they were all exactly alike. I could name some gentlemen of Ireland, to whom a slight proportion of the accent and recitative of that country is an advantage. The same observation will apply to the gentlemen of Scotland. I do not mean that we should speak as broad as a certain prosperous Member of Parliament from that country ; though it has been well observed, that *' it has been of no small use to him ; as it rouses the attention of the House by its uncommonness : and is equal to tropes and figures in a good English speaker." I would give as an instance of what I mean to recommend to my countrymen, the pronunciation of the late Sir Gilbert Elliot ; and may I presume to add that of the present Earl of Marchmont, who told me, with great good humour, that the master of a shop in London, where he was not known, said to him, " I suppose. Sir, you are an American." — "Why so, Sir?" said his Lordship. "Because, Sir," replied the shopkeeper, "you speak neither English nor Scotch, but something different from both, which I conclude is the language of America." ordinary spelling of pieces transcribed 181 15. Lord Byron Greece Clime of the unforgotten brave ! Whose land from plain to mountain-cave Was Freedom's home or Glory's grave ! Shrine of the mighty ! can it be, That this is all remains of thee? Approach, thou craven crouching slave: Say, is not this Thermopylae 1 These waters blue that round you lave, Oh servile offspring of the free — Pronounce what sea, what shore is this? The gulf, the rock of Salamis ! These scenes, their story not unknown. Arise, and make again your own ; Snatch from the ashes of your sires The embers of their former fires ; And he who in the strife expires Will add to theirs a name of fear That Tyranny shall quake to hear, And leave his sons a hope, a fame. They too will rather die than shame: For Freedom's battle once begun, Bequeath'd by bleeding Sire to Son, Though baffled oft is ever won. Bear witness, Greece, thy living page ! Attest it many a deathless age ! While kings, in dusty darkness hid, Have left a nameless pyramid, Thy heroes, though the general doom Hath swept the column from their tomb, A mightier monument command. The mountains of their native land! There points thy Muse to stranger's eye The graves of those that cannot die ! 182 APPENDIX I Twere long to tell, and sad to trace, Each step from splendour to disgrace; Enough — no foreign foe could quell Thy soul, till from itself it fell ; Yes ! Self-abasement paved the way T6 villain -bonds and despot sway. 16. James Russell Lowell My Garden Acquaintance Passage from My Study Windows % The robin has a bad reputation among people who do not value themselves less for being fond of cherries. There is, I admit, a spice of vulgarity in him, and his song is rather of the Bloomfield sort, too largely ballasted with prose. His ethics are of the Poor Eichard school, and the main chance which calls forth all his energy is altogether of the belly. He never has those fine intervals of lunacy into which his cousins, the catbird and the mavis, are apt to fall. But "for a' that, and twice as muckle's a' that," I would not exchange him for all the cherries that ever came out of Asia Minor. With whatever faults, he has not wholly forfeited that superiority which belongs to the children of nature. He has a finer taste in fruit than could be distilled from many successive committees of the Horticultural Society, and he eats with a relishing gulp not inferior to Dr Johnson's. He feels and freely exercises his right of eminent domain. His is the earliest mess of green peas ; his all the mulberries I had fancied mine. But if he gets also the lion's share of the raspberries, he is a great planter, and sows those wild ones in the woods that solace the pedestrian and give a momentary calm even to the jaded victims of the White Hills. He keeps a strict eye over one's fruit, and knows to a shade of purple when your grapes have cooked long enough in the sun. During the severe drought a few years ago, the robins wholly vanished from my garden. I neither saw nor heard one for three weeks. Mean- while a small foreign grape-vine, rather shy of bearing, seemed to find the dusty air congenial, and, dreaming perhaps of its sweet ORDINARY SPELLING OF PIECES TRANSCRIBED 183 Argos across the sea, decked itself with a score or so of fair bunches. I watched them from day to day till they should have secreted sugar enough from the sunbeams, and at last made up my mind that I would celebrate my vintage the next morning. But the robins too had somehow kept note of them. They must have sent out spies, as did the Jews into the promised land, before I was stirring. When I went with my basket, at least a dozen of these winged vintagers bustled out from among the leaves, and alighting on the nearest trees interchanged some shrill remarks about me of a derogatory nature. They had fairly sacked the vine. Not Wellington's veterans made cleaner work of a Spanish town ; not Federals or Confederates were ever more impartial in the confiscation of neutral chickens. I was keeping my grapes a secret to surprise the fair Fidele with, but the robins made them a profounder secret to her than I had meant. The tattered remnant of a single bunch was all my harvest-home. How paltry it looked at the bottom of my basket, as if a humming-bird had laid her egg in an eagle's nest! 1 could not help laughing; and the robins seemed to join heartily in the merriment. There was a native grape-vine close by, blue with its less refined abundance, but my cunning thieves pre- ferred the foreign flavour. Could I tax them with want of taste ? 17. Sir Walter Scott Young Lochinvar 0, young Lochinvar is come out of the west. Through all the wide Border his steed was the best, And save his good broad-sword he weapons had none; . He rode all unarmed, and he rode all alone. So faithful in love, and so dauntless in war. There never was knight like the young Lochinvar. He stayed not for brake, and he stopped not for stone. He swam the Eske river where ford there was none; But, ere he alighted at Netherby gate. The bride had consented, the gallant came late: For a laggard in love, and a dastard in war. Was to wed the fair Ellen of brave Lochinvar. 184 APPENDIX I So boldly he entered the Netherby hall, Among bride's-men and kinsmen,' and brothers and all: Then spoke the bride's father, his hand on his sword, (For the poor craven bridegroom said never a word,) "0 come ye in peace here, or come ye in war, Or to dance at our bridal, young Lord Lochinvar?" "I long wooed your daughter, my suit you denied; Love swells like the Solway, but ebbs like its tide — And now I am come with this lost love of mine. To lead but one measure, drink one cup of wine. There are maidens in Scotland more lovely by far, That would gladly be bride to the young Lochinvar." The bride kissed the goblet; the knight took it up. He quaffed off the wine, and he threw down the cup. She looked down to blush, and she looked up to sigh, With a smile on her lips and a tear in her eye. He took her soft hand, e'er her mother could bar, — " Now tread we a measure ! " said young Lochinvar. So stately his form, and so lovely her face. That never a hall such a galliard did grace; While her mother did fret, and her father did fume. And the bridegroom stood dangling his bonnet and plume ; And the bride-maidens whispered, "'Twere better by far To have matched our fair cousin with young Lochinvar." One touch to her hand, and one word in her ear. When they reached the hall door and the charger stood near ; So light to the croupe the fair lady he swung. So light to the saddle before her he sprung ! — " She is won ! we are gone, over bank, bush, and scaur ; They'll have fleet steeds that follow," quoth young Lochinvar. There was mounting 'mong Graemes of the Netherby clan ; Forsters, Fenwicks, and Musgraves, they rode and they ran: There was racing, and chasing, on Cannobie Lee, But the lost bride of Netherby ne'er did they see. So daring in love, and so dauntless in war, Have ye e'er heard of gallant like young Lochinvar ? ordinary spelling of pieces transcribed 185 18. Austin Dobson The Cures Progress Monsieur the Cure down the street Comes with his kind old face, — With his coat worn bare, and his straggling hair. And his green umbrella-case. You may see him pass by the little Grande Place And the tiny Hotel de Ville ; He smiles, as he goes, to the fleuriste Rose And the pompier Theophile. He turns, as a rule, thro' the Marche cool, Where the noisy fish-wives call; And his compHment pays to the "Belle Ther^se," As she knits in her dusky stall. There's a letter to drop at the locksmith's shop And Toto, the locksmith's niece. Has jubilant hopes, for the Cur^ gropes In his tails for a pain d^epice. There's a little dispute with a merchant of fruit, Who is said to be heterodox, That will ended be with a ^' Ma foi, oui P^ And a pinch from the Cure's box. There is also a word that no one heard To the furrier's daughter Lou; And a pale cheek fed with a flickering red. And a ^^ Bon Dieu garde M^sieu!^^ But a grander way for the Sous-Prefet, And a bow for Ma'amselle Anne, And a mock '^ofF-hat" to the Notary's cat. And a nod to the Sacristan. For ever through life the Cure goes With a smile on his kind old face, — With his coat worn bare, and his straggling hair, And his green umbrella-case. 186 appendix i 19. George Eliot A passage from The Mill on the Floss "Oh, I say, Maggie," said Tom at last, lifting up the stand, "we must keep quiet here, you know. If we break anything, Mrs Stelling '11 make us cry peccavi." "What's that?" said Maggie. " Oh, it's the Latin for a good scolding," said Tom, not without some pride in his knowledge. " Is she a cross woman ? " said Maggie. " I believe you ! " said Tom, with an emphatic nod. " I think all women are crosser than men," said Maggie. "Aunt Glegg's a great deal crosser than Uncle Glegg, and mother scolds me more than father does." " Well, ^ouHl be a woman some day," said Tom, " so ^ou needn't talk." " But I shall be a clever woman," said Maggie, with a toss. " Oh, I daresay, and a nasty conceited thing. Everybody '11 hate you." " But you oughtn't to hate me, Tom ; it'll be very wicked of you, for I shall be your sister." "Yes, but if you're a nasty disagreeable thing, I shall hate you." " Oh but, Tom, you won't ! I shan't be disagreeable. I shall be very good to you — and I shall be good to everybody. You won't hate me really, will you, Tom ? " "Oh, bother ! never mind ! Come, it's time for me to learn my lessons. See here ! what I've got to do," said Tom, drawing Alaggie towards him and showing her his theorem, while she pushed her hair behind her ears, and prepared herself to prove her capability of helping him in Euclid. She began to read with full confidence in her own powers, but presently, becoming quite bewildered, her face flushed with irritation. It was unavoidable — she must confess her incompetency, and she was not fond of humiliation. " It's nonsense ! " she said, " and very ugly stuff — nobody need want to make it out." " Ah, there now. Miss Maggie ! " said Tom, drawing the book ORDINARY SPELLING OF PIECES TRANSCRIBED 187 away, and wagging his head at her, '*you see you're not so clever as you thought you were." " Oh," said Maggie, pouting, " I daresay I could make it out, if I'd learned what goes before, as you have." " But that's what you just couldn't. Miss Wisdom," said Tom. " For it's all the harder when you know what goes before ; for then you've got to say what definition 3 is, and what axiom V. is. But get along with you now ; I must go on with this. Here's the Latin Grammar. See what you can make of that." 20. E. F. Benson A passage from Dodo (Chap. 4)^ At this moment a shrill voice called Dodo from the drawing-room. " Dodo, Dodo," it cried, " the man brought me two tepid poached eggs ! Do send me something else. Is there such a thing as a grilled bone?" These remarks were speedily followed up by the appearance of Miss Staines at the dining-room door. In one hand she held the despised eggs, in the other a quire of music paper. Behind her followed a footman with her breakfast-tray, in excusable ignorance as to what was required of him. "Dear Dodo," she went on, "you know when I'm composing a symphony I want something more exciting than two poached eggs. Mr Broxton, I know, will take my side. You couldn't eat poached eggs at a ball — could you 1 They might do very well for a funeral march or a nocturne, but they won't do for a symphony, especially for the scherzo. A brandy-and-soda and a grilled bone is what one really wants for a scherzo, only that would be quite out of the question." Edith Staines talked in a loud, determined voice, and emphasized her points with little dashes and flourishes of the dish of poached eggs. At this moment one of them flew on to the floor and exploded. But it is an ill wind that blows nobody any good, and at any rate this relieved the footman from his state of indecision. His immediate mission was clearly to remove it. ^ Reproduced by kind permissioD of Mr Benson and the publishers, Messrs Methueu. 188 APPENDIX I Dodo threw herself back in her chair with a peal of laughter. " Go on, go on," she cried, " you are too splendid. Tell us what you write the presto on." "I can't waste another moment," said Edith. "I'm in the middle of the most entrancing motif, which is working out beauti- fully. Do you mind my smoking in the drawing-room? I am awfully sorry, but it makes all the difference to my work. Burn a little incense there afterwards. Do send me a bone, Dodo. Come and hear me play the scherzo later on. It's the best thing I've ever done. Oh, by the way, I telegraphed to Herr Truffen to come to-morrow — he's my conductor, you know. You can put him up in the village or the coal-hole, if you like. He's quite happy if he gets enough beer. He's my German conductor, you know. I made him entirely. I took him to the Princess the other day when I was at Aix, and we all had beer together in the verandah of the Beau Site. You'll be amused with him." " Oh, rather," said Dodo ; " that will be all right. He can sleep in the house. Will he come early to-morrow ? Let's see — to-morrow's Sunday. Edith, I've got an idea. We'll have a dear little service in the house — we can't go to church if it snows — and you shall play your mass, and Herr What's-his-name shall conduct, and Bertie, and Grantie, and you and I will sing. Won't it be lovely ? You and I will settle all that this afternoon. Telegraph to Truffler, or whatever his name is, to come by the eight-twenty. Then he'll be here by twelve, and we'll have the service at a quarter past." "Dodo, that will be grand," said Edith. "I can't wait now. Goodbye. Hurry up my breakfast — I'm awfully sharp-set." Edith went back to the drawing-room, whistling in a particularly shrill manner. 21. Gavin Greig Passage from Main's Wooing, Act I. Sc. 2 Enter Shepherd. Shepherd. Ay, ay, Souter, and ye're aye stickin' in 1 SoUTER. Ay, of coorse, a sooter aye sticks in to the last. ORDINARY SPELLING OF PIECES TRANSCRIBED 189 Shepherd {laughing). I'lii gled to tin' ye sae cheery in thae dull times. SouTER. And fa wid be cheery gin a souter wisna ? Shepherd. And fat gies him ony advantage ? Souter. Weel, gin ye wis to lose your all, fat wid happen ? Shepherd. Oh, I suppose I wid jist be ruined. Souter. Surely; but if I wis to lose my aid {holding it up) I wid jist buy anither. They only cost thrippence. Shepherd. Oh, Souter man, that'll dee. — By-the-bye, wid ye hae onything gaun up the wye o' — o' — Knoweheid, maybe? Souter. Ay, there's a pair o' beets o' Maggie An'erson's here that I've been solin'. They micht gang to Knoweheid if they'd feet in them. Shepherd. But couldna they — be carriet ? Souter. Sae they likely will ; but foo are ye spierin' ? Shepherd. Ah weel, ye see, I wis maybe to be — takin' a turn roon — that wye the nicht — mysel — maybe like — ye ken ; and I jist thocht, ye see, aifter I come hame fae the Fair — I micht, maybe, ye ken — like — Souter {waving his hand and smiling). It's a' richt, man. I see the thing fine. Ye're jist wan tin' an eeran' owre to see Maggie. Shepherd. Weel, maybe I am. Souter. It's a' richt, man. I sympatheese wi' ye; for she's a fine lass, Maggie; and atween you and me she ocht to be rale weel suited. Shepherd. Fat wye ? Souter. Weel, ye see {taking one of the hoots and tapping the sole)y I'm a souter for her sole, and ye're a suitor for her hairt and hand — d'ye see ? Shepherd. Souter man, that's waur and waur. — Gie's the beets and lat's awa'. Souter wraps boots in paper, Souter {handing parcel to Shepherd). Hae, man ; and luck gae wi' ye. Shepherd. Thank ye, Souter, and guid-day. 190 appendix i 22. Sir Walter Scott Passage from The Antiquary y Chap. XL As the Antiquary lifted the latch of the hut, he was surprised to hear the shrill tremulous voice of Elspeth chanting forth an old ballad in a wild and doleful recitative. "The herring loves the merry moonlight, The mackerel loves the wind, But the oyster loves the dredging sang, For they come of a gentle kind.'' A diligent collector of these legendary scraps of ancient poetry, his foot refused to cross the threshold when his ear was thus arrested, and his hand instinctively took pencil and memorandum- book. From time to time the old woman spoke as if to the children — " Oy ay, hinnies, whisht, whisht ! and I'll begin a bonnier ane than that — " Now baud your tongue, baith wife and carle, And listen, great and sma'. And I will sing of Glenallan's Earl That fought on the red Harlaw. "The cronach's cried on Bennachie, And doun the Don and a', And hieland and lawland may mournfu' be For the sair field of Harlaw. — I dinna mind the neist verse weel — my memory's failed, and there's unco thoughts come ower me — God keep us frae temptation ! " Here her voice sunk in indistinct muttering. "It's a historical ballad," said Oldbuck eagerly, "a genuine and undoubted fragment of minstrelsy! — Percy would admire its simplicity — Ritson could not impugn its authenticity." " Ay, but it's a sad thing," said Ochiltree, " to see human nature sae far owertaen as to be skirling at auld sangs on the back of a loss like hers." ORDINARY SPELLING OF PIECES TRANSCRIBED 191 " Hush, hush ! " said the Antiquary, — " she has gotten the thread of the story again." — And as he spoke, she sung : " They saddled a hundred milk-white steeds, They hae bridled a hundred black. With a chafron of steel on each horse's head, And a good knight upon his back." — " Chafron ! " exclaimed the Antiquary, — ** equivalent, perhaps, to cheveron — the word 's worth a dollar,"— and down it went in his red book. ''They hadna ridden a mile, a mile, A mile, but barely ten, When Donald came branking down the brae Wi' twenty thousand men. "Their tartans they were waving wide, Their glaives were glancing clear. The pibrochs rung frae side to side. Would deafen ye to hear. " The great Earl in his stirrups stood That Highland host to see: 'Now here a knight that 's stout and good May prove a jeopardie; "'What wouldst thou do, my squire so gay, That rides beside my reyne. Were ye Glenallan's Earl the day, And I were Roland Cheyne ? '"To turn the rein were sin and shame, To fight were wondrous peril. What would you do now, Roland Cheyne, Were ye Glenallan's EarU' " Ye maun ken, hinnies, that this Roland Cheyne, for as poor and auld as I sit in the chimney-neuk, was my forbear, and an awfu' man he was that day in the fight, but specially after the earl had fa'en ; for he blamed himsell for the counsel he gave, to fight before Mar came up wi' Mearns, and Aberdeen, and Angus." 192 APPENDIX I Her voice rose and became more animated as she recited the warlike counsel of her ancestor: '''Were I Glenallan's Earl this tide, And ye were Roland Cheyne, The spur should be in my horse's side, And the bridle upon his mane. " ' If they hae twenty thousand blades, And we twice ten times ten, Yet they hae but their tartan plaids, And we are mail-clad men. "*My horse shall ride through ranks sae rude, As through the moorland fern. Then ne'er let the gentle Norman blude Grow cauld for Hi^jhland kerne."' APPENDIX II SUMMARY OF DIFFERENCES BETWEEN SOUTHERN ENGLISH AND STANDARD SCOTTISH Vowels Southern English 1. diphthongizes long vowels o, e, i, u 2. uses u in book, etc., see § 160 3. uses 6 or ^ or even ae in words like fare 4. uses 9 in words like hot, see § 167 5. tends to lengthen and make tense the vowel 9 before ss, st, sp, th; f,ff or ph. Thus cross, lost, froth, soft, oft, may become krQis, iQist, etc. 6. uses 9 in words of the more class, see § 164 7. uses 9 in words of the board class, see § 163, and of the cord class, see § 168, thus cored, cord and cawed are perfect rhymes Scottish keeps long vowels pure still retains u long or short still retains e in this class, see § 133 uses o or o->- in this class, see § 166 has no such tendency but retains o in this class of words has o generally in this class, see § 164 still uses o in the board class. Hence cored, cor'd and cawed, koird, kord, k9:d are distinct words to the ear, see §§ 163, 168 13 194 APPENDIX II Southern English 8. uses a: (lowered) in (1) words \ikefur (2) „ „ fern (3) „ » fir Scottish uses a distinct vowel in the three classes, which is generally A in (1), §§151, 153 e in (2), §138 a in (3), § 181 still prefers a in these two classes, ^ee §§ 143, 148, 149 9. tends to use a (1) before s, f, 9, as in pass, raft, bath (2) in RoQiance words ending in a nasal + conso- nant, as France, command 10. uses ae in words of the man type, see § 142 11. advances or flattens a in stressed syllables, e.g. cut, abut 12. In Scottish generally tense vowels tend more to medium length than in Southern English. prefers a, see § 143 never advances or flattens A except in the case of some speakers before r; see § 179 Consonants Southern English 1. loses trill in final posi- tion and before a consonant. The trill is often replaced by the voiced point fricative in initial and medial posi- tion 2. replaces m by w, e.g. what, wot Scottish keeps the trill generally. In final position and before a consonant, the point fi:*ica- tive is also used, see §§83, 117 retains m, see §§ 88, 89 southern english and standard scottish 195 Southern English Scottish 3. uses tj commonly in retains tj in these cases, words like question, nature, at least in careful speech, etc., kwest/n, 'neit/a kwestjan, netjar, see §§ 121, 213 4. 8 has supplanted 9 in 9 still used in such words, certain words, e.g. loith, see § 105 though, thence, thither 5. shows a greater ten- retains h more generally, dency to drop h even in in careful speech. careful speech in words with minimum stress, as him, her, etc. The pronunciation of Standard Scottish may be briefly described as founded on a conservative form of eighteenth century English modified by three factors : The first of these factors was the sound basis of the old Scotch Standard Dialect (most closely akin to the present Lothian dialect of Scotland). The persistence of the tense vowel as in hull, etc., and in fair, etc., is one of the results that may be safely assigned to this cause. The second was the study of the early pronouncing dictionaries. These confirmed the Scottish reader in many of his pronunciations, e.g. oar, 'port, four, but corrected some others, e.g. in words like position he gave up i for I. The third factor is the influence of Southern English speakers within the last quarter of a century which has disturbed some of the older pronunciations, e.g. in words \i\e fare, four, feym, though, etc. 13—2 APPENDIX III POINTS TO BE REMEMBERED BY TEACHERS OF READING I. The clear enunciation of the vowels. The singing of the vowel sounds, first alone and then in conjunction with various consonants, is an excellent exercise for junior pupils. The omission of the vowel in a weakly stressed syllable is a very common fault in our Board schools, e.g. mi/nri for mi/anan, poplar for popjular, prnAn/eJn for pronAnsie/an. II. The distinct articulation of the consonants. Ex- amples of common errors under this head are, lil or even 11 for litl, 'faar or 'faPar for 'fai^ar, 'iAr for jiir. The sound drill which is involved in teaching reading on a phonetic basis will do much to eradicate mistakes under these two heads. III. The children have to be taught the correct sounds for individual words, i.e. the sounds that are sanctioned by the usage of educated speakers. Many of the sounds used by the children are dialect intrusions, e.g. kat for kat, 'fptSar for 'faitJar, f^t for fet For other examples see Chapters IV, V, VI, VII. Here again a phonetic training is of advantage as it enables the children to appreciate more readily differences in sounds. POINTS FOR TEACHERS OF READING 197 IV. Pupils must be trained to make the pauses correspond with the sense. This is sometimes shortly styled phrasing, and it implies an appreciation of the meaning of what is read on the part of the pupils (see §§ 189, 190). In public speech, it is one of the most important ways of conveying our meaning clearly to an audience. V. The emphasis, i.e. the stress, on words in the breath group must be so arranged as to bring out the sense. Little children emphasize all words equally in learning to read. The use of words already well known to the children in their early lessons and the constant association of sound and sense are the best preventives of monotonous reading. VI. The intonation should be as natural as possible. The reader should not merely understand what he is reading but be in sympathy also with the writer. The rise and fall of the voice will correspond to what the reader feels himself. Hence when there is not much feeling involved, the tone will be an intermediate one with comparatively small variations. By a vague demand for more expression, teachers often force their pupils — especially girls — to introduce compound intonations when neither sense nor taste requires them, e.g. a simple sentence such as " give me a pound of ham " when read in class will be uttered with rising and falling tones that would make it ludicrous in actual life — thus 'gxvmia'paundav'ham 198 APPENDIX III VII. The style of the reading is conditioned largely by the character of the subject-matter and to some extent also by the size of the audience. With a serious subject, the rate of movement is naturally slower, the tone lower and the pauses more frequent. With a large audience deliberation in speech and proper pausing are necessary to enable the hearers to follow the meaning. In such cases vowels in weakly stressed syllables are never crushed out and often are used with their original value, e.g. as, and, but More generally the impression on the ear is that of an intermediate vowel which, however, suggests the original quality, e.g. knowledge, beareth Extract A 2, torment Ext. A 3, etc. These intermediate vowels (see §§ 177, 182, 223) may be heard also in some words in Style B, e.g. innocent B 11, society and profounder B16, etc., and in occasional passages that demand greater sobriety or dignity, see Cornelia's Report B 12. Style A is very helpful in dictation lessons to younger classes as it suggests the spelling more directly than the others. In Style C the tendency is to reduce all weak vowels to a and in some cases to leave them out altogether, to drop initial h in all pronominal words and w in auxiliaries like will and would, and to tolerate easy assimilations. Some examples : ta for tu, an or n for and,'nonsns C 19, for 'nonsans, 'difrans for ^difarans C 20, d for had and 1 for will, sen mi for send mi C 20. For others consult Extracts 19 and 20 in C. INDEX TO WORDS REFERRED TO IN §§ 1—228 {The figures in brackets belong to the preceding figure) a, an 222 abbey 199 abdicate 202 absolute 159 absolutely 221 accord 168(1) ache 55 acknowledge 177 add 51 adorn 168(3) afford 163 (1) agreed 226 ahem 63 all 193 alone 123 anchor 71 and 222 anthem 213 apple 79 arise 38 arrange 82 arrive 32, 217 as 109, 222 ask 148(4) at ten 201 at them 49 audacious 225 (vii) audible 225 (vii) august 176 Augusta 176 authority 177 away 93 azure 115 baby 45 back door 202 bacon 213 bad 199 bad day 201 bald 228 (ii) ball 191 balm 148 (3), 225 (iii) Banff 64 bar 148(1), 225 (iii) barque 55 bashed 139 bath 148(4) battle 75, 149 (3) beat 127 beauty 120, 158 be easy 207 beer 30 beg 137 bell 142 bet 47 better 47 bigger 58 bird 181, 182, 188 blazed 110, 211 blessed 211 blest 110 blood 151 blue 157 boar 164 board 163 (1) boatswain 107 boil 170 bolt 204, 205 bon (Fr.) 185 book 160 boor 30 %ore 164 boreal 164 born 168(3) borne 163(5) bottle 204, 205 bower 207 box 55 200 INDEX boy 130, 170, 208 bread 137 bread and butter 53, 222 breath 103 breathe 103 brew 226 brewed 226 broad 166 broken 200 brooch 162 brood 226 brought 174 bull 160 buncle 73 bunt 204 burns 153 burrow 155 bury 137 bush 160 busy 129 but 38, 150, 225 (iii) button 204 cab 139 calf 97 call 228(1) callow 149 (3) calm 148(3) car 148(1) care 135, 140, 141 carnation 225 (vii) caste 47 casual 121 cat 2, 16, 26 (8), 55, 211 caught 173 ceiling 107, 127 cent (Fr.) 35 chair 112 chance 148 (5) character 55, 149(3) charge 148(2) chasm 65 chest 116 chew 116 chin 116 chirp 181 choir 93 chord 168(1) christen 107 Church 116, 179 churn 154 chutney 206 Cirencester 107 city 2, 132 Clapham 43 coarse 163 (4) coat 33, 37 cold 55 come 151, 152 comfort 214 command 148 (5) comport 163 (2) confer 138, 178 confusion 115 congress 71 conquer 55 cook 160 cool 157 cord 168 (1) core 164 cork 168(4) corn 168 (3) corps 163 corpse 163, 168 (8) corse 168 (8) cot 33, 213 cough 2 could 160 country 87 course 163(4), 213 court 163(2) courteous 163 (2) courtesy 163 (2) courtier 163(2) crabbed 52, 211 create 207 crew 157 Crimean 207 cry 145 cuirass 93 cup and saucer 65 cupboard 45 curry 180 cut 55 dahlia 134 damn 64 dance 148(5) debt 47 deport 163 (2) Derby 148(2) dinner 67 INDEX 201 discern 109 dissuade 93 divorce 163(4) does 151, 213 dog-kennel 201 dogs 211 door 164 doth 152 doubt 146 dough 162 drop 52 dual 158 duck 151 due 158 duke 123, 209 earth 178 earthen 103 ease 203 education 121 eh 134 eight 47 either 103 England 129 ere 135, 140 err 178 errand 180 ether 103 ewe 120 examine 58 except 55 exercise 177 eye 145 fact 202 fade 2, 30, 191 fair 32 falls 225 (vi) fan 100 farce 148 (2) farm 148 (2) fashion 116 fate 32, 37, 38, 133 father 147, 148(5), 217 fatigue 127 fault 225 (vi), 228 (ii) fear 100, 118 feather 103 fee 225 (vii) feed 126 feeing 225 (vii) feet 32, 126 fern 138, 178 feud 158, 226 feued 226 fever 127 few 158 find 2, 145 fine 100 finger 71 fir 181 fire 118 firm 181 first 181 fit 37 fix 2 flattened 52 floor 164 flower 207 folk 191 follow 79 food 30, 32, 38, 156 fool 156 foot 160(3) force 163(4) ford 163 (1) fore 164 forge 163(6) forget 177 fork 168 (4) form 168(2) fort 163(2) forth 163(3) fortification 163 fortify 163 forty 163(3), 164 four 118, 164 fourteen 163(2) fourth 163 (3) fowl 146 friend 137 fruit 157 full 156, 160 fun 97 fur 151, 154, 179 furrow 155 furry 155, 180 further 32, 103 furze 109 gale 134 gaol 134 202 INDEX garb 148(2) gate 225(1) gauge 134 genius 120 George 168(7) get 225 (1) ghost 58 gin 116 gird 181 girl 181, 213 give 129 glass 110 glaze 110 Gloucester 166 gluttony 206 gnaw 59, 67, 213 good 40 goose 225 (ii) gore 164 gorge 168(7) gorse 168(8) grandmother 53, 215 grant 148(5) great 134 greed 226 Grimthorpe 43 guest 58, 137 guide 145 guilt 129 gun 16, 26 (8), 58 hackney 200 half 148(3), 191 halve 148(3) halves 203 hammer 64, 149(3) handful 53 handkerchief 71 happen 149(3) happy 43 hard 148(2) harmonious 176 harmony 176 harp 148(2) harsh 148(2) has 222 hat 139 haunch 173 haunt 173 hawk 173 he 124, 225 (v) heads 203 heat 225 (1) heathen 213 heaven 68 hedge 116 heed 225 (1) height 145 heir 135 hell 131 hence 110 Henry 117, 139 hens 110 her 125, 222 hiccough 43 hid 225 (1) high 144, 147, 208 hill 131 him 26(9), 125 hint 228 (ii^ his 109, 110, 125, 222 hiss 110 historical 125 history 125 hit 225 (i) hitch 116 hoard 163 (1) hoarse 163(4) hoar(y) 164 hollow 223 holm 64 hood 160(3) hopeful 214 horde 51, 163 (1) horn 168(3) horsie 84 horseshoe 213 hot 166 hotel 125 hough 55, 166 • house 146 how 147, 208 hue 26(7), 122 huge 122 hull 131 humour 125 humpy 63 hungry 215 hurry 180, 155 hurt 151 I can't tell 69 INDEX 203 I don't know 69 import 163(2) indict 47 injudicious 218, 221 ink 71 is 211 it 125 Jack 139 jagged 51 jaundice 173 jaunt 173 jest 116 jew 116 judge 114, 116 judicious 218 keel 127 keg 55 key 127, 213 kiln 79 kin 55 kindness 53, 215 king 71, 129 knee 59, 67, 73, 213 knit 69 knock 213 knoll 191 knowledge 166 lack 55 ladle 75 lamb 64 land 74, 149 (2), 215 landlady 53 language 93 laogh 95 laud 30, 32, 173 launch 173 laundry 173 law 38 leap 34 leisure 137 length 72 lense 109 leopard 137 life 100 light 183 lip 34 listen 48 live 100 Llangollen 22 note 2 load 30, 32, 191 loath 225 (iv) loathe 225 (iv) loch 90, 94 long 26 (8), 215 longer 74, 215 lord 7, 168 (1) lot 39 loud 79 lower 207 lute 159 luxurious 58 magnificent 221 mallow 149(3) man 40, 64, 139, 142 mann (Ger.) 143 many 137 marrow 149 (3) Mary 133 mat 225 (ii) measure 115 meat 225 (ii) mere 127 merry 180 method 103 mezzotint 47 mile 145 mine 192 miracle 176, 182 miraculous 176 mirror 182 miss 107 mnemonics 67 mode 30 moment 176, 177 momentous 176 month 213 more 164 morn 168(3) moss 225 (ii) most 162 mourn 163 (5) muckle gvveed 78 must n't 48 mutton 68 muzzle 109 my 192 nation 113, 121, 191 204 INDEX nature 121 Nell 142 nephew 99 newt 192 next one 48 no 61 none 67 north 168(6) now 160 number 74 nymph 129, 214 oar 164 obey 134 obvious 214 occasion 115 ocean 113, 121 of 99, 222 often 48, 97 oil 170 once 93 one 93, 123 open 65, 200 opinion 72, 120 opportunity 217 orange 192 order 168(1) packed 47 paladin 149(3) parasol 149 (3) park 148 (2) parse 148 (2) pass 148(4), 197 pass the butter 61 path 103, 148(4) paths 103 patte (Fr.) 143 pearl 178 pebble 45 pen 142 pence 110 pens 110 people 127, 206 peril 180 peuple (Fr.) 22 note 2 pew 212 phlegm 64 phthisic 47 pin 129 pince 110 pins 110 pithy 103 pitted 211 pity 39, 128, 130 place 212 please 192 pleasure 26 (6), 192 plentiful 160 plough 2, 146 ply 198 pneumatic 67 pohte 177 pork 163(7) porous 164 port 163 (2) position 132 postman 48 pour 164 prance 107 prepare 223 pressure 113 presume 159 prism 65 psalm 107 pull 160 puny 129 pure 120 purse 84, 107 push 160 puss 160 put 160 quartz 107 queen 93 question 56, 94 quite 93, 214 rabbit 149 (3) racial 113 rack 149(1) ragged 52 rain 134 rap 149(1) rasp 148(4) rather 148 (5) ray 2, 134 reach 112 real 127 reason 109 receipt 47 record 168.(1) INDEX 205 red cart 202 reel 127 reign 67, 134 relief 127 remember 139 remorse 168(8) report 163(2) resort 168 (5) resource 163(4) respecting 204 restore 164 rice 183 ridden 68 rife 130, 183 rise 144, 183 rive 130, 183 road 39, 162, 226 robed 211 rod 165, 166, 225 (iv) rode 162 rood 226 roped 211 rot 225 (1) rote 225(1) rotten 200 rove 100 rowed 226 rude 82, 157, 226 rued 226 ruff 97, 100 rushed 47 sadder 51 said 137 sand 149 (2) sang 149(1) sang (Fr.) 35 sans (Fr.) 185 sapped 43 sapphire 97 sat 149 (1) Sauchieburn 94 saw 207 scarlet 225 (vii) scene 107, 228 (1) schism 107 schist 113 score 164 scorn 168(3) seal 110 seam 107 seated 211 see 192 seen 228(1) send 139 sergeant 148(2) serve 178 sew 162 she 213 shed 113 shoe 157 shone 166 shore 164 shorn 168(3) short 168(5) should 51, 160(3) show 26 (6) shroud 87 sieve 129 sigh 183, 184 sighed 184 sight 145, 183 sign 145, 228 (1) silk gown 201 sin 228 (1) sing 72 singer 71, 72 sink 110 sit down 48 sixth 103 small 63, 212 snore 164 snort 168(5) snuff 212 so 26 (5) soar 164 sodden 200 soldier 121 son 151 song 71 soot 160(3) sore 164 sort 168 (5) soul 162 sow 162 sparrow 149(3) speak 129 special 121 spirit 132 sport 163 (2) 206 INDEX stair 135, 140 star 149 (3) starry 149 (3) steak 2 steppe 43 stem 178 stood 160(3) store 164 stork 168(4) storm 168(2) story 164 stove 100 straight 134 strange 205 stuff 100 style 145 sugar 113, 121, 159 suit 159 support 163 (2) supreme 159 sure 121, 159 surely 159 sweet 212 sword 163 (1) swore 164 sworn 163(5) tar 148(1) tear 135 Thames 47 that 103, 222 thatch 103 that will do 93 the 103, 222 thee 26 (3) their 140 thence 105 there 103, 140 thin 25, 26 (3), 49, 103 thine 192 thither 105 though 2, 105 thought 2, 174 three 94 through 103 thy 192 tide 183 tie 183 tied 183 tight 183 to 160 toil 170 tore 164 torn 163 (5) torture 223 touch 151 tough 97 trill 49 truth 103, 157 truths 103 try 198, 212 tune 158 twelve 93, 99 two and six 53 umbrella 87 un (Ft.) 185 union 120 unknown 220 us 125 use (vb.) 158 use {sb.) 158 usual 121 vague 58 value 223 van 100 vaunt 173 veer 100 vein 134 verdict 178 very 99 view 158 vin (Fr.) 185 vine 100 vineyard 176, 177 virgin 181 virtue 181 vision 116 wag 214 wagen (Ger.) 95 wait 93 waited 47 waiter 82 walk 55, 173, 174 wall 173 want 166 war 148 (1), 173, 214 wart 148 (1) was 166, 214 watch 166, 214 INDEX 207 wax 214 we 26 (10), 225 (v) weigh 134 weight 2 wen 16 whale 89 what 91, 193 what'll Tom do 80 wheel 89 when 16, 26(10), 89 who 124 why 89 wife 184 will 93 wind 228 (ii) wine 186 with 105 withe 183 wither 103 wives 184 woe 162 wolf 160(4) woman 160(4) women 129 wood 160(3) wool 123, 160(3) Worcester 107 word 154 wore 164 work 151 worn 163(5) worsted 160(4) would 93, 160(3) wound 157 wring 82 writhe 183 wrought 93 Wyndham 51 yacht 47 yard 176 York 168(4) you 26(7), 225 (v) young 120 younger 71 young uns 123 zeal 110, 203 zinc 110 zone 26(5), 109 CAMBRIDGE : PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS 14 DAY USE 1 RETURN TO DESK FROM WHICH BORROWED LOAN DEPT. This book is due on the last date stamped below, or on the date to which renewed. Renewed books are subject to immediate recall. 3iMa.y6tDr REC'D LD JtJN 7 1961 JUL 19 1969571 gggHI]) Pi) JUM 1 R71-1PW77 \ Jm 2 2002 AUG y 2004 LD 21A-50m-12,'60 (B6221r10)476B General Library University of California Berkeley 300776 UNIVERSITY OF CAI.IFORNIA LIBRARY