THE 
 
 H O N A R T 
 
 RON 
 
 OR, 
 
 NATURAL SYSTEM OF THE SOUNDS OF SPEECH; 
 
 A TEST OF PRONUNCIATION FOR ALL LANGUAGES: 
 
 ALSO, 
 
 THE PHONARITHMON, AND THE PHONODION. 
 
 TO WHICH IS ADDED, 
 
 A PRACTICAL APPLICATION OF THE PHONARTHRON 
 TO ENGLISH AND FRENCH PRONUNCIATION; AND TO THE READING OF HEBREW, &c. 
 
 EY THE 
 
 REV. WILLIAM-HENRY HENSLOWE, M.A. 
 
 rERPETCAL CURATE OF WORMEGAV, NEAR I.YNN, NORFOLK; 
 
 FORMERLY OF JESUS COLLEGE, CAMBRIDGE; 
 
 AND AUTHOR OF SERMONS ADDRESSED TO THE ROYAL REGLMENT OF ARTILLERY, 
 
 IN THE BARRACK CHAPEL AT WOOLWICH. 
 
 " All difficulties are but easy when they are known." — Sii akspeare, Measure for Measure, Act iv. Sc. ii. 
 
 " Arbitrary and antic variety is not the thin.u we admire, but variety obeying a rule, conducing to an etTect , 
 and commensurate with exigencies infinitely diversified." — Palev, Natural Tlieolngy, Chap. ix. 
 
 " The whole earth was of one language and of one speech." — Mosts, Genesis, Chap. xi. 
 
 LONDON: 
 
 PUBLISHED BY J. G. F. & J. RIVTNGTON, 
 
 ST. Paul's church yard, ANr) waif.rloo pr.Acr., i'\ll mall 
 1840.
 
 LONDON : 
 GlI.r.KUT \- KIVINGTON, rRINTF.US, 
 
 ST. John's s?quahf.
 
 TO HER ROYAL HIGHNESS 
 
 PRINCESS SOPHIA-MATILDA OF GLOUCESTER, 
 
 THIS INVENTION IS INSCRIBED, 
 
 BY 
 
 HER ROYAL HIGHNESS S 
 
 GRATEFUL 
 
 AND 
 
 DUTIFULLY ATTACHED GODSON, 
 
 THE AUTHOR. 
 
 A 2 
 
 2031045
 
 ADVERTISEMENT. 
 
 THE ENSUING THEORY CALLED 
 
 PHONARTHRON, 
 
 WAS FIRST 
 
 Imagined 
 Completed . 
 Prepared for Press 
 Revised 
 Published 
 
 A. D. 1S21. 
 A. D. 18-27. 
 A. D. 1829. 
 A. D. 1838. 
 A. D. 1840. 
 
 =:In the years 1821, 1822, this invention was encouraged by the com- 
 mendation of the author's preceptor at that time, the Rev. Henry 
 Gauntlett, Vicar of Olney, in Buckinghamshire. In the years 1826, 
 1827, it was further approved by the Rev. Samuel Lee, Professor of 
 Arabic in the University of Cambridge, who kindly suggested that it 
 might be printed by the University press. In the years 1829 and 1840 
 it was accordingly twice tendered to some influential members of that 
 body for that purpose, but they declined. The patronage of a distin- 
 guished Prelate was also solicited in 1829, who, however, severely 
 reprehended the author's temerity, and subsequently became extremely 
 hostile to him. These and other t^z^couragements, added to an extreme 
 diffidence occasioned by them, have thus long retarded a publication, 
 which, it is still imagined, xuill he useful to the world. A conviction of 
 this fact, and a sense of that personal accountability for time and talent, 
 which is imposed upon every human being, must now plead the author's 
 excuse to all those who disapprove his undertaking. The paucity of 
 subscribers' names, in comparison with the number of applications made, 
 is an additional check : nevertheless, after the lapse of so many years, 
 he has determined to persevere.
 
 Vi ADVEKTISEMENT. 
 
 'I'lio I'ollowiiig extracts of coirospoiulence on the subject will show 
 the opinions of a few : — 
 
 1. From a senior and successful relation. " 14th February, 1840. 
 " My dear VV^illiain-Henry, — You have ever found me plain spoken, 
 
 and have occasionally, I believe, thought me too much so. I cannot 
 help thinking you very unwise to try your hand in the projected work 
 after the losses and disappointments you have experienced. I cannot 
 understand what you propose to yourself. If I had seen the advertise- 
 ment ' without your name, I should have laughed at it, and fancied it 
 was some quackery or rhodomontade ; but, as I am sure you are in 
 earnest, I can only suppose that you are under some error of judgment 
 respecting the utility of a work, which, if it means any tiling^ would 
 require the thoughts and extensive experience of great learning and 
 ability. Do then, think twice before you leap. I can assure you that 
 I have far too many uses for a stray guinea, to throw it away upon 
 a work, which, I feel confident, will not be of the slightest use to 
 myself, or any of my children." 
 
 2. From a member of St. John's College. 
 
 " Cambridge, Thursday, Feb. 13, 1840. 
 " My dear Henslowe, — Certainly 1 will subscribe for your work, 
 being anxious to get a notion of how you will treat a subject which I 
 apprehend to be one of the most extreme difficulty." 
 
 3. From a member of Downing College. 
 
 "Cambridge, Thursday, Feb. 13, 1840. 
 " My dear Sir, — I am very happy to insert my name on the list of 
 subscribers to your new work. Its subject is one of those common 
 and open to all, on which men are in general satisfied with their own 
 
 ' Not "advertisement," hut prospectus.
 
 ADVERTISEMENT. Vll 
 
 vague notions and experiences, and are not inclined to philosophize 
 themselves, but to be hypercritical of those who make the attempt." 
 
 4. From a Bishop. "25th March, 1840. 
 
 " Reverend Sir, — My rule is not to subscribe to publications ; for the 
 solicitations to a Bishop are endless; but your design is original and 
 important, and I beg leave to give my name as a subscriber." 
 
 5. From a Lady. «5th March, 1840. 
 
 " P. S. As an Elocutionist and French Translatress, I must con- 
 trive to see the Phonarthron, which, I imagine, must prove of the 
 hiffhest utility to all linguists." 
 
 6. From a correspondent of the author's mother. 
 
 " Cossey, Norwich, 3rd October, 1829. 
 " My dear Madam, — I am much obliged by your sending me the 
 prospectus of your son's projected work. It is upon a subject of 
 the utmost importance to Rhetorical science ; and if he achieve any- 
 thing approaching to fixing a standard, by which the inappreciable 
 sounds of speech can be examined, he will have done an immense 
 service to every species of Oratory. I beg him to place my name upon 
 the list of subscribers." 
 
 7. From another. " London, 6th July, 1840. 
 
 " Dear Madam, — I beg to be permitted to add my name to your 
 son's list of subscribers. I am glad he has made up his mind to publish 
 by subscription, as the safest way for his pocket ; for his subject, 
 though highly ingenious, might not interest the many, who are too 
 fond of light reading, such as novels, or worse trash still provided by 
 Boz and Co."
 
 ADVEmjSHMF.NT, 
 
 8. From another, lately M. P. " London, 20111 May, 1840. 
 
 " When vour son was in town, I begged him to put my name down 
 as a subscriber to his book. I wish I could procure him as many sub- 
 scribers as may be required to make it a source of profit." 
 
 9. From another. 
 
 "Much Hadham, near Ware, Herts. 2nd Aug. 1840. 
 " Madam, — I shall be glad if you will order your son's work, called 
 the Phonarthron, to be sent to me when published. It is on a subject 
 (the Philosophy of Language), which has long been a favourite pursuit 
 of my own leisure. Should Mr. Henslowe's invention answer his ex- 
 pectations, it would no doubt tend to banish some of that empiricism, 
 which has more or less clogged every science, and none perhaps more 
 than the science of language." 
 
 rzThe following is extracted from a little Pamphlet, entitled " Phone- 
 graphy, or Writing of Sounds." V. D. S. London. Effingham Wilson, 
 1839. 
 
 "The Greek language is now no more, and its letters arc almost 
 forgotten. The Roman letters, adopted by most European nations to 
 write their languages, might have suited the Latins two thousand years 
 ago; but with regard to our own present sounds S they are so deficient 
 and ill-contrived, that }io human train can account for their numerous 
 and contradictory acceptation : not only amongst various nations who 
 have adopted them, but in the same language, and even in the same 
 word (as so happily exemplified in those fascinating spelling-books, 
 with which we open the understanding of our children). So far is the 
 writing of sounds gone from its primitive simplicity." 
 
 = The Phonarthrok may be considered as setting forth an L'xi- 
 
 > Xot "sounds,' but Utters. — \V. H. H.
 
 ADVERTISEMKNT. 
 
 VERSAL Alphabet, because it is available for all the purposes of an 
 Universal Alphabet : but it is also much more than this ; it exhibits 
 
 I. The natural totality, or definite number of the simple sounds of 
 speech, never before defined. 
 
 II. The natural arrangement, precise order, system, or relation co- 
 existing between the sounds of speech. 
 
 III. The natural rules, laws, or causes, whereby they multiply and 
 vary. 
 
 IV. The practical utility of a knowledge of these particulars, with 
 reference to the pronunciation and orthography of every language. 
 
 V. The like utility with reference to the Phonodion (i. e. Song- 
 Sound), or the Elements of Music. 
 
 VI. And finally — the like utility, with reference to the Phon- 
 AHiTHMON (i. e. Arithmetical Nomenclature), or the Universal Names 
 of Numbers. 
 
 \J 
 
 - 
 
 KJ 
 
 - 
 
 ' \y 
 
 - 
 
 v^ 
 
 - 
 
 v^ 
 
 — 
 
 \ 
 
 m 
 
 f 
 
 • 
 
 f 
 
 • 
 
 f 
 
 • 
 
 f 
 
 • 
 
 Go forth, my Book ! 
 Go phirth, mi Buc ! 
 
 The friend - ly Fo - 
 Dhi phrend- li Plirrr ■ 
 
 dry rot : — 
 drai rn-t : — 
 
 And, though a pre - 
 'And, dho a prez - 
 
 Thou shalt be scru - 
 Dhau shdlt bi scru - 
 
 un - born ! 
 ».n - b/rn ! 
 
 If Eng 
 'Iph 'Iri 
 
 reign-er 
 en - a- 
 
 land hail thee not, 
 
 gland hel dhi ntrt, 
 
 will save thee from 
 
 vil sebh dhi phro-m 
 
 sent Age 
 
 thy 
 
 au - 
 
 thor 
 
 scorn 
 
 ent Edzh 
 
 dhai 
 
 nr 
 
 tha. 
 
 sca-n. 
 
 ti - niz'd 
 
 by 
 
 Be- 
 
 ings 
 
 yet 
 
 ti - naizd 
 
 bai 
 
 Bi - 
 
 irjz 
 
 jet 
 
 l^cnslotoe.
 
 Go forth, my Book ! — if England hail thee not. 
 The friendly Foreignei will sav^e thee from dry rot : 
 And though a present Age thy author scorn. 
 Thou shalt be scrutinized by Beings yet unborn ! 
 
 f^enslotDc.
 
 ERRATA. 
 
 Page 16, line 6, for yrete read grele 
 — 84, — 18, — suph-ju — sa-ph-ju
 
 INDEX OF CONTENTS. 
 
 THE PHONARTHRON, OR NATURAL SYSTEM OF THE SOUNDS OF 
 
 SPEECH. 
 
 PAGE 
 
 The Phonarthron Symbol, &c 1 
 
 Explanation of the Phonarthron Symbol, &c 3 
 
 The Phonarthron Tablet in the Alphabetic Character ....... ^ 7 
 
 Explanation of the Phonarthron Tablet 9 
 
 The Anglicised Latin Terms, used in the Tablet, explained by their derivations . 13 
 Examples and Explanations of all the (Seventy-two) particular Speech-sounds, in 
 
 Four Tables 15 
 
 Application of the Phonarthron Test to the Hebrew, Greek, and Latin Alphabets 24 
 Notions and Definitions relating to the Sounds of Speech 25 
 
 THE PHONARITHMON, OR UNIVERSAL NAMES OF NUMBERS. 
 
 The Phonarithmon, or Universal Names of Numbers , 33 
 
 An Imaginary Analysis of the Numeral Figures 35 
 
 THE PHONODION, OR ELEMENTS OF MUSIC. 
 
 Advertisement 39 
 
 The Music-Coil, &c 41 
 
 On the Names of the Musical Tones 43 
 
 On Music, Melody, and Harmony 45 
 
 On the Notation of Music , 49 
 
 The Phonodion New Method of Notation, &c 50 
 
 The Phonodion Piano-Forte, and the common Piano-Forte Keyboards, compared 51 
 The Phonodion New Method of Notation, and the common or present method, 
 
 compared 53 
 
 The Royal Anthem in the Phonodion, and in the common, style of Music, com- 
 pared 54 
 
 A Melody for the Phonodion-Harmonicon 66
 
 I. 
 
 THE 
 
 PHON ARTHRON 
 
 SYMBOL, &c. 
 
 PHONARTHRON OR SR££CN-SOi//VO 
 /S 
 
 r 
 
 r\ 
 
 — 
 
 r\ 
 
 n 
 
 
 n 
 
 4ir 
 
 O 
 
 
 
 V A. 
 
 V 
 
 
 £SS£^r//iL 
 
 SUBSTA/vr/AL 
 
 
 SUPERF/C/AL 
 
 7\;i-|rfc 
 
 
 
 -< 
 
 -H 
 
 
 Uy^ O 
 
 
 H ^ X 
 
 r^rc u 
 
 ->^ XI uu 
 
 PULMOAAL 
 
 OPAL 
 
 JTicSf J^ixfhittn St'mb'.cic Charaxitrj repru^cMt (Aa. no7>^f^j' e^j'jn^Ti/xrjy ■soi'.n^^s 
 9f jp€€/:A . n-7uch art a/^so dctn£fmi/x<i hf tAe rn^rc rrT^fuhy!,- arin^trtirf €7uiTa£Cciv 
 
 THE ROMA/V ALPHAa£r/C CRARACT£R. 
 
 A|l 
 
 il 
 
 E R 
 
 O 
 
 I 
 
 L 
 
 U 
 
 H 
 
 >' 
 
 M 
 
 c 
 
 T 
 
 P 
 
 J 
 
 s 
 
 V 
 
 rH£ /TAL/C ALPMABET/C CMARACTER. 
 
 A 
 
 3 
 
 JJ 
 
 £ 
 
 R 
 
 O 
 
 I 
 
 Z 
 
 IT 
 
 '^ 
 
 jr 
 
 Jf 
 
 C 
 
 T 
 
 r 
 
 J^ 
 
 s 
 
 r 
 
 ITir ^IpTtoJ^et ictn^ oUAczervt. tn jiaru.U^tas. or cAarttxtrnf, jvr 6hrcc of (Jve 
 
 J". <,/2 . JS. n^-icA eu-e a'S-sumZalxef^ «^ rvtarfy eu joojn&lt- Co bk^ s^^ (»-Jccnd.af 
 c?La.rei4:ter.s tt;m-on^jC trh'r.^ Ck^ arc pZcuiC<i .
 
 11. 
 
 EXPLANATION OF THE PHONARTHRON, SYMBOL, 
 
 &c. 
 
 = The word " Phonarthron" is a compound derivative of the two Greek 
 words fp(x)vr] and ApOpov. 
 
 ^wi'ij signifies in Latin — vox, sonus, verbum, dictum ; and in Eng- 
 lish-^a voice, sound, noise, a word, an utterance. 
 
 Apdpov signifies in Latin — artus, articulus, articulus vocis ; and in 
 English — a limb or joint, an article, a speech-utterance : whence the 
 verb ApBpod), which signifies, in Latin, fingo, formo, articulo; and, in 
 English, to fix or fit, to shape, to articulate. 
 
 By the word " Phonarthron," therefore, is to be understood " speech- 
 sound ;" that IS, generally, the doctrine or knowledge of the rudiments 
 of articulate speech ; and, specifically, the definite system of the sounds 
 of speech, as represented summarily by the Symbol and symbolic cha- 
 racters, and largely by the Phonarthron Tablet, hereafter following. 
 
 Note. That the Symbol of Nine (or Eighteen) is a summary of the 
 tablet of seventy-two (or 9 x 2 x 2 x t2 =: 72) ; and that the tablet is 
 an expansion, or explication of the symbol. 
 
 = The Phonarthron " Symbol" contains the nine geometric eleinents of 
 form, shape, or figure ; namely,
 
 4 EXPLANATION OF THE PHONARTHRON, SYMBOL, &C. 
 
 (1.) The tliree general varieties of the angle, which are usually 
 distinguished as obtuse, right, and acute angles. 
 
 (2.) The three general varieties of a straight line progression, 
 which are rectilinear, curvilinear, and angular. And, 
 
 (3.) The three general varieties of the curve, which are all together 
 illustrated and combined in the superficies of a solid oval, or figure of 
 an egg. 
 
 Now these nine elements of form, shape, or figure, of material bodies, 
 represent severally the nine elementary formations and articulations of 
 the organs of human speech : 
 
 (1.) The three varieties of the angle represent three corresponding 
 formations and articulations of the palate. 
 
 (2.) The three varieties of a straight line progression represent 
 three corresponding formations and articulations of the tongue. And, 
 
 (3.) The three varieties of the curve represent three corresponding 
 formations and articulations proper to the lip. So that the angle, 
 the straight line, and the curve, represent respectively those three 
 organs of speech, the palate, the tongue, and the lip ; and the 
 angular, linear, and curvilinear varieties of form, shape, or figure, 
 represent respectively the palatal, lingual, and labial varieties of the 
 elementary sounds of speech. It is also to be noted, that these 
 elements of form (or the symbolic characters) represent tlie elements 
 of speech, not arbitrarily, but imitatively, or by analogy; being that, 
 the elements of speech are effected or performed by the organs of speecli 
 previously assuming or performing the elementary shapes, in order to 
 produce the sounds. 
 
 = The sound of bodies is an intimation of their essence,- which essence 
 comprises both a surface and a substance ' .- so that, if any material body 
 (or bodies) be struck, there ensues a double result in sound ; namely, 
 
 • " The earth was witliout form, and void" [See Moses, Gen. ch. i. vev. 2] : that is, had
 
 EXPI,ANATION OF THE PHONARTHRON, SYMBOI., &C. 5 
 
 that of the external superficial contact, and that of the internal sub- 
 stantial vibration. 
 
 The case is parallel in human speech *, which is a faculty in man 
 imitative of the outward originals in nature concerning which he dis- 
 courses; so that the nine elementary characters in the Phonarthron 
 Symbol represent at once this twofold fact of ^wJstantial and siiperf\c\d\. 
 sound ; and so, that there are, in reality, eighteen distinct original 
 utterances ; to wit, nine and nine of either kind, which therefore are 
 accordingly distinguished by their respective denominations, and by 
 their respective characters beneath the Symbol, the comprehensive 
 Symbol of Nine. 
 
 The sounds of speech which correspond, or compare, with the super- 
 ficial contact of bodies, are those which originate in the mouth, and 
 are thence called orals ; and the sounds of speech which correspond, 
 or compare, with the substantial vibration of bodies, originate in the 
 LUNGS, and are therefore called pulmonals \ 
 
 neither shapeful surface, nor material substance, until the generating Spirit of the Deity 
 brooded his mighty project of creation in the stillness and darkness of nothing. 
 
 ' " A consonant cannot be sounded without a vowel." — See the Eton Latin Grammar, 
 page 1. 
 
 B 2
 
 m. 
 
 THE PHONARTHRON TABLET 
 
 /'C/LMOA'/ILS. 
 
 
 
 ORALS. 
 
 
 /^/y^/Y// I.i/i(ftw7 \Z<iiial 
 
 
 Fa/a7o7 
 
 Zj/'/ff/n7 Xc7i7^/7 
 
 '■ 
 
 4 ' - ' -I 
 
 jyfofor 
 
 ^ . 3} 
 
 jy . ro 1 Jf. TTh 
 
 
 £ . c J? . r O . o 
 
 Jfcdia/x 
 
 C . r 
 
 r . 7- \ I" . p 
 
 
 I . r Z . 7 r . U 
 
 Jfi./ir>r 
 
 ■r ■ .7 
 
 .y . .V \r . V 
 
 
 
 PULAfO/VALS . 
 
 
 O/fALS 
 
 
 
 Tc7-i -Tnljno?ia7<< 
 
 . c^nl^iTfnofiaL'i 
 
 Znlnum. Orals 
 
 Ten - 07'a.l.s. \ 
 
 Fa7.. 
 
 ZlTl. 
 
 Lob. 
 
 Fal. \ ZiTi : Xa7> 
 
 Pal . \ ZtfL 
 
 Zivb. 
 
 roJi. 
 
 Zin. 
 
 ZaZ>. 
 
 A. a. 
 
 J. ^ 
 
 n rr 
 
 A. d\ a. i-JX.o- 
 
 Ji i) jy'. ?i Ofni 
 
 t^. TJ 3^.71 
 
 Jfnl 
 
 i:.e 
 
 JT.r 
 
 0. 
 
 E.c\r.t\ 0. 
 
 a.g D.dAB.h 
 
 C.c T. I 
 
 P.p 
 
 T. i 
 
 Z.l 
 
 r.u 
 
 \l. i-\L. I'Tri 
 
 J.J Z.AKv 
 
 j.As.s 
 
 rr 
 
 3 
 
 SOf^ALS . 
 
 
 
 
 yOCALS. 1 
 
 /CTALS 
 
 
 
 
 I 
 
 A. a. 
 £. e 
 I. ^ 
 
 3. 9- 
 R. r 
 Z.l 
 
 J2.0- 
 O. o 
 
 Ad 
 
 ■J. si-\-yi ...r 
 
 It.r O. 6 
 
 z.. I \ r. d 
 
 
 A-.iv 
 J).ct 
 Z. X 
 
 Jf.7H 
 
 B.b 
 
 e3 .y' 
 
 C. c 
 
 J'.ri 
 T. t 
 
 S'.s 
 
 r. r 
 
 
 Fcrt I^^Z77i07i/i7j 
 
 (?ri -ZtiI/ho/iclJ.^^ \ 
 
 J^uZ77i<??i - Ora7,i 
 
 r^rC - OraZ-s 
 
 
 ^7v 
 rh. 
 
 ^7l 
 oTi . 
 
 eJv 
 
 'A 
 
 9-fv d-Ti, 
 7^ oTv 
 7A ' uA 
 
 ^Tly riA. 7?t/ty 
 
 ffTiy cTJty dTv 
 M.Tv zA ' v7> 
 
 c7t t/t^ 
 
 rrvTc 
 
 c« 
 
 
 77 
 
 /IL7n 
 
 <ILS. 
 
 SP7/?7r/1, 
 
 LS. 
 
 
 
 SU/iALS.
 
 TV. 
 
 EXPLANATION OF THE PHONARTHRON TABLET 
 
 [first division.] 
 
 L There are two primary means, or organs of speech, namely, the 
 LUNGS and the mouth ; whence the utterances originating in each are 
 respectively called pulmonal and oral, and correspond with the usual 
 but inadequate and indeterminate denominations vowel and con- 
 sonant. 
 
 2. There are three absolutely necessary, and only necessarily nomi- 
 nal organs contained in the mouth, which both generate the orals, and 
 modulate the pulmonals, namely, the palate, the tongue, and the 
 lip; whence the several enunciations proper to each are called ^^aZa^a/, 
 lingual, labial. The natural coadjutor of the palate is the thick or 
 throatvfSixA part of the tongue; the natural coadjutor of the tongue is 
 the ^ee^Award or fore part of the palate; and the natural coadjutor of 
 the lip is the other lip. Hence the terms guttural, dental, nasal, &c. 
 which terms are often mentioned by grammarians and philologists, are 
 improper and incorrect, if used to designate original and natural 
 sounds, there being none such ; but only the original sounds (palatal, 
 lingual, labial) may be affected, and the natural sounds (p. 1. 1.) may be 
 imitated, by the parts adjacent to the specific organs : thus, the lingual 
 R. r. is imitated in the French Parisian dialect by the uvida, and the 
 Parisian French are therefore said grasseyer, parlcr gras, that is, " to
 
 10 
 
 EXPLANATION OK THE PHONAKTHRON TABLET. 
 
 speak thick." And thus also the final N. n. and M. lu., in French, 
 are affected nasally, or by the nose. And thus further, the labial F, f. 
 {i. e. Ph. ph. in the Phonarthron Tablet), which is truly and naturally 
 enounced by the modern Greeks, is affected and partially imitated by 
 the teetli, in the generality of European languages. 
 
 3. Each of the three oral organs (palate, tongue, lip) modulates and 
 generates its several utterances by a graduated scale of three degrees 
 oral, and three degrees pulmoiial ; or of six degrees seriatim, from the 
 extreme pulmonal to the extreme oral : thus — 
 
 1 
 
 •2 
 
 ^ 
 
 . . 4 
 
 5 . 
 
 6 
 
 
 
 
 
 A 
 
 E 
 R 
 
 
 T 
 
 J 
 
 C 
 
 T . 
 P . 
 
 .3 
 
 M 
 
 1 
 
 3 
 
 L 
 
 S 
 
 1 J2 
 
 t: 
 
 /' 
 
 1 
 
 
 
 6 
 
 b 
 
 4 
 
 3 
 
 . -2 
 
 1 
 
 which degrees are therefore called major, mediate, and minor, because 
 each of the two kinds, or primary powers (pulmonal and oral) of 
 speech-sound expresses 7}iore of its own proper character in the }naJor 
 degree, and less in the minor degree, than in the mediate or middle 
 degree. This is, in a manner, represented in tlie circular portion of 
 the first division of the Phonarthron Tablet, w here the respective major 
 degrees occupy the outer circle, the minor degrees the inner circle, and 
 the mediate degrees the middle circle. 
 
 [second division.] 
 
 1. By a generally reciprocal influence of the pulmSnal and oral 
 powers upon the utterances of each other, there results a new (double)
 
 EXPLANATION OF THE PHONARTHRON TABLET. 
 
 11 
 
 set of sounds, thus varying from their originals, and as specified by 
 their names in the second division of the tablet : thus — 
 
 The veri-pulmonals are the natural, original, most perfect pul- 
 monals. 
 
 The ori-pulmonals are contracted or acuted by the oral power. 
 
 The veri-orals are the natural, simple, most pure orals. And, 
 
 The pidmon-orals are affected or imbued with pulmonal sound. 
 
 Note. That the veri-pulmonal and ori-pulmonal varieties have been 
 usually distinguished as " vowels" grave and acute ; and that the veri- 
 oral and pulmon-oral varieties have been usually distinguished as 
 *' consonants" pure and impure. 
 
 2. The degree, or extent of the reciprocal influence is indefinite, 
 and not always equally discernible ; on which account, although they 
 are sufficiently distinguished by the marks (' and ') placed over letters; 
 yet, in order to determine accurately the comparative variations of dif- 
 ferent mouths, dialects, and languages, such compounds of them as the 
 following may be used. 
 
 Veri- Pulmonal ir Grave. 
 Pulmon-Oral = Impure. 
 
 Veri-Oral = Pure. 
 Ori-Pulm5nal =: Acute. 
 
 More Grave, 
 
 or 
 
 More Impure. 
 
 Grave, 
 
 or 
 Impure. 
 
 Less Grave, 
 
 or 
 Less Impure. 
 
 Less Pure, 
 
 or 
 Less Acute. 
 
 Pure, 
 
 or 
 Acute. 
 
 More Pure 
 
 or 
 
 More Acute. 
 
 V^ 
 
 ^ 
 
 Vi 
 
 l^ 
 
 ^ 
 
 X 
 
 Note. That the French make three or four distinct sounds of E. e., 
 independently of the e muet, or mute (which is *, or s-h, or ' ) ; namely, 
 the eferme, the e ouvert, the e tres-ouvert (and the e moyen?). 
 
 Note. That such letters as the alphabet aifords (g. d. b. z.) to denote 
 the reciprocal influence, are inserted in the tablet, instead of the punc- 
 tual signs or marks being placed over the original letters (c. t. p. s.), as
 
 1-2 F.XPLANATION OF THE PHONARTHRON TABLET. 
 
 is necessarily the case with those sounds which have no such dis- 
 tinguishing alphabetic letters. 
 
 [third division.] 
 
 Each of the two primary means, or organs of speech, hath two pecu- 
 liar properties or powers ; namely, those of the lungs, voice and breath ; 
 and those of the mouth, articulation and conjiguration .- hence — 
 
 1 . The several modulations of the voice are called Vocals, 
 
 2. The several modulations of the breath are called Halitals, 
 
 3. The characteristic articulations are called Ictals, 
 
 4. The characteristic configurations are called Spiritals, 
 
 Pulmonals-Sonal. 
 Pulmonals-Sural. 
 Orals-Sonal. 
 Orals-Sural. 
 
 Note. That when a person ichispers, the vocals become halitals. 
 
 Note, also, That the spiritals are what have been usually called 
 aspirates, or aspirated consonants. 
 
 Note, further, That although the halitals and spiritals (that is, the 
 tvhisperings and aspirates) are represented in the Phonarthron Tablet 
 by adding the letter H. h. to each of the corresponding vocal and ictal 
 [that is, sonal] letteis; it is not because [or therefore] the halitals and 
 spiritals [that is, surals] are not themselves really simple and single 
 sounds, but only because it is more convenient and agreeable to the 
 old practice of denoting the spiritals, albeit under the mistaken notion 
 of their being aspirated consonants, or sounds compounded of sonal 
 consonants and the particular spirital H. h., which indeed is not the 
 case.
 
 13 
 
 THE ANGLICISED LATIN TERMS, 
 
 USED IN THE PHONARTHRON TABLET, EXPLAINED BY THEIR 
 DERIVATIONS. 
 
 Anglicised Names. 
 
 Latin Words. 
 
 English Meanings. 
 
 Pulmonal 
 
 Pulmo-nes 
 
 The lungs 
 
 Oral 
 
 Os, Oris 
 
 The mouth 
 
 Palatal 
 
 Palatus 
 
 The palate 
 
 Lingual 
 
 Lingua 
 
 The tongue 
 
 Labial 
 
 Labium 
 
 The lip 
 
 Major 
 
 Major 
 
 The greater 
 
 Mediate 
 
 Medius 
 
 The middle 
 
 Minor 
 
 Minor 
 
 The less 
 
 Vocal, or 
 
 Voco 
 
 I call 
 
 Vowel 
 
 Vox 
 
 The voice 
 
 Halal, or 
 
 Halo 
 
 I breathe 
 
 Halital 
 
 Halitus 
 
 The breath 
 
 Ictal, or 
 
 Ico 
 
 I strike 
 
 Consonant 
 
 Ictus 
 
 A stroke, or blow 
 
 Spirital, or 
 
 Spiro 
 
 I blow 
 
 Aspirate 
 
 Spiritus 
 
 A blast, or wind 
 
 Sonal, or 
 
 Sono 
 
 I sound, or ring 
 
 Sonant 
 
 Sonus 
 
 A sound, or noise 
 
 Sural, or 
 
 Susurro 
 
 I whisper, speak softly 
 
 Susurral 
 
 Susurrus 
 
 A still soft noise 
 
 Veri- 
 
 Verus 
 
 Very, real, true.
 
 EXAMPLES AND EXPLANATIONS 
 
 THE (SEVENTY-TWO) PARTICULAR SPEECH-SOUNDS, 
 
 FOUR TABLES. 
 
 c2
 
 16 
 
 EXAMPLES AND 
 
 FIRST 
 
 TJie Vocals, or 
 
 VERI-PLLMUXAL. 
 
 A 
 
 (1) 
 
 ' a 1 = fl, in English, bar, path, fa-ther 
 := a, in French, has, part, ca-hle 
 
 
 E t := e, in Enj^lish, pear, great, iceight 
 =. e, in French, pere, grtte,ftte 
 j = n, He, in Hebrew ; H, ij, Eta, in Greek 
 
 / 
 
 i = i, in English, ^r/e^ T/jiVn, shield 
 =r 2, in French, crime, gife, cerise 
 
 
 3 
 
 a- =. or, in English, urord. zz ur, in murder 
 = (cw, in French, coeur. z=. eii, in creuse 
 ■=. er, in English, herd, servant 
 
 B 
 
 (2) 
 
 r = r, in English, drum, grey, ogre 
 ■=. r, in French, hrun, groupe, ordre 
 
 
 (2) 
 
 I = /, in English, blood, glade, Bible 
 =. I, in French, blo7id, gland, Bible 
 
 
 Jl 
 
 a = a, in English, icard, ball, fall 
 = 0, in French, mort, corps, voix 
 zz 0, in English, more, core, lore 
 
 
 
 6 =: 0, in English, hope, rose, gold 
 =. 0, in French, tome, rose, rosier 
 =. Q, to, Omega, in Greek 
 
 V ii = ?/, in English, truth, plume, J^ute 
 
 = <*?/, in French, rouler, croute, pelouse 
 
 (3) = ^, J'an, in Hebrew. ■=. s, in Greek 
 
 (1) When the sign := is thus elongated towrards the capital letter, it intimates that 
 acute ( ' )i or pure : that is, between the Veri-Pulmonal and Ori-Pulmona] sounds, or between 
 Tablet, Second Division. 
 
 (2) Neither the English nor French pronounce the R. r. final, nor do the French 
 them both as halitals ; and the English pronounce * instead of r .- thus — 
 
 The several f^^'^^^""^ 1 Hn English, 
 
 < ordre, centre, > are reallv and usually pronounced, < in French, 
 
 examples ) ( • • *^ ] 
 
 L Bible, boucle, J L in French,
 
 EXPLANATIONS. 
 
 TABLE. 
 
 PulmOnals-Sonal. 
 
 17 
 
 E 
 
 R 
 
 Jl 
 
 O 
 
 U 
 
 OIU-PULMONAL. 
 
 =: a, in English, bat/, barrel, happy 
 "=■ «, in French, bague, baril, ami. 
 
 e, in English, net, debt, iveb 
 e, in French, nette, dette, messe 
 E, £, Epsilon, in Greek. 
 
 i, in English, link, risk, bliss 
 i, in French, lien, registre, ami. 
 
 0, in English, love. = u, in cup 
 en, in French, y^H. =: u, in parfum 
 e, in French, je, me, le, se, te, &c. 
 
 r, in English, trim, prince, ochre 
 r, in French, j9re, creme, centre. 
 
 := I, in English, plum, clay, purple 
 = /, in French, plan, clef, boucle. 
 
 :=. a, in English, ivan, watch, swan 
 =: a, in French, banc, sang, plan 
 ■=. 0, in English, dog,Jlock, top. 
 
 ■=. 0, in English, obey, Deuteronomy 
 zz 0, in French, somme, notte, noble 
 r= O, o, Omicron, in Greek. 
 
 zz li, in English, ^i</Z, pully, bushy 
 ^ OM, in French, boule, boulet, poulet 
 ■=. Y, V, Upsilon, in Greek. 
 
 there is no distinguished difference between the grave {^), or impure varieties, and. the 
 the Veri-Oral and the Pulmon-Oral sounds. See the explanation of the Phonarthron 
 
 pronounce the L. 1. final, as they ought, or as they intend to do, but the French pronounce 
 
 not og-r, och-r, but og-*, och-*, 
 not ord-r, cent-r, but ord-r/t, cent-;/*, 
 not Bib-1, bouc-1, but Bib-//(, bouc-///, 
 
 which peculiarity in French is further 
 remarked upon under Rh, Lh. See 
 the next Table.
 
 18 
 
 E X A M P L E S AND 
 
 SF.COND 
 
 The HuUtals, or 
 
 Vr.RI-inTLMoXAI.. 
 
 Ah 
 
 dh 
 
 See the Explanation of the Phonarthron Tablet, Third Division. 
 
 Eh 
 
 ih 
 
 See the Explanation of the Phonarthron Tablet, Tliird Division. 
 
 Ih 
 
 lh 
 
 See the Explanation of the Phonarthron Tablet, Third Division. 
 
 3h 
 
 a-h This sound is described in French as - - - - 
 
 In Hebrew it is designated by tlie vowel point (: ) Shcva ; and in Greek 
 able to that clement of Grammar which teaches that "a consonant cannot be 
 word ending with a consonant, and to precede if it begins with one. It is the 
 
 Rh 
 
 rh =. re, in French, cendre, ynarbre, aigre 
 
 The French, in common with other languages, erroneously assuming r and 
 preclude the vowel or pulmonal sound, which being impossible, they only 
 by the Greek P {Rho) and ( ' ) spiritus asper : thus 'P, expressed in Latin 
 
 Lh 
 
 Ih =. le, in French, angle^ cable, regie 
 
 See what is said above, under Rh. Moreover, this sound is also designated 
 French it is mostly final, but in Welsh initial, or used at the beginning of 
 
 J2h a-h 
 
 See the Explanation of the Phonarthron Tablet, Third Division. 
 
 Oh 
 
 on 
 
 See the Explanation of the Phonarthron Tablet, Third Division. 
 
 Uli 
 
 m 
 
 uh 
 
 See the Explanation of the Phonarthron Tablet, Third Division. 
 
 (3) Independently of the general sounds of U, and its relatives Uh, V, Vh, which are 
 chiefly distinguishable in French, and which are etfected by an increased and extreme 
 l/. ?/ = u, in the French viotAs, pure, jlMe, and in the Suffolk 
 V . V = tt, in the French words, puis, suite, and vh =. hu in 
 A general tendency to contract, and be extremely perspicuous, is, indeed, characteristic of 
 English. Still, however, these sounds are more than slightly varied from the general 
 bis been already noticed in the " Explanation of the Phonarthron Tablet," First Division, 
 
 5
 
 EXPLANATIONS. 19 
 
 TABLE. 
 
 Pulmonals- Sural. 
 
 OKI-PULMONAL. 
 
 Ah ah 
 
 See as opposite. 
 
 Eh eh 
 
 See as opposite. 
 
 Ih ih 
 
 See as opposite. 
 
 3h il a-h I "e muet" (or mute e). 
 
 by ( ' ) the spiritns lenis ; if, indeed, that figure has any positive power at all. Agree- 
 sounded without a vowel," this sound appears to follow the enunciation of every 
 most ready pulmonal emission of breath, as its vocal is of voice. 
 
 Rh II rh I =: re, in French, centre, pourpre^ encre. 
 
 I to be consonants (Orals) not vowels (Pulmonals), endeavour so to pronounce as to 
 become Halital (or Sural), instead of Vocal (or Sonal). This sound is also indicated 
 thus, Rh. 
 
 Lh [I 111 I ^ le, in French, onde, temjAe, nejie. 
 
 in Welsh by LI. 11., being only more strongly uttered than in French, because in 
 syllables and words. 
 
 J2h II n-h I 
 
 See as opposite. 
 
 Oh II oh 
 
 See as opposite. 
 
 Uh vh 
 
 Sco as opposite. 
 
 instanced in these Four Tables, there are other peculiar variations, or imitations of them, 
 
 contraction of the mouth, or lips-, in enouncing them : thus — 
 
 and Norfolk English words, two, truth, &c. 
 
 the French words, huit, huee, &c. 
 
 French pronunciation, as a contrary tendency to be inexact and careless is characteristically 
 
 sounds ; they vary so much as to be distinct sounds, and actual imitations ; agreeably to what 
 
 with reference to R F. &c.
 
 20 
 
 EXAM P L K S A X D 
 
 THIRD 
 
 The Orah-Sonal, 
 
 PULMON-ORAL. 
 
 .3 
 
 (4) 
 
 11 =. 71, in English, an-ger, Jin-ejer 
 ■=. 7)g, in English, hang-er. sing-er 
 = the first y in Greek, ^Boy-yog, Ey-ywc 
 
 G 
 
 g = ^, in English, game, bag, trigger 
 zz g, in French, //fl??^, bagatelle 
 = F, .'. y, Gamma, in Greek 
 
 J 
 
 1 J = I, in English, vieic, union 
 =1 i, in French, vieux, adieu 
 
 — i, in German, jcar, jung; and in Enoflish, Halhlu-jah 
 zz y, in English, ^mr, young ; and in French, yeux, yeuse 
 
 N 
 
 n = w, in English, blitid, tcindoic 
 = w, in French, canne-herge 
 
 
 
 D d — d, \n English, dartf/er, ladder 
 1 = d, in French, danger^ rideau 
 
 =r n, Daleth. in Hebrew 
 1 = A, 0, Delta, in Greek 
 
 Z 
 
 z = z, in English, zone, razor 
 = z, in French, zero, zizanie 
 = 2f, \, Zade, in Hebrew; Z, ^, ^?a, in Greek 
 
 M 
 
 ' m = m, in English, ynind, lame 
 
 ■=. m, in French, mamelouc, baume 
 
 
 m, in French, tnaman ; in Hebrew, d, d, ^lem ; in 
 
 B 
 
 i = i, in English, Ja<7, rabbit 
 z=. b, in French, bagne, rabbin 
 = B, /3, C, Beta, in Greek 
 
 tr, in English, dicarf, dwindle 
 0, in French, oie, roi, boi 
 ou, in French, oui, ouie 
 p, p, in Anglo-Saxon 
 
 (4) The oral sounds rj, n, m.j, v, both Sonal and Sural (i. e. Ictal and Spirital) have no 
 Pulmonal sounds r, /, any perceptible grate or acute (i. e. Veri-Pulmonal and Ori-Pulmonal) 
 sounds remarkable for these differences, their coalition is illustrated by the examples
 
 EXPLANATIONS. 21 
 
 TABLE. 
 
 07' Ictals. 
 
 .0 
 
 VERI-ORAL. 
 
 n, in English, rank, an-chor 
 y, in Greek, avay-Ki], Xapvy^. 
 
 C II c I = c, in English, ccme, sack, tobacco 
 =z c, in French, colere, saccade 
 =. p, Koph, in Hebrew; K, k, Kappa, in Greek. 
 
 ,/ II J I = e, in Y^wgWsh, feio, peio, Teutonic 
 = i, in French, j?e?', jned, siecle. 
 ===^ >, Jod, in Hebrew. 
 
 N 
 
 n, in English, plant, plenty 
 n, in French, canne-tille. 
 
 ^I-Q£>b- TV ^. \7l/ 
 
 = n, in i'rench, ca 
 
 3, \, Nun ; in Greek, N, v, A^z^. 
 
 / I =: ^ ill English, i'flsfc, Z^a^Z/e 
 — t, in French, Ze/e, bateau 
 =r D, TeZA, in Hebrew 
 =: T, r, 7, Tail, in Greek. 
 
 :::i: 5, in English, sun, (/lossy 
 
 = s, in French, salut, jeunesse 
 
 z=L D, Samech, in Hebrew ; S, Cj Sigma, in Greek. 
 
 iVf ll m I 1= ??«, in English, might, champion 
 =z w, in French, jiornme, pommette 
 Greek, M, jjl, Mu. 
 
 p I =: p, in English, peace, rapid 
 rz p, in French, paix, lapin 
 =:: n, TT, ©-, Pi, in Greek. 
 
 /' li y I ^ ?<;, in English, ticist, sweep 
 zzi 0, in French, yo«, poids 
 ■=. ou, in French, Jbuet 
 =: 2<, in English, quince, cpieen. 
 
 perceptible /)«rf and impitre (i.e. Veri-Oral and Pulmon-Oral) distinction: neither have the 
 difference in tliemselves ; nevertlieless, inasmuch as they coalesce equally with all the 
 adduced, and tlieir difterences, if existing, are thus noted.
 
 22 
 
 EXAMPLES AND 
 
 FOURTH 
 
 The Orals-Sural 
 
 PULMOX-OUAL. 
 
 :&ii 
 
 ;ji 
 
 =r n, in French, langue, plan 
 :=. ng, in French, lonrf. rang 
 
 
 
 Gh 
 (5) 
 
 gh 
 
 — gh, as anciently used in English, light, night, ghost 
 
 =. J, Gimel, in Hebrew 
 
 = F, the ancient Greek Digamma, 
 
 H 
 
 h 
 
 ■=. h, in English, Hero, Hungary 
 =. A, in French, Heros, Hongroie 
 
 
 
 Nh 
 
 nh 
 
 =. n, in French, monde, grander 
 = nd, in French, gand, gland 
 
 
 
 Dh 
 
 dh 
 
 •=z th, in English, ^a^/ier, breathe 
 ■=. D, ^5 in Anglo-Saxon 
 r= n, Daletli, in Hebrew, 
 
 Zh 
 
 zh 
 
 =: z, in English, azure. = s, in pleasure 
 =: g, in French, gelee. = J, mjaloux 
 = \, Zhain, in Hebrew. 
 
 Mh 
 
 mh 
 
 = m, in French, bombe, bombards 
 =z /?2J, in French, chambre, plomb 
 
 
 
 Bh 
 
 bh 
 
 = 1-, in English, veil, icave 
 =. V, in French, voile, laver 
 — 3, Beth, in Hebrew. 
 
 Vh 
 
 vh 
 
 = wh, in English, ichale, wherry 
 hou, in French, houari 
 
 
 (5) This letter [F] and sound [g^] have, in the accidents of language, eventually assumed 
 Roman alphabet, F, f, whose nominal and usual sound is ph. And the sound gh, which, in 
 quiescent, as in light, night, sight, bough, plough ; is also, in many others, become ph, as in
 
 EXPLANATIONS. 23 
 
 TABLE. 
 
 or Spiritals. 
 
 VERI-ORAL. 
 
 ^h II }j/i I — w, in French, banque,Jin 
 ■=. nc, in French, banc, tronc. 
 
 Ch \\ ch j =r ch, in German, licht, nacht, antl as anciently pro- 
 nounced in English, yacht 
 = D, Caph, in Hebrew ; X, ^j C'Az, in Greek. 
 
 ZT 11 A I = A, in English, hate, hatchet 
 
 =: h, in French, hache, hachette. 
 spiritus asper. 
 
 Nh II wA I — n, in French, tente, tenter 
 =: nt, in French, chant, dent, 
 hrun, jeun. 
 
 Th II th I = th, in English, author, breath 
 = p, p, in Anglo-Saxon 
 = n, TflM, in Hebrew ; 0, 9, T7ieta» in Greek. 
 
 Sh II 5/i I =: sh, in English, s/i?p, marshy, ivash 
 ■=. ch, in French, chand, peche, riche 
 r= li^, *S/izw, in Hebrew. 
 
 Mlt II m I = 7?z, in French, pompe, temp^te 
 =: m/7, in French, champ, temps. 
 
 Ph II pA I = ph, in English, /?Aawto7w. =J^ mfame 
 
 ■=. ph, in French, phrase. rz ^ in fantaisie 
 (5) = D, Pe, or P/je, in Hebrew. 
 
 Vh II uA I =: wh, in English, wheat, whistle 
 
 ^ Aozf, in French, houache, or hounge. 
 
 the power of ^A ; thus, the ancient Greek sign F (g'O has become the sixth letter of the 
 some English words, has become g, as in ghost, gherkin ; and in others, is entirely 
 cough, trough, rottgh, enough, laugh. 
 
 D 2
 
 '24 
 APPLICATION OF THE PHONARTHRON TEST 
 
 TO Till'. 
 
 HEBREW, GREEK, & LATIN ALPHABETS. 
 
 HKIilJKW. 
 22 21 20 la 18 17 Hi 15 14 13 12 11 10 9 8 7 « 
 
 4 3 2 1 
 
 7\ v; 1 p vEiyD3 13 h 
 
 BnT iHT aaK 
 
 Sonals. 
 
 Vocals. 
 
 
 
 
 ^ 
 
 
 « 1 • 1 
 
 
 
 
 n 1 T 1 . 
 
 
 'Ml 
 
 1 
 
 
 ^ 
 
 
 
 \ 
 
 ^ 
 
 Halitals. 
 
 
 
 Ictals. 
 
 
 1 3 1 
 
 
 
 p 
 
 1 o 1 
 
 
 . 1 D 1 . 
 
 Veri-Orals. 
 
 y \ . \ • 
 
 3 
 
 1 n 1 
 
 s 
 
 Spiritals. 
 
 Surals. 
 
 A.B.r.A.E.Z.H.e.I 
 
 GREEK. 
 K.A.M.N.S.O.n 
 
 P.2.T.Y.*.X.*.Q 
 
 a.j8.y.5.t.?.Jj.0.t.ic.X.^.v.^.o.7r.p.(T.r.t;.0.X''/'-<«' 
 
 
 A.a\ 1 
 
 — 1 — 1 — 1 
 
 — 1 — 1 — 
 
 1 N . v 1 M . ;« 
 
 
 
 H . »j 1 P . p 1 Q . w 
 
 E.£ 1 1 .0 
 
 ir.yl A.a|B./3 
 
 — iz.^l 
 
 K.ic 1 T.r In.TT 
 
 
 •f 1 
 
 I . t 1 A.X|(1).8 
 
 1 \r.v 
 
 |2.c| 
 
 O 
 
 to 
 
 c 
 ■o 
 S 
 ■3 
 
 Veri-Pulmonals. 
 
 Ori-Fulm5nals. 
 
 Pulmon-Orals. 
 
 1 1 
 
 Veri-Orals. 
 
 1 1 
 
 1 1 
 
 01 
 
 -■ 1 1 ■ 
 
 1 1 1 
 
 
 
 Ph 
 
 1 1 
 
 ' — 1 — 1 — 
 
 F.(2)| 1 X.x|G.0|*.^ 
 
 1 1 (3).'| I 
 
 
 
 1 1 
 
 i — 1 — 1 — 
 
 
 
 
 
 
 - 
 
 
 LATIN. 
 A.B.C.D.E.F.G.H.I.J.K.L.M.N.O. P.Q. R. S . T. U. V . X . Y . Z 
 
 a. 
 
 b . c . d . e . f . g 
 
 .h . i. j. k . 1 . 
 
 m . n . . p . q . 
 
 r.s.t.u.v.x. 
 
 
 lA.al 1 
 
 — 1 1 
 
 -: 1 — , 
 
 G.g D.d| B.b 
 
 1 N . n 1 M . m 
 
 
 |E.e|R.rl0.o 
 
 1 1 
 
 C .c|T. t 1 P.p 
 
 "cs 
 
 I . i 1 L . 1 1 U . u 
 
 1 IV. y 
 
 Z.z| J 
 
 J.j 1 S.s| V.v 
 
 c 
 
 i Veri-Pulmonals. 
 
 Ori-Pulmonals. 
 
 1 1 ' 
 
 Pulmon-Orals. 1 
 
 1 1 
 
 Veri-Orals. 
 
 1 1 • - 
 
 3 
 
 1 1 
 
 1 1 1 
 
 1 ' 1 
 1 1 
 
 F.(7)| 1 ! 
 
 1 |(7).f 
 
 
 1 1 
 
 1 1 (6) 
 
 1 1 
 
 H.h| 1 
 
 
 
 
 — ■' 
 
 (1) . 8 is a contraction of the two letters o v. (2) . F is the ancient Greek Digamma. 
 
 (3) . ' is the Greek aspirate mark, called spiritiis asper, or, -rvtv^ia Caav. 
 
 (4) . The redundant Greek letters are S, K, and •*■, i//. 
 
 (5) . The redundant Latin letters are K, k, Q, q, X, x. 
 
 (6) . Y,y, is named i-grec in French, i.e. Greek-/, or u, or i/i (w), hence vj (mispronounced 
 vai) in English. ,./.-, 
 
 (7) . F, f, has the form, and originally the soimd, of the Greek Digamma, p {G'h g''}' but 
 eventually that of *", <p {Ph, ph) ; the same accident has happened to the English gh, as 
 instanced in the words cough, enough, pronounced c/rph, en^ph. See the foregoing Table.
 
 25 
 
 NOTIONS AND DEFINITIONS 
 
 RELATING TO THE 
 
 SOUNDS OF SPEECH. 
 
 I. Of Sounds and Letters. 
 
 II. Of Syllables and SyllabicaMon. 
 
 III. Of Accent and Qiiantity. 
 
 \\. Of Prose, Poetry, and Versification. 
 
 I. 
 
 Of Sounds and Letters. 
 
 — Letters are the signs of sounds. They are, moreover, arhitrarij 
 signs, as the letters of the alphabet; and they may be imitative signs, 
 as the characters of the Phonarthron-Symbol ; and as proposed in the 
 Explanation of the Phonarthron-Symbol. For, whereas the fine arts of 
 sculpture, design, painting, and music, are said to be imitative arts; so, 
 likewise, are poetry and speech imitative and expressive, and not arbi- 
 trarily significative only, but their minute and simple principles of 
 imitation require to be more correctly examined than appears to have 
 been hitherto the case. 
 
 = Of the two kinds of sounds, pulmonals and orals, the chief charac- 
 teristic contradistinction of the pulmonals is an XwA^^mtQ perdur ability, 
 and that of the orals a forcibly instantaneous utterance, which is the 
 converse : whence, every one of the nine original pulmonals is capable 
 of being perfectly sounded alone, excepting the peculiar instance L. I. ; 
 and every one of the nine original orals is mcapable of being perfectly 
 
 5
 
 26 NOTIONS AND DEFINITIONS RELATING TO 
 
 sounded alone, or without the aid of a pulmonal, excepting the cor- 
 responding peculiar instance, S. s. 
 
 = Every sound, in general, whether oral or pulmonal, consists, in 
 whatever degree, of three parts ; namely — of a beginning or initial 
 part, of an enduring or middle part, and of a final or end ; whence, 
 also, the characteristic three degrees, major, mediate, minor, of the 
 palatal, lingual, labial varieties, whether oral or pulm5nal, exhibited in 
 the Phonarthron-Tablet ; where the force or power of sound in the 
 minors is initial, that in the majors final, and that in the mediates me- 
 dial or middle. 
 
 II. 
 
 Of Si/llables and Syllabication. 
 
 izThe word syllable is derived from the Greek word cjvXka^r], which 
 literally signifies, in Latin, comprehensio ; and, in English, a collecting, 
 or putting together. 
 zz Syllables are proper and improper, pulmonic and oric. 
 
 1. A syllable, properly so called, is the united effect of two indi- 
 vidual simple sounds; the one a vowel (that is, pulmonal), the other a 
 consonant (that is, oral). 
 
 2. An improper syllable is either redundant or defective in one of 
 these component parts; namely, defective when consisting only of a 
 vowel, or only of a consonant ; and redundant, when consisting of 
 a vowel (or vowels) and more than one consonant, or of a consonant 
 (or consonants) and more than one vowel. And, note, that two vowels 
 or two consonants, which coalesce as one vowel or consonant, are 
 called diphthongs, and three vowels or three consonants, triphthongs, 
 &c. 
 
 3 — 4. A syllable is pulmonic or oric, according to the relative
 
 THE SOUNDS OF SPEECH. 27 
 
 position of the vowel and consonant, and according to the pre-eminence 
 of the vowel or consonant (that is, pulmonal or oral) power. Thus — 
 Cd, Td, Pa, are perfectly pulmonic syllables, and 'Ac, 'At, 'Ap, are 
 perfectly oric syllables ; because, in the former three, the vowel pre- 
 dominates, being grave and subsequent, and therefore freely per- 
 durable; and that, in the latter three, it is in subjection, being impeded 
 and "caught" by the consonant, and so, by natural tendency, acute, 
 (that is, ori-pulmonal). But Cd, Td, Pd, are imperfectly pulmonic, 
 and ^Ac, ^At, ^Ap, are imperfectly oric, obviously because, and inasmuch 
 as, they vary from the foregoing rule. 
 
 Note. That in dissyllables, trisyllables, and in polysyllabic words, 
 the grave and acute signs may be omitted over the unaccented syllables, 
 because of the comparative brevity and obscurity which is occasioned 
 to them, by the comparative perspicuity and pre-eminence of the 
 accented syllables ; which accented syllables, therefore, may be known 
 by this distinction. 
 
 = Syllabication, or spelling, is the art of separating words into their 
 constituent syllables; or, rather, oi putting these together into words. 
 
 The beauty and perfection of syllabication is the most equal and 
 alternate distribution of vowels and consonants practicable. The Italian 
 language is more eminent than other languages for this equable and 
 agreeable alternation: but in German the consonants are aggregated, 
 and in French the vowels accumulate together, in difficult and dis- 
 agreeable profusion. 
 
 III. 
 
 Of Accent and Quantity, ^c. 
 
 =:Few terms have had more various and undefined acceptations than 
 the word "accent." In one sense it has signified any mark used to
 
 28 NOTIONS AND DKIINITIONS RELATING TO 
 
 designate the various qualifications and distinctions of speech-sounds in 
 written hmguage ; as the risinr/ and Jailing [that is, the sharp and Jiat 
 relations] of the vocal tones, and the (/rave and acute distinctions of the 
 vowel sounds. In another sense it has signified any peculiar mode or 
 manner of pi'onouncinfj and speaking in particular languages and 
 dialects. And, in a third sense, it signifies the stress which is laid 
 on one syllable more than on another in a same word. 
 = Accent and Quantity are correlative terms. Quantity has reference 
 to the voicels, and to the vowel characteristic of perdurability ; and 
 accent has reference to the consonants, and to their peculiar character- 
 istic of a forcibly instantaneous activity. Quantity, therefore, is pro- 
 perly an accident of the pulmonic syllables ; and accent is properly an 
 accident of the oric syllables. This contradistinction should be per- 
 ceived and understood, although in practical language it is indifferent 
 whether a " syllable" be noted as long or strong, provided the syllable 
 itself be sufficiently distinguished from the rest. 
 
 = Accent and Prosody are synonymous words; the former being the 
 Latin of which the latter is the Greek : thus — 
 
 Ac-centus . Ad-cantus . ■\ Relating 
 
 IlQoa-t^^ia . npo(r-(i»Sjj . J "to Song." 
 
 but their uses have thus varied. 
 
 Prosody (like Quantity, only as a term of larger import) has been 
 applied to the measure of song, poetry, versification; and Accent to the 
 emphasis of speech, and to compositions in prose. By Quantity is 
 meant merely the duration of a syllable; and by Prosody, as com- 
 monly understood, the doctrine which treats of the quantities, durations, 
 or measures of syllables and words in versification. 
 = Accent and Emphasis. Accent is stress, and Emphasis is stress, but 
 Accent applies to syllables as they are sounds, and Emphasis to words as 
 they are meanings. Accordingly, syllables arc properly said to be 
 accented and unaccented, and words cmiihatic or otherwise.
 
 THE SOUNDS OF SPEECH. 
 
 29 
 
 A Table of Marks whose meanings have been mentioned, 
 and whose uses may be required. 
 
 Long 
 
 and 
 
 1 
 
 " 
 
 Short. 
 
 Strong 
 
 and 1 
 
 Weak. 
 
 Grave 
 
 \ 
 
 and 
 
 
 Acute. 
 
 Flat 
 
 \ 
 
 and 
 
 
 Sharp. 
 
 IV. 
 
 Of Prose, Poetry, and Versification. 
 
 := Prose is language merely signijicant or descriptive : Poetry is lan- 
 guage descriptive and imitative also. 
 
 = Again : Prose is language, as it were, ad libitum, and desultory, in 
 contradistinction with Poetry or Versification, that is, language regu- 
 lated by measure. 
 
 n Poetry, or Versification, is a mechanical arrangement of words by 
 measure, according to the accent or quantity of their syllables. 
 
 1. As the particles of significant speech are called ivords, so the par- 
 ticles of a composition in verse are called Jeef. 
 
 2. A Jbot is one accented and one unaccented syllable, or a certain 
 number of either placed in any determinate order. 
 
 3. A line, metre, or measure, is a stated number of feet of any kind. 
 [Note. A foot being composed of two or more syllables accented and 
 
 unaccented, so long as the aggregate of accent or quantity be pre- 
 served in the whole foot, or whole line, both the number of syllables, 
 and general order of accentuation may be excepted and varied from the 
 general rule; and a good reader will always know how to justify and 
 
 E
 
 30 NOTIONS AND DEFINITIONS, &C. 
 
 excuse a good poet, and to condemn a bad one, in such cases of excep- 
 tion and variation.] 
 
 4. A itrge, or rhyme, is a stated number of corresponding lines, 
 placed in any given order of correspondence. 
 
 [Note. In Latin and Greek poetry, a line is usually a verse ; but in 
 the sense here used, a verse, including several lines, implies a rhyme ; 
 which rhyme, in sound, corresponds with parallelism in sense, as illus- 
 trated (almost exclusively) in the treasures of Hebrew, that is, Bible, 
 poesy.] 
 
 = Poetry (which word is derived from the Greek words irouio, to make, 
 and Troir,mg, poesy, or a making, that is, verse-making) and Versification 
 are literally the same thing ; nevertheless, they are to be distinguished. 
 
 Poetry, as distinguished from Versification, is a vivid correct imita- 
 tion, expression, or representation of original ideas, contrasted with 
 the mere euphony of measured sounds. Words, or just expressions, 
 answer to feet ; sentences, or sentiments, to lines; and, as above noted, 
 analogies, or antitheses, in sense, to rhymes in measured verse. 
 := Prose and Poetry, therefore, are respectively distinguished from 
 Versification, as well as Poetry and Versification from mere Prose ; 
 the spirit of Poetry being separate from either, and yet capable of 
 beingr embodied in both. 
 
 In English we find that rhymed verse is not essential to Poetry, by 
 the compositions which exist in blank verse ; and in French we find 
 that even metrical li?ies are not essential to Poetry, by the well-known 
 and well-used style, entitled, in France, " La Prose Poetique" 
 
 END or THE PHONARTHRON.
 
 THE 
 
 PHONARITHMON 
 
 NUMERAL NOMENCLATURE; 
 
 UNIVERSAL NAMES OF NUMBERS.
 
 "I beheld, and lo, a great multitude, which no man could ntiinber." — John, Rev. ch- vii. 
 ver. 9. 
 
 "Jesus said, The very hairs of your head are all nnmbered." — Matthew, ch. x. ver. 30, 
 and Luke, ch. x.ii. ver. "!. 
 
 " He expressed the number by a word which involved myri.\ds of myuiads." — Sweden- 
 BORG, Heaven and its Wonders, section 374. 
 
 " And I doubt not but we ourselves might distinctly number in words a great deal 
 further than we usually do, would we fnd out but some fit denominations to signify tliem by : 
 whereas, in the way we take now to name them, by millions of millions of millions, &c. it is 
 hard to go beyond eighteen, or. at most, four-and-twenty decimal progressions, without con- 
 fusion." — LoCRE, Essay on the Human Understanding, Book II. chap. xvi. sect- 6>.
 
 THE 
 
 PHONARITHMON, 
 
 OR 
 
 UNIVERSAL NAMES OF NUMBERS. 
 
 A - 
 
 1 
 
 
 Acan-a = 
 
 11 
 
 
 A-can =10 
 
 i 
 
 A-ce7i = 100 
 
 E - 
 
 2 
 
 
 Acan-e rr 
 
 12 
 
 
 E-con = 20 
 
 
 i!;-cew z= 200 
 
 I - 
 
 3 
 
 
 Acan-i —. 
 
 13 
 
 
 I-ca7i — 30 
 
 
 I-ceji = 300 
 
 3 - 
 
 4 
 
 Acan-3. ■=. 
 
 14 
 
 3r-can = 40 
 
 3-cen z= 400 
 
 'At r= 
 
 5 
 
 
 Acan-ai = 
 
 15 
 
 
 Ai-can =z 50 
 
 
 ^l-c^?« = 500 
 
 Au = 
 
 6 
 
 
 Acan-au ■=. 
 
 16 
 
 
 Au-can— 60 
 
 
 Au-ce7i = 600 
 
 J2 = 
 
 7 
 
 Acan-nr = 
 
 17 
 
 Jl'can ~ 70 
 
 c^-mz z= 700 
 
 - 
 
 8 
 
 
 Acan- = 
 
 18 
 
 
 0-caw = 80 
 
 
 0-mi rr 800 
 
 U = 
 
 9 
 
 
 Acan-u =z 
 
 19 
 
 
 [7-caw = 90 
 
 
 U-cen = 900 
 
 Can z=. 
 
 10 
 
 Ecan z=. 
 
 20 
 
 Ce?z = 100 
 
 Cw = 1000 
 
 or A- can 
 
 
 Ecan- a =. 
 
 21 
 
 i 
 
 or A-cen 
 
 
 or A-cin. 
 
 Can = 10' i. e. 10 
 Cen = 10- i. e. 100 
 Ci7i = 103 i. e_ 1000 
 
 Ca-n = lOM. e. 10,000 
 Cain = 10* i. e. 100,000 
 Caun=z l()<^ i.e. 1000,1000 
 
 Ctrn = 107 i.e. 10,000,000 
 Con = 10^ i. e. 100,000,000 
 Cun = 10' i. e. 1000,000,000 
 
 Tan = lOi"! i. e. 10,000,000,000 
 Ten = lO'"! i. e. 100,000,000,000 
 Tin = IQi"!^ i. e. 1000,000,000,000 
 
 Ts-w = 10'"! i. e. 10,000,000,000,000 
 Tain= lO^j'* i.e. 100,000,000,000,000 
 Taun= \0'^^\ i. e. 1000,000,000,000,000 
 
 7are = 10'" i.e. 10,000,000,000 
 
 Tnrn = 10'«| i. e. 10,000,000,000,000,000 
 Ton = lO'"!^ i. e. 100,000,000,000,000,000 
 Tun ='To'"f i.e. 1000,000,000,000,000,000 
 
 Pan= 10'"l'°i.e. 10,000,000,000,000,000,000 
 
 ' The diphthongs Ai anAAil are used instead of R and L, as more convenient ; and R and 
 L are elsewhere used in a corresponding place. See the following page. 
 
 5
 
 34 
 
 THE UNJVEI5S.VI. NAMES OF NlIMBEIfS. 
 
 1 Can 
 
 Cat 
 
 Cap 
 
 Cas 
 
 Car 
 
 Cal 
 
 Cog 
 
 Cad 
 
 Cab 
 
 Caz 
 
 Tail 
 
 Tat 
 
 Tap 
 
 Tas 
 
 Tar 
 
 Tal 
 
 Tag 
 
 Tad 
 
 Tab 
 
 Taz 
 
 Pan 
 
 Pat 
 
 Pap 
 
 Pas 
 
 Par 
 
 Pal 
 
 Pag 
 Sag 
 
 Pad 
 
 Pah 
 
 Paz 
 
 San 
 
 Sat 
 
 Sap 
 
 Sas 
 
 Sar 
 
 Sal 
 
 Sad 
 
 Sab 
 
 Saz 
 
 Ran 
 
 Rat 
 
 Rap 
 
 Ras 
 
 Rar 
 
 Ral 
 
 i Rag 
 
 Rad 
 
 Rab 
 
 Raz 
 
 Lan 
 
 Lat 
 
 Lap 
 
 Las 
 
 Lar 
 
 Lai 
 
 ! Lag 
 
 Lad 
 
 Lab 
 
 Laz 
 
 Gan 
 
 Gat 
 
 Gap 
 
 Gas 
 
 Gar 
 
 Gal 
 
 Gag 
 
 Gad 
 
 Gab 
 
 Gaz 
 
 Dan 
 
 Dat 
 
 Dap 
 
 Das 
 
 Dar 
 
 Dal 
 
 Dag 
 
 Dad 
 
 Dab 
 
 Daz 
 
 Ban 
 
 Bat 
 
 Bap 
 
 Bas 
 
 Bar 
 
 Bal 
 
 Bag 
 
 Bad 
 
 Bab 
 
 Baz 
 
 Zan 
 
 Zat 
 
 Zap 
 
 Zas 
 
 Zur 
 
 Zal 
 
 Zag 
 
 Zad 
 
 Zab 
 
 Zaz \ 
 
 EXAMPLE. 
 
 One Thousand = A-cin - 1000 
 Eight Hundred = 0-cen ~ . 800 
 (and) Forty =: 3 -can = . . 40. 
 
 1840.
 
 AN 
 
 IMAGINARY ANALYSIS 
 
 OF THE 
 
 NUMERAL FIGURES. 
 
 1.2.3 
 
 4.5.6.7 
 
 9 . 
 
 1 . is composed of one mark, or line 
 
 2 . is composed of two marks, or lines 
 
 3 . is composed of three marks, or lines 
 
 4 . is composed oifour marks, or lines 
 
 5 . is composed oijive marks, or lines 
 Which is the natural number of digits, or fingers 
 
 Moreover, 
 
 6 . is three varied, or added to 
 
 7 . is three varied, or four inverted 
 
 8 . is four, and four inverted 
 
 9 . is three varied, or added to 
 . is composed of all but its moiety five 
 
 / 
 
 A' 
 
 ^ 
 
 ^ 
 
 ^ 
 
 1 
 
 
 
 
 
 
 L 
 
 f 
 
 
 <r 
 
 "7 
 
 
 1 
 
 4 
 
 5 \ 
 
 7 
 
 8 
 
 
 
 2 
 
 3 
 
 6 
 
 9 
 
 END OF THE PHONARITHMON.
 
 THE 
 
 PHONODION; 
 
 OR, 
 
 ELEMENTS OF MUSI C. 
 
 A 
 
 NEW AND SIMPLIFIED THEORY, 
 
 PRIMARILY WITH REGARD TO 
 
 "SONG," 
 
 OR 
 
 THE NATURAL MUSIC OF THE HUMAN VOICE; 
 
 AND SUBSEQUENTLY APPLICABLE TO 
 
 THE VARIOUS INSTRUMENTS OF MUSIC.
 
 " O sing unto God with the voice of melody." 
 
 David, Psalm xlvii. 
 
 ' The man that hath no music in himself, 
 Nor is not moved by concord of sweet sounds, 
 Is fit for treasons, stratagems, and spoils ; 
 The motions of his spirit are as dull as night, 
 And his affections dark as Erebus : 
 Let no such man be trusted." 
 
 Sh.akspeaUE, Merchant of t'enice. Act V. Scene 1.
 
 ADVERTISEMENT. 
 
 The Phonodion, New Method of Music, consists — 
 
 1. In assigning a distinct and appropriate name to every one of the 
 twelve tones of the Chromatic Scale; thereby abolishing or precluding 
 the theory oijlats and sharps, and greatly facilitating, because simplify- 
 ing, an attainment of the science of Music. 
 
 2. In assigning a distinct and corresponding note to every one of 
 the twelve tones ; which is afforded by substituting a staff of six lines 
 for the one of Jive. 
 
 3. In altering the make of certain Instruments of Music, particularly 
 the KEY-BOARD of the Piano-Forte, for the purpose of subserving 
 the use of the Phonodion New Method of Musical Notation. 
 
 Observe— That the trouble of translating Music out of the old or 
 present style into the " Phonodion" new style, is no greater than the 
 usual practice of transposing Music from one key to another, in order 
 to suit the pitch of different instruments or voices. 
 
 The following letter, and portion of a letter, have been addressed to 
 the author and inventor of the Phonodion. 
 
 = " My Dear Sir, 
 
 " In regard to your invention, I hardly need say, that, as a lover 
 of the science, I shall most willingly lend my feeble aid to whatever 
 will tend to facilitate and advance its cultivation. But you must be 
 convinced, that, however beneficial the result of your new method may 
 prove, yet it must take a considerable time before our old habits, not to 
 say prejudices, can be overcome. In regard to myself, I frankly say, 
 that if I find the system improved, I shall, as far as I can (come from 
 
 F 2
 
 40 
 
 what quarter it may), endeavour to promulgate it. Wishing yon ever)- 
 success you can desire, I remain, my dear Sir, yours very truly, 
 
 " Thomas Attwood '. 
 " Xortcood, Siirret/, October 2'2, 1828." 
 
 " Boyal Academy of Music, Jnh/ 6, 1840. 
 — •• Reverend Sir, 
 
 '' Your letter accompanying the representation of the subject of 
 the ' Phonarthron ',' having been laid before the Committee of the 
 Royal Academy of Music, I am desired to inform you, that the Com- 
 mittee decline the offer ' you have been so obliging as to make, with 
 respect to the patent for the exclusive right to manufacture the contem- 
 plated key-board. I remain, Reverend Sir, faithfully yours, 
 
 "T. W. J. ViCKERY." 
 
 ' Late Organist of St. Paul's Cathedral, Loudon. 
 
 ^ The Phonodion Key- Board. See pages 50, b\. 
 
 * This was an offer to consign to the Committee the power to obtain a patent for the ex- 
 clusive right to manufacture the Phonodion Key-board, the proceeds and profits of which to 
 be applied to the Funds of the Royal Academy of Music, after defraying expenses. 
 
 INDEX OF CONTENTS. 
 
 PAGE 
 
 The Music-Coil, &c 4] 
 
 On the Names of the Musical Tones , 43 
 
 On Music, Melody, and Harmony 45 
 
 On the Notation of Music 49 
 
 The Phonodion New Method of Notation, &c . . . . 50 
 
 The Phonodion Piano- Forte, and the common Piano- Forte Key-boards, compared 5 1 
 The Phonodion New Method of Notation, and the common or present method, 
 
 compared 53 
 
 The Royal Anthem in the Phonodion, and in the common, style of Music, com- 
 pared 54 
 
 A Melody for the Phonodion-Harmonicon 56
 
 THE PHONODION, 
 
 MUSIC-COIL. 
 
 A(j - Ed - lb . Jlc - Ot - Up. 
 
 1. There are twelve tones in Music, and the human voice, which are, 
 relatively to each other, higher or more contracted, and deejjer or more 
 expanded. Moreover, the lohole twelve are in a state of sequency 
 indefinitely repeatable either way ; so that any one being taken as a 
 first, and twelve higher or twelve lower regularly sung, or sounded, 
 from it — there is a complete scale, mode, series, or set ; and the thir- 
 teenth is a mimic or repetwid of the first, the fourteenth of the second, 
 the fifteenth of the third, and so on, as represented in the foregoing 
 portraiture of a coil, hence called the Music-coil.
 
 42 THl- PH()N()U1(»\. 
 
 'J. A mode or key is any particular series (of tones in Music, or 
 keys on a key-board) named after the note, tone, key chosen as a first, 
 which first is tlierefore called the Tonic of the Mode, or the Key-note. 
 
 o. A scale or clef (which is the French for lay, and derived from 
 the Latin clavis) is a stated or determinate series, generally appointed, 
 and marking the pitch of the musical tones, by distinguishing them into 
 higher and lower orders, which are consequently titled and signified 
 thus : — 
 
 Siyn. Title or Xame. 
 
 X — " The Treble Clef," i. e. the hiyh (contracted) set or series, 
 
 % — " The Tenor Clef," i. e. the middle set or series. 
 
 3 — " The Bass Clef," i. e. the low (expanded) set or series.
 
 43 
 
 ON THE NAMES OF THE MUSICAL TONES 
 
 = Tn Eng-land tlie first seven letters of the alphabet, 
 
 A . B . C . D . E . F . G 
 are the usual names given to the seven tones of the Diatonic series, and 
 cdWe^JlatSf sharps, or naturals, accordingly as required. 
 
 zrBy foreigneis the same seven tones are respectively named thus : 
 ' Ut . Re . Mi . Fa . Sol . La . Si 
 (c) . (d) . (e) . (f) . (g) . (a) . (b) 
 There is no hidden meaning, technical design, or philosophical 
 reason for these names, but their origin is curious. They are certain 
 chance syllables in a verse taken from a Latin hymn, composed in 
 honour of St. John (the Baptist), by Paul Diacomt, about a. d. 774. 
 The verse is as follows : 
 
 Ut queant la vis Re- sonarejibris 
 
 Mi-ra (jestorum FA-muH tuorum 
 
 SoL-y^' polluti hA-bii meatum 
 
 S-ancte 1-o/umnes ^ I 
 
 =="In 1746 was published, at Venice, a small pamphlet, entitled 7?^- 
 Jiexions upon the manner of learning to Sing, loith a neiu method of 
 Sol-mi-sation by twelve syllables, providing for all the keys and accidents 
 to which they are sid)ject. 
 
 " 'I'he names of the tones or notes were as folhjw : 
 
 Ut . pa . Re . ho . Mi . Fa . tu . Soi, . de . La . no . Si 
 (c) . .(d). . (e) . (f) . . (g) . . (a) . . (b) 
 
 1 The Italians say Do instead of Ur, as a preferable enunciation in learning to sing. See 
 Barney's Hist. Mus. vol. ii. pages 99. 101. 
 ^ See Biirney's Hist. Mus. vol. ii. page 85.
 
 44 
 
 ON TIIF. NAMFS OV TMIi .MTSICAI. TONES. 
 
 " The autlior, to the memory of the musical student, has formed his 
 twelve syllables into four ideal words : 
 
 Ut-/></-Ke . ^o-Mi-Fa . tu-iSoL-de . La-wo-Si '." 
 
 =:The author of the Phonodion, therefore, is not entirely unsupported 
 in his doctrine, tliat 
 
 •' There are twelve tones in Music," 
 which tones ought severally to be named and noted independently of 
 each other ; moreover, the twelve literal names which he has chosen, 
 are chosen with design, as being such that no other of the sounds of 
 speech would serve equally well for the purposes to which they are 
 applied. And they have, furthermore, this indifferent advantage over 
 the Venetian nomenclature, that, " to the memory of the musical 
 student they are formed into" two instead of " four ideal words," yet 
 with only the same number of syllables in each word — 
 
 A(/ - Ed - Ih . J2c - Ot - Up. 
 =:The names of the " Phonodion" notes or tones are separately pro- 
 nounced thus : 
 
 A - 
 
 a 
 
 as a, 
 
 in 
 
 Bath 
 
 
 E - 
 
 e 
 
 . as ei. 
 
 in 
 
 Veil 
 
 
 / - 
 
 i 
 
 as i>. 
 
 in 
 
 Field 
 
 
 J2 - 
 
 (T 
 
 . as a. 
 
 in 
 
 Ball 
 
 
 - 
 
 o 
 
 . as 0, 
 
 in 
 
 Home 
 
 
 U - 
 
 u 
 
 . as ?f. 
 
 in 
 
 Rule. 
 
 3 
 
 G - 
 
 0^ 
 
 . as Givy 
 
 in 
 
 Girl 
 
 
 D - 
 
 d^ 
 
 as Dlr, 
 
 in 
 
 Dirk 
 
 
 B - 
 
 by 
 
 . as Bir, 
 
 in 
 
 Bird 
 
 
 C - 
 
 c> 
 
 . as Cur, 
 
 in 
 
 Curl 
 
 
 r - 
 
 t> 
 
 . as Tur, 
 
 in 
 
 Turf 
 
 
 p - 
 
 /;> 
 
 . as Pur, 
 
 in 
 
 Purse. 
 
 
 and as a, 
 
 in 
 
 Bas 
 
 1 
 
 and as e. 
 
 in 
 
 Fete 
 
 
 and as i, 
 
 in 
 
 Cite 
 
 1 
 
 and as o. 
 
 in 
 
 Orbe 
 
 ! 
 
 and as o, 
 
 in 
 
 Role 
 
 
 and as on, 
 
 in 
 
 Voute. 
 
 
 and as Gueu, in Gueule 
 
 and as Deu, in Deuil 
 
 and as Beit, in Beurre 
 
 and as Coeu, in Cceur 
 
 and as Teu, in Createur 
 
 and as Peu, in Peur. 
 
 That is, according to the Italian j>ronunciation in general. 
 
 ' Sec Buriiey"s Hist. Mus. vol. ii. p. 1(12.
 
 45 
 ON MUSIC— MELODY— HARMONY 
 
 =iEach of these three names has its own peculiar signification, although 
 in the license of popular language they are frequently confounded, that 
 is, used indiscriminately. 
 
 — Music is '•'■ sweet sound" the sound of song, or song-.sound (that is, 
 Pulmdnal) opposed to speech-sound (that is, Oral) '; and, in general, 
 implies whatever of practice, and whatever of theory, relates to the 
 study of "sweet sounds." Melody is the regulated succession or 
 sequency of "sweet sounds." And Harmony is their simultaneous 
 accordance or agreement — founded on laws in nature, and ascertidned 
 by the justness of the human ear. 
 
 Again : Music is the substance of Melody, and the subject of Har- 
 mony ; Melody is the use of Music, and the object of Harmony ; and 
 Harmony is respectively their rule and guide. 
 
 = In agreement with this distinction of the three relative terms. Music, 
 Melody, and Harmony, there are i\\xee genera, or kinds of series, in the 
 musical tones; namely, 
 
 1. The C/n'omatic series, or scales of twelve tones; 
 
 2. The jyiatonic series, or scales of seven tones ; and 
 
 .3. The Enharmo7iic series, or scales of three (or four) tones; which 
 latter tones when sung, or sounded, togetlicr, and not in succession, are 
 called cliords. 
 
 No^'e. — The Chromatic series, or scales, are in a state of succession 
 ascending and descendino-. 
 
 The Diatonic series, or scales, are in a state of succession major 
 and minor. And 
 
 The Enharmonic series, or chords, are concord and discord. 
 
 1 Pulmonal or musical sound corresponds with sentiment, or soul ; and Oral, or artioii- 
 Inte sound, has reference to intellect, or mind : hence, Music, or Song, conveys the Heart's 
 feeling-; and Speech, or Language, the Mind's intelligence. 
 
 G
 
 46 
 
 MUSIC MELODY HARMOVV 
 
 These are tlie radical properties or peculiarities of each kind of series 
 severally ; and they, furthermore, belong to the otliers, after the fol- 
 lowing manner : 
 
 1. All the Chromatic scales are ascending and descending ; 
 
 '2. All the Diatonic scales are ascending: and descendinff, and also 
 major and minor ; and 
 
 3. All the Enharmonic scales are ascending and descending, also 
 major and minor, and also concord and discord. 
 
 All these relative varieties in all the modes are about to be laid 
 before the musical student, by means of the names of the tones. 
 
 1. First will be exhibited all the Chromatic scales ascending and 
 descending ; 
 
 2. Next will be exhibited all the Diatonic scales ascending and 
 descending, major and minor: and, 
 
 3. Lastlv will be exhibited all the Enharmonic scales ascending and 
 descending, major and minor, concord and discord. 
 
 I. All the Chromatic Scales. 
 Asceridinor — and — Descendinor, 
 
 1 -2 3 4 5 6 7 6 9101112 
 
 1 
 
 1211109 S 7 6 5 4 3 2 1 
 
 AgedihJlc a tup 
 
 A 
 
 p 11 t c J2 b i d e g A 
 
 g e d i b J2 c t u p A 
 e d i h J2 c t u p A g 
 
 G 
 E 
 
 D 
 
 AputocJlbideg 
 
 gApiitocJ2bide 
 
 dihJlcotnpAge 
 
 egApHtocJ2bid 
 
 i b J2 c t n p A g e d 
 
 I 
 
 a e g A p u t c J2 b i 
 
 hJlcotupAgedi 
 
 B 
 
 i d e g A p u to c J2 b 
 
 Jl c tupAgedi b 
 
 J2 
 
 bidegAputocJl 
 
 CO t 11 p A g e d i b J2 
 
 C 
 
 Jl b id egAputoc 
 
 at u p A g e d i b J2 c 
 
 o 
 
 T 
 U 
 
 c J2 b i d e g A p It t 
 
 t u p A g e d i b J2 c o 
 
 c Jib i d e g A p u t 
 
 upAgedibJlcot 
 
 t ocJ2bidegApu 
 
 p A g e d i b .SI c o t u 
 
 P 
 
 u t c J2 b i d e g A p
 
 MUSIC — MELODY HARMONY. 
 
 47 
 
 II. All the Diatonic Scales. 
 
 Asceiulin 
 
 g 
 
 MAJOli. 
 
 — and - 
 
 DesceiidiniJ:. 
 
 f 
 1 3 
 
 5 
 
 G 
 
 8 
 
 10 
 
 12 
 
 1 
 
 ( 
 12 
 
 10 
 
 8 
 
 () 
 
 5 
 
 ) 
 3 1 
 
 A e 
 
 i 
 
 b 
 
 c 
 
 t 
 
 P 
 
 A \ p 
 
 t 
 
 c 
 
 b 
 
 i 
 
 e A 
 
 9 d 
 
 b 
 
 J2 
 
 
 
 u 
 
 A 
 
 G A 
 
 u 
 
 
 
 Jl 
 
 b 
 
 d g 
 
 e i 
 d b 
 
 Jl 
 c 
 
 c 
 
 
 
 t 
 
 u 
 
 P 
 A 
 
 9 
 e 
 
 E\ g 
 D\ e 
 
 p 
 
 A 
 
 t 
 u 
 
 c 
 
 
 
 J2 
 
 c 
 
 i e 
 b d 
 
 i Jl 
 
 b c 
 
 
 
 t 
 
 t 
 
 u 
 
 V 
 A 
 
 9 
 
 e 
 
 d 
 i 
 
 I 
 B 
 
 d 
 
 i 
 
 9 
 
 c 
 
 p 
 
 A 
 
 t 
 u 
 
 
 
 t 
 
 Jl i 
 
 c b 
 
 Jl 
 
 u 
 
 V 
 
 9 
 
 d 
 
 b 
 
 Jl 
 
 b 
 
 d 
 
 9 
 
 p 
 
 u 
 
 Jl 
 
 c t 
 
 p 
 
 A 
 
 e 
 
 i 
 
 Jl 
 
 C 
 
 Jl 
 
 i 
 
 e 
 
 A 
 
 p 
 
 t c 
 
 u 
 
 A 
 
 9 
 
 d 
 
 b 
 
 c 
 
 
 
 c 
 
 b 
 
 d 
 
 9 
 
 A 
 
 a 
 
 t p 
 
 9 
 
 e 
 
 i 
 
 Jl 
 
 
 
 T 
 
 
 
 Jl 
 
 i 
 
 e 
 
 9 
 
 P t 
 
 u A 
 
 e 
 
 d 
 
 b 
 
 c 
 
 t 
 
 U\ t 
 
 c 
 
 b 
 
 d 
 
 e 
 
 A u 
 
 V 9 
 
 d 
 
 i 
 
 J2 
 
 
 
 u 
 
 P u 
 
 
 
 Jl 
 
 i 
 
 d 
 
 9 P 
 
 MINOR. 
 
 
 Ascend 
 
 "g 
 
 
 — 
 
 and 
 
 — 
 
 
 Desce 
 
 riding. 
 
 1 
 1 3 
 
 4 
 
 6 
 
 8 
 
 9 
 
 1 
 12 
 
 1 
 
 f 
 
 u 
 
 y 
 
 8 
 
 6 
 
 4 
 
 3 1 
 
 A e 
 
 d 
 
 b 
 
 c 
 
 
 
 P 
 
 A 
 
 u 
 
 
 
 c 
 
 b 
 
 d 
 
 e A 
 
 9 d 
 
 i 
 
 Jl 
 
 
 
 t 
 
 A 
 
 G 
 
 P 
 
 t 
 
 
 
 Jl 
 
 i 
 
 d g 
 
 e i 
 
 b 
 
 c 
 
 t 
 
 u 
 
 9 
 
 E 
 
 A 
 
 u 
 
 t 
 
 c 
 
 b 
 
 i e 
 
 d b 
 
 Jl 
 
 
 
 u 
 
 p 
 
 e 
 
 D 
 
 9 
 
 p 
 
 u 
 
 
 
 Jl 
 
 b d 
 
 i Jl 
 
 c 
 
 t 
 
 p 
 
 a 
 
 d 
 
 I 
 
 e 
 
 A 
 
 p 
 
 t 
 
 c 
 
 Jl i 
 
 b c 
 
 
 
 u 
 
 A 
 
 9 
 
 i 
 
 B 
 
 d 
 
 9 
 
 A 
 
 u 
 
 
 
 c b 
 
 Jl 
 
 t 
 
 p 
 
 9 
 
 e 
 
 b 
 
 Jl 
 
 i 
 
 e 
 
 9 
 
 p 
 
 t 
 
 Jl 
 
 c t 
 
 u 
 
 A 
 
 e 
 
 d 
 
 Jl 
 
 C 
 
 b 
 
 d 
 
 e 
 
 A 
 
 u 
 
 t c 
 
 u 
 
 p 
 
 9 
 
 d 
 
 i 
 
 c 
 
 
 
 Jl 
 
 i 
 
 d 
 
 9 
 
 p 
 
 U 
 
 t p 
 
 A 
 
 e 
 
 i 
 
 b 
 
 
 
 T 
 
 c 
 
 b 
 
 i 
 
 e 
 
 A 
 
 p t 
 
 u A 
 
 9 
 
 d 
 
 b 
 
 Jl 
 
 t 
 
 U 
 
 
 
 Jl 
 
 b 
 
 d 
 
 9 
 
 A u 
 
 P 9 
 
 e 
 
 i 
 
 Jl 
 
 c 
 
 u 
 
 P \ t 
 
 c 
 
 Jl 
 
 i 
 
 e 
 
 9 P
 
 48 
 
 MLS If — MELODY — HARMONY. 
 
 III. All fhf Enfuirnioiiic Scales, or comnidn Chords 
 
 CONCORD. 
 
 
 MAJOR. 
 
 
 
 
 
 Ml NOT!. 
 
 
 Ascend 
 
 in^&D 
 
 esce 
 
 Midiiig-. 
 .3 1 
 
 Ascen 
 
 1in^& Descendinu;-. 
 
 r 
 1 5 
 
 8 
 
 1 
 
 8 
 
 l 
 
 4 
 
 8' 
 
 1 
 
 '8 
 
 4 l' 
 
 A i 
 
 c 
 
 A 
 
 c 
 
 I 
 
 A 
 
 A 
 
 d 
 
 c 
 
 A 
 
 c 
 
 d A 
 
 il ^> 
 
 o 
 
 <i 
 
 n 
 
 h 
 
 9 
 
 9 
 
 i 
 
 
 
 9 " 
 
 i 9 
 
 e .Q 
 
 f 
 
 1' 
 
 t 
 
 ,a 
 
 e 
 
 r 
 
 h 
 
 t 
 
 e t 
 
 b e 
 
 d c 
 
 n 
 
 d 
 
 11. 
 
 c 
 
 d 
 
 d 
 
 c/2 
 
 u 
 
 d \ u 
 
 J2 d 
 
 i o 
 
 P 
 
 7 
 
 P 
 
 (> 
 
 ? 
 
 i 
 
 c 
 
 p 
 
 I p 
 
 C I 
 
 b t 
 
 A 
 
 h 
 
 A 
 
 9 
 
 t 
 
 n 
 
 b 
 
 
 
 .a 
 
 : b 
 
 
 
 A 
 
 b \A 
 
 b 
 
 Jl u 
 
 9 
 
 Jl 
 
 </? 
 
 t 
 
 9 
 
 J2 cj 
 
 t J2 
 
 c p 
 
 e 
 
 C 
 
 c 
 
 V 
 
 r 
 
 C 
 
 n 
 
 r 
 
 c e 
 
 u c 
 
 A 
 
 d 
 
 
 
 d 
 
 A 
 
 
 
 
 
 P 
 
 d 
 
 o d 
 
 p 
 
 t 9 
 
 i 
 
 t 
 
 i 
 
 9 
 
 t 
 
 t 
 
 A 
 
 i 
 
 t i 
 
 A t 
 
 n e 
 
 h 
 
 u 
 
 b 
 
 e. 
 
 21 
 
 u 
 
 9 
 
 h 
 
 n \ b 
 
 9 ^t 
 
 p d 
 
 J2 
 
 p 
 
 J2 
 
 d 
 
 P 
 
 r 
 
 e 
 
 J2 
 
 p Jl 
 
 e p 
 
 DISCORD. 
 INI A JO It. 
 
 Ascendinir and De^^cendino- 
 1 5 8 121 1 
 
 12 8 5 1 
 
 A 
 
 9 
 e 
 d 
 i 
 b 
 
 I r 
 
 h o 
 
 r/2 t 
 
 c n 
 
 P 
 A 
 
 P 
 A 
 
 9 
 
 € 
 d 
 
 i 
 
 c 
 o 
 t 
 }f 
 
 P 
 A 
 
 i A 
 
 ^> 9 
 
 J2 e 
 
 c d 
 
 i 
 
 t b 
 
 MINOR. 
 
 Aseendintr and Descendinir. 
 
 1 4 8 12; 1 112 8 4 1 
 
 d c 
 i o 
 
 h f 
 
 P 
 A 
 
 P 
 A 
 
 c 
 
 
 t b 
 
 d A 
 
 i 9 
 
 d 
 
 rQ n 
 
 e 
 
 d 
 
 e 
 
 u 
 
 rO 
 
 d 
 
 i 
 
 ii b 
 
 c p 
 
 A 
 
 d 
 
 i 
 b 
 
 d 
 i 
 
 P 
 A 
 
 n 
 
 i 
 
 h 
 
 Jl n fj h r/1 
 
 c p e ,Q , c 
 
 A d c 
 
 t ij i o 
 
 i( e b t 
 
 p d tfl n 
 
 ^> 9 
 Jl c 
 
 c d 
 n i 
 t h e. 
 
 u Jl d 
 
 u .a Jl 
 
 p c c 
 
 A 
 
 9 
 
 (I b rfl 
 
 f rfl C 
 
 d c 
 ? o 
 h f 
 
 e Jl u 
 
 9 
 
 b 
 
 rD. <' 
 
 c d 
 
 o i 
 
 t b 
 
 t Jl 
 u c 
 n 
 t 
 9 '^ 
 
 P 
 A 
 
 u Jl e p 
 
 Note. — Hence, every common Chord has a literal Name, which may 
 be pronounced as a technical Word.
 
 ON THE NOTATION OF MUSIC. 
 
 aJ oCcJA^^TyOMA^j^^e^ /yy tyPgyrrveA^ . J^Ley f^4t£^/nj?t/y o)^ tyit^^^M^cet/ t^mrAiA/Tny 
 ( ny c^r^n/ni/rny ^^<J~ey /'y^myOcA^ ^AmJ y/iA-cix-e.oUd a4yx.c6<X4XyCoUy^ ayn^iO y^y, CHXaM^rna/' 
 
 yTn^Hjeyyt^roum^^i'^i^iyrnyy^yiJ ceyt^O-OTTyOj^ yrv<^ y^jgy ytCJx^/ (^ .^^.AyOOOiPff^^lynyOCayCy' 
 yC-n^/uMyiy^ ctyrvcC o6e/(yuieytezyL.OTiy . ^yvc^zyfiyi^-'^&.cty^^yf^ieytje^v^jey, uyteyy^ 
 
 ytyn/yiy^ yi'fy^/vCc/Ly Oytgy yCi-rUyty'-eylyhlyCC^ Oy^LCCy (/jeMyt'L^^xZ-iU, 0(n'nyi-/^-t'^'tey(X.' Os^j _ 
 
 yru^ yc^i'tp^e£cty <z^i ^^tz-cocA), ^f/t-c^ a^^ £^x.^^H^U'CyCA£j / cm^ ay>c<p^Ay?^ (?^^<x/A-oo/i' .■^■Tt^vny'u^ 
 
 yMx^-ty .^>ri^ynyct!^ M^-my ,.0)PCe-a^ ai cy^t'i/y^-^eytyt^ oyriy^ Umyi^y^^^T-ny; -/^.x^/U-ey^zy/ci^ /te^^ 
 yC'yrvo^z^tJnyy^y/' a^^^^/i^'nX''iy^ Oy-ny^ A^eyryi-<ocyny -/^-ty^jeyi-'^yt' ccy^-CiHyy't^-yS'Xy^y. 
 
 'SMygy a-Z-^^Oty^^ y/o- ^^^^^, ^A-CH-C^ytAeyiy, ^yCyi a^ y7Z-CC'^(yC^.^<iyC ^-ri^.CH-<y7^.£y?-Z'/ y-ru^ 
 
 y6i<^ .'myzynyy/-n£y /&^Ci^<^^ (^^.J^t^^y; aynyi^ a^ .^^L&cyy'^cyy -^^/p-^^'-ti^/^^ c^./njty' 
 /lyUyfvcyiyCeJ e^ty^luykyy, >y^Z£y>>tou,, ay?^^^ iyoaAy?ny:^7tyi/y^ «e^/i<«-<>^^i-«2.-i!x^ <Xy9'i.yy6^ 
 j^ieAyn^^^'iJ aJ , y>'m>tay^!y^y u^ yCCiie^A^. aJ ^/n^ci^ ^ /zAye-i^rUyy <?iy -^U^ay^Tzyyn-ii^^Ay. 
 cJf .yf-L£^/y- ayny^y y^-C'^9^y/iyU^f€e^ .t:fut^^eyy>^ c^ y/v-Z^oAyTru- ycJ yft<p-cc>- c^T'^te^-^ 
 eo^tzf^ ayC(^^?- ay c^rrn^z.^iyUyk?^iy yy7^<^yA^y/e^y y-^A^<^y^iy^^ ayrty:^- M^^7teym^^ 
 ylyrty C-e^T^^iymy^H^^ yyy)^ey^. 
 
 '^•^y^-^ y(y^^y^i<7^iyayny/y^ crVii£yiyiA^y^ y^^^^...a^,^ny y/n^- Cct^-ey c^ y/zCcJ cy'i^y-- 
 
 f^i^y^y^ yfie-cyn^ Oyci^y^^^i^-Zec^j ^/^ ^Aoyr^y^^ c^ Oy^ y/'yvc-uk^ one-/ c'/' 
 
 yrn£y,j^^yi£j^ykz/^^Ji^y^^yC^'i,^y/T^^ (^?t£y\^,ccH^ <?^>c.<:iyky{^yy!y y>'i.^aytU^y/- 
 
 MyyAy<:^t■€-^^y^'^^iay?^y^ _,£ytM-ty c/4Ct-^ y/oy/ieyny ^^ ,A^<:iyn.<f^^^V€^tU^-o^.. myy^ck^' 
 f^U:>79i^' (pyz^.-^ceyj^, (?±y -yyi^-g^ , x-^r^i^^- ay?^..^:rM,eA^^ y/o- ,sUc<y/^ y/fie.y y^X^-zC c^ 
 ^VfZyt/t^:'CCyC<xyiy ^^y?t.^^^/tfyOyf^z^/t^/^ (fiy' --z/v-uieJ . 
 
 ,jityiy/^AMyf?t^tey, y/^ -^^W-.^^^^^^^?^ '^yn£-M^ I^Uy/^u^ c^ 'Tlyp^'yZy/ie^Tty 
 y(yflyt'^<^C^'^ o/^,yr!jey:e.J(^^ynyy C£yi.-/a.^y?^y dy^^^^eyta^Ay^frtJ ^ <yny ceyly/iZ.iyny<y^zjA.ccymyey/7yi4 
 (^ ty4t€^-c^ ^^^^i^ify^^c^^ccyyoAy^ y{ynyy//l£y (^IctytAy (f^ru/^ <:yLkyt<fit^.cy4,<ytyZ- (yty 
 
 /ia.y?z^ J&±y/^y t^,yuyAiyiAy y^/f^eyty^ ^J^,Ji!4^yrri£yy^ 
 
 fzn-e6'^-c-'ny c^TT^T-zy^ri^Tzy^^J-ey;, a,^ e^J^yUy^^(rn -- ct-^yc/- ,teAyte4^y7^A^y/iim.y ^rf^ 
 
 //i&de^- ayC^^tay/c€>-nJ y(yny ^^c^ aA-t,' i^y^Ut?-- y/-zy?*c^AUJ-e'n^^^^-i^-.yi^-£yyix^t^^
 
 JO. 
 
 THE PHONODION 
 
 NEW METHOD OF MUSICAL NOTATION 
 
 Ap-.t'cl .Id. 
 
 Jic^Of^Op. 
 
 rHE 
 
 nire4: Sccil&s, or Clc/s, and- tJhc ''J^7w?i^diorv^I\^ano.Fort€' /T^boaTrZ-. 
 
 BASS 
 
 TCNOR 
 
 T/t£BL£ 
 
 PHO.VOO/0/V 
 P/ANO-rO/fT£ . 
 
 5 1'ly y yjy y wi y y yjk y Wft y yjy y uit 
 
 Ijl^ ou^EiJXOu^ e\i JX u ^\e I Jl 
 
 o 
 
 u 
 
 * E i\a 
 
 03S£ffl^£. 

 
 Ji. 
 
 THE 
 PHONODION PIANO -FORTE AND THE COMMON PIANOFORTE 
 K EYBOARDS COMPARED, 
 
 THE COMMON P/ANO-rORTE HEYBOAffO. 
 
 Cft.J}/t.F/t.(r/f.AJt. dt.Dft.Fif.e^.Aff. Cff.Dff .FK.Cr^.AH ^ Of .Bff .Fif.G».Afi.m 
 
 Di>.F^ 
 
 &I> .Al,.B^ 
 
 Da .Ei> 
 
 &f> A.iBJ> 
 
 TinriirTrwir 
 
 Fo- SoklXsi m Se. M Fa SoIUcdSh ^i IkUfv Fa- Sol FaUv Ut 2fJjF.F 
 
 F g-\a\b c d f: f &\a\b c i)\i: f g- a\b c J)\^e i 
 
 B^ F/, 
 
 (^i Ai.Bh 
 
 Bi> .Fi> 
 
 (}i> .Al>Bh 
 
 TME PHONO O/O/V P/AHO FOPrE HEYBQARO. 
 
 ly y yik a y'y y y|y y ^^ y yiy y jy ^^i ^^ $ m 
 
 ji o\u t E i\a\o u^ E i\jx o\l'^ e\i\j}\^o\17\^\^:\i\A^ 
 
 DESCRIPTION 
 
 cr^7t^ (zC^€A.a^,^<r?z. (^ rA£^ 
 
 
 
 
 y-c^^lMyHca^ei/y y/A.£y o^ZcLytA^kyC-A^c^/y. 
 
 ^ . ryAjo eUf^^'UynyC£y A-eyAiAe^yny y/n£y -^ioyrve^-c^^^iyAi- /Xyrt/^ -i^Aey- O'Zriyty/iek-CyA.^f.yC^- 
 
 A^^Oy/e^ ,y^ -/Ayey' y^y-nJ^'iynyay^ 9yLje-c/t'ayn.-cJ'^/Zy (^ ■/Aj'y y(^-ny^'t^^7^^-£y^Z'A o^^
 
 6. J^x A4z,t/ic*c^'t^ c^jf^te^n-ctJ je^icc^-^t/rr^ ,^^ ka^- 
 
 a-tc-tt^ix^^ /"u zA^tf^ €t-rui6^.^y, tyrJAjeje^ y ^c^yc^yty ^jey -iCiC<77t.<?oCce^?v ^fy^cayrw-- 
 (j. -^v .'^^ /^^r^TV^rrt^r^^y /eyxyrt^- '.J(H^ , /A^eAjc^ tzA^^ ^^^et^^'TV - ^pry^ -^s^u^, {VTveC' I 
 ^iZ/9t^- t.^t^, ^^te a^tc- .<>c-Ji> ^e^TZ^. .^-^^ a.^t^ 4sfia> ^tfA^H^^^e^LfJ -e-n^jea^gyty,^ 
 
 ^s^ ??va.y^ ^ ^^rt^^tu^^ yei^c/n^- C£^£t£^ ^'t^t>t^ , c^ ^'Vt€4^^ yutAy^^ci^^^a^ty' Kt^ *tva.u, \ 
 .^e^ cii^h/t^rt^^ccJnj[<L^ ^"U .c^ iH'C^t- CC'/J-i^a./ /t.ay>?i£ y i^Tt^^-cfO', e^jt^^^^yu^ <rfte^tr^y^^ 
 
 M. ^^u «. ffzA-ce^ e^ ^i^frv t-cn-cc^ ^^A^t'^- cc/riJt'CJ^^^t- /^.^^^.^^tyfrte^ ^-n/SL^. 
 €t^ X'ny.-mX'- C^'^fV'rrvcrrv- f^!a^rvc--K^^'t^/^^ -Anje^ .tH'Oi^ceyri.^yiy. i^-.^^'^J ,^yn^JC^'.e^/^^■'e^o(lL-
 
 THE PHONODION 
 
 NEW METHOD OF MUSICAL NOTATION 
 
 ,^S 
 
 
 
 f— fM 
 
 f** 
 
 1 u ^'! l> It 
 
 ^ i*, b k 1 F— r 
 
 -Hi 
 
 
 — M 
 
 J. 
 
 [ „ Ji.J 
 
 4- 
 
 J. S. 7. 
 
 THE USUAL 
 TREBLE CLEF 
 
 
 SJiarp'S S'latJ Mitarals F 
 
 : 1 1 1 ^ 
 
 & A 
 
 - — hil hi" 
 
 Cf"" 
 
 ^ f DM 
 
 Fp 1 p 1 FH mi 
 
 
 \4^ 
 
 -^- 1 1 h-J— 
 
 1 t-^M 1— ^ 
 
 
 rill hH hH! 
 
 THE PHOHOOION 
 TAEBLE, TEA/ Off, 
 Of) BASS CLEF. 
 
 
 
 
 / 
 
 9 
 
 A'. 
 
 L 
 
 J. 
 
 — H 
 
 ^ 
 
 \=^ 
 
 7 
 
 s. 9. /o. a /- 
 
 
 
 
 1 ' \\ 
 
 ^ 
 -f 
 
 . e- 
 
 — el-^ 
 
 • 
 
 __^ 
 
 ,n. 
 
 i 1 ' ^^1-^^=^ 
 
 BASS CLEF. I: 
 
 Sharps ITato' Ji'dturdls ^cu Sol Xa^ Si L't Jtc J'to 
 
 (^t^: /. t^t-''M£^ ./^^UM^ ■?ne'//vor/ (f \4'<;^.-/i.'(my^ ./'n^\^4u-^<:)occc^-' tJc'-rijeJ /■'■e^y'n^- 
 /ne-Zn^-e^, /n-ey C^A^OTruc-ZiyCy ^lieA'CeJ ,^M4^n^ c-AMriM^-, //k^ ,ikiy^ ca/n^if^^zt^ Myet^iyUy 
 
 /o7^^ c-n. je^cy^i^t^ J-eyi^-^/ ,^yn^eyte/xJ c-tzy y/n-^- yfyfrn-i^tPU^n^^ " y^^z.^/^n.^fif^ 
 
 <a.ceJ 
 
 C^^.- Jy. ^J^zy /n-ey f^^^coaf ym^/nzn/'' f /lyr/a.'i'^xrrt -//t-e.' C<?iy^<fiy797,(/xy?t^,, 
 y/^-roeJ ef- //ve^ J-e^^/^ytccf cf^f^ yA^ayl^^ i/^^^^^tey^^yr^ ^^ny^^f^y/co^f^'' ftZ-O-X'^ 
 {^■?^y y^H^. y6n4x.^/f^: x^^n-eyt^^aJ^ ,C'n.x y/9ie^ ' ^>^^'iy?-?z-<?-€t'<y(^n y ' yfn^c-^^UHty/n^^^ 
 oAyCy J^'-f^iy^'Caytfu J^y^tcicy/MC-: y/n.^ ^^cayytJ oy/^ y/7^'€y,ytxe^,^ynyruyny0y if^fn^ 
 f-^iz^^ y^~e-<yti^ a/xxy/e^- y^yt/fie^^yriy/^ /er c6<J^iyn.<fc<xJ-/t '^^ c-C€ff .
 
 THE ROYAL ANTHEM, wmrrwTiu 
 
 IN THE. OLD ASD NEW STYL£ | 
 
 SAMFi 
 
 ^.D.16'SS. 
 
 iF*^ 
 
 1 
 f 
 
 s#^ 
 
 — i— 
 
 i- 
 
 i J =i 
 
 \v-^ ^ 
 
 Xon^ 
 
 f 
 
 awr 
 
 1 
 
 p 
 
 3^ -^TT^. 
 
 ^ • 
 
 
 J 
 
 1 
 
 r 
 
 1 F 
 
 r ' 1 
 
 KERSi: n. 
 
 Oljord- -ovLr GoaL ojrut. 
 Scat6tr ?cus en^envic^, 
 -JyvcL rruxJe^ thcnL fhll: 
 
 iht thee otv Tiopcj Hc /uz:^ 
 More. JL^ c«^y-f^^4^.^^*^ crm/,^^u£.^ ^^^^^^^ f-l^j,.n^ /e.- de^fce-ru^,^^
 
 -cUU^f "COD SAVE THE KING'.' 
 - MUS/C COMPARED . 
 
 JJ 
 
 (\ — ^nt 1 
 
 1 
 
 
 ^.B 
 
 .1S39. 
 
 fs 
 
 1 
 
 
 
 
 
 
 Xi i J - 
 
 
 4 5 1 
 
 ^^ d ^ — 1 
 
 -,( ■[ 1 
 
 SitJ'e- 
 
 - 
 
 to ^ rn, . 
 
 1 1» 
 
 : ^ 
 
 
 6i J r 1 
 
 
 I r- 1 ^=A 
 
 \ 
 
 
 
 
 ^ 
 
 t 
 
 
 1 
 
 \\r\ J 
 
 ==i= 
 
 i , 
 
 1 
 
 J 
 
 1 
 
 
 
 - — -m 
 
 Uve 
 
 F 
 
 • 
 
 r ' 
 
 to 
 
 r - 
 
 : — ^- 
 
 "^ 
 
 J 
 
 
 -4^ 
 
 
 1 
 
 1 1 — 
 
 . k. 
 
 1 
 
 -^=^ 
 
 VERSE n. 
 
 OliOrdy, oizf God' an^C' 
 CoTwert ovit' en£^ra^, 
 7(a^,sc thcm^ that faZL: 
 Jlxtervd auz- politico 
 JCiJte- Mrf trrj^. C(it:ho7£o9,
 
 f6 
 
 A MELODY 
 
 PHONODION - HARMONICON^ 
 
 Ic. Cp 
 
 
 
 £/VD or rH€ P//OA/OD/0/i .
 
 PHONARTHRA 
 A N G L I C A - G A L L I C A. 
 
 AN 
 APPLICATION OF THE PHONARTHRON 
 
 TO 
 
 "ENGLISH" AND FRENCH 
 PRONUNCIATION. 
 
 Extera quid quaerat, sua qui vernacula nescit ? 
 
 H
 
 ADVERTISEMENT. 
 
 The Author of the " Phonarthra" Anglica-GalHca does not pretend to 
 impart, through the medium of a book, that perfection or proficiency in 
 native accent^ which can only be acquired by a correct ear^ and the 
 habit of good society in either France or England ; all that he under- 
 takes to afford is, the aid of an infallible guide to a pronunciation of 
 French and English, so true and right, as cannot but be fully intelligible 
 to those who hear the pronunciation uttered. 
 
 h2
 
 INDEX OF CONTENTS. 
 
 PAGE 
 
 I. The English or French Alphabet 61 
 
 II. Remarks upon the Alphabet • » 63 
 
 III. The Enghsh and French Sounds 65 
 
 IV. The English and French Sounds, or Orthoepic Letters, illustrated in 
 
 words where they occur 68 
 
 V. The two sorts of Syllables, in Alphabetic series 70 
 
 =English and French examples in Orthography and Orthoepy. 
 
 VI. The Names of Numbers 72 
 
 VII. The Names of Times and Seasons 74 
 
 VIII. A few short Sentences 76 
 
 IX. Anecdote of a Heathen Prince and some Primitive Christians 78 
 
 X. The Bhnd Poet's Address to the Light — Remarks 82 
 
 XL The Prayer of our Lord 94 
 
 XII. Alliterative Curiosity in both the French and EngUsh Tongues 92
 
 61 
 
 THE ENGLISH OR FRENCH ALPHABET; 
 
 THAT IS, 
 
 THE ORTHO-GRAPHIC LETTERS. 
 
 Numeral 
 
 Roman 
 
 Phonarthric 
 
 French 
 
 English 
 
 Order. 
 
 Character. 
 
 Name. 
 
 Name. 
 
 Name. 
 
 1 
 
 A . a 
 
 A . a 
 
 A . a 
 
 E . e 
 
 2 
 
 B . b 
 
 B^ 
 
 Be 
 
 Bi 
 
 3 
 
 C . c 
 
 a 
 
 Se 
 
 Si 
 
 4 
 
 D . d 
 
 D^ 
 
 De 
 
 Di 
 
 5 
 
 E . e 
 
 E . e 
 
 E . e 
 
 I . i 
 
 6 
 
 F . f 
 
 Ph^ 
 
 Eph 
 
 Eph 
 
 7 
 
 G . S 
 
 G9. 
 
 Zhe 
 
 Dzhi 
 
 8 
 
 H . h 
 
 m 
 
 Ash 
 
 Etsh 
 
 9 
 
 I . i 
 
 I . I 
 
 I . i 
 
 Ai . ai 
 
 10 
 
 J • J 
 
 J* 
 
 Zhi 
 
 Dzhe 
 
 11 
 
 K . k 
 
 a 
 
 Ca 
 
 Ce 
 
 12 
 
 L . 1 
 
 u 
 
 El 
 
 El 
 
 13 
 
 M . m 
 
 M^ 
 
 Em 
 
 Em 
 
 14 
 
 N . n 
 
 N^ 
 
 En 
 
 En 
 
 15 
 
 O . o 
 
 . 
 
 O . o 
 
 O . o 
 
 16 
 
 V . p 
 
 P.- 
 
 Pe 
 
 Pi 
 
 17 
 
 Q . q 
 
 Cu 
 
 Cu 
 
 Cju 
 
 18 
 
 R . r 
 
 K^ 
 
 Er 
 
 Ar 
 
 19 
 
 S . s 
 
 Sr. 
 
 Es 
 
 Es 
 
 20 
 
 T . t 
 
 T^ 
 
 Te 
 
 Ti 
 
 21 
 
 U . u 
 
 U . u 
 
 I'J . u 
 
 Ju . ju 
 
 22 
 
 V . V 
 
 V^ 
 
 Bhe 
 
 Bhi 
 
 23 
 
 W . W 
 
 Vu 
 
 Double Bhe 
 
 Double Ju 
 
 24 
 
 X . X 
 
 Cs^ 
 
 Ics 
 
 Ecs 
 
 25 
 
 Y . y 
 
 Vi 
 
 I-grec 
 
 Vai 
 
 26 
 
 Z . z 
 
 Zs. 
 
 Zed 
 
 Zed
 
 6-2 
 
 THE ENGLISH OR FRENCH ALPHABETS. 
 
 Tlie Alphabet otherwise arranged, according to the organic analogies, 
 excepting the Five Vowels. 
 
 Palatals 
 
 C.c 
 
 K.k,Q.q;X.x H.h,J.j G.g Palatals. 
 
 Linguals 
 
 T.t 
 
 S . s L . r N . n 
 
 i 
 
 R.r 
 
 1 
 Z . z D . d Linguals. 
 
 Labials 
 
 P.p 
 
 Y . y : W. w ' M . m 
 
 F.f 
 
 V . V B . b Labials.
 
 63 
 
 REMARKS ON THE ALPHABET. 
 
 I. The word Alphabet is composed of the names of the two first 
 letters of the Greek Alphabet, Alpha-Beta ; which names are them- 
 selves derived from the names of the two first letters of the more 
 ancient Hebrew Alphabet, Aleph-Beth. 
 
 \\. The Alphabet is a list, or catalogue of the letters, signs, or cha- 
 racters used to represent the sounds of speech. 
 
 in. The real number of the sounds, however, is by no means repre- 
 sented by the actual number of the alphabetic signs or letters; several 
 of the letters being redundant, or duplicate signs of the same sound, and 
 several of the sounds having no express letters to signify them at all ; 
 hence — 
 
 IV. The Orthography (or correct writing) of a language, and the 
 Orthoepy (or correct pronunciation) of a language, do not always 
 correspond ; that is, the Orthography does not exactly represent the 
 Orthoepy \ 
 
 V. It is, therefore, a desideratum in every language, that, independ- 
 ently of the orthographic letters of the Alphabet, the definite nimiherof 
 sounds discoverable, be discovered, and noted by their own pecidiar 
 signs or letters, which shall invariable/ represent them only, for the pur- 
 pose of explaining, by their means, the Orthoepy (or true pronunci- 
 ation) of words written in the standard, but inadequate, redundant, and 
 variable letters of the alphabet. 
 
 VI. This desideratum, therefore, being achieved, in behalf of the 
 English and French languages, is now presented in the following table 
 
 ' The words Ortlwgrapliy and Orthurp// arc derived from the Greek words OgOog — rightj 
 Vpatput — to write or engrave, and Ettw — to say or speak.
 
 {S4 UEMAUKS ON THE ALPHABET. 
 
 of the " English and French i>ounds." or " Orthoepic Letters," which 
 shows, that, whereas the letters of the Alphabet are ticenty-six in num- 
 ber (including all redundants) ; the simple original sounds utterable and 
 discoverable amount to thirty (two) in English, and to ticenty-eight in 
 French, besides several pai'ticular variations, imitations, and com- 
 binations of simple sounds, which liave been mistaken for additional 
 distinct simple sounds.
 
 65 
 
 THE ENGLISH AND FRENCH SOUNDS; 
 
 THE ORTHOEPIC LETTERS. 
 
 Palata 
 
 S. 
 
 Lingual 
 
 s. 
 
 Labials. 
 
 A . 
 
 a 
 
 3 
 
 
 9- 
 
 J2 
 
 fr 
 
 E . 
 
 e 
 
 R 
 
 
 r 
 
 
 
 
 
 I . 
 
 i 
 
 L 
 
 
 I 
 
 U 
 
 It 
 
 J . 
 
 '{ 
 
 S 
 
 z 
 
 
 s 
 
 z 
 
 }■' 
 
 V 
 
 H . 
 
 '{ 
 
 Sh 
 
 Zh 
 
 
 sh 
 zh 
 
 j Vh 
 
 vh 
 
 C . 
 
 c 
 
 T 
 
 
 t 
 
 p 
 
 • P 
 
 G . 
 
 y 
 
 D 
 
 
 d 
 
 B 
 
 . b 
 
 -Ch . 
 _Gh . 
 
 ch-| 
 
 Th 
 
 
 th 
 
 Ph 
 
 . ph^ i.e. F . f 
 
 Dh 
 
 
 dh 
 
 Bh 
 
 . bh 
 
 ^ . 
 
 n 
 
 N 
 
 
 n 
 
 M 
 
 . m 
 
 10 
 
 12 
 
 1 
 
 10 
 
 
 
 
 32 
 
 
 
 
 L Thus there are Jive letters in the Alphabet which are redundant ; 
 namely, K, Q (which have the sound of C), X (which stands for cs^ 
 OTffz), and Y, W (which sometimes signify J, F, and sometimes 
 
 II. On the other hand there are ticelve sounds noted in the above 
 table, which (with one exception, viz. Ph . ph, i. e. F . f) are not 
 numbered in the Alphabet ; namely.
 
 66 
 
 THE ENGLISH AND FRENCH SOUND:: 
 
 -Ch 
 
 clJ 
 
 Dh 
 
 dh 
 
 Bh 
 
 bh 
 
 Th 
 
 th 
 
 Ph 
 J2 
 
 ph 
 fr 
 
 3 
 
 &■ 
 
 Zh 
 
 . zh 
 
 JJ 
 
 '; 
 
 Sh 
 
 . sh 
 
 III . 
 
 rh 
 
 [Gh and Cli] indeed have no actual existence in modern French or 
 Eno-Hsh : but on account of their ancient use. and visible remains in the 
 Orthoo-raphy, they are put in their places in the table. Again : Dh and 
 27i are not French, but only English sounds. And further: ^ in 
 French, is really the Jjh in the Phonarthron ; but this distinction is not 
 worth noting, and this observation is sufficient to point out the usual 
 practical difference of .o . r/m the two languages.
 
 THE ENGLISH AND FRENCH SOUNDS, 
 
 OR 
 
 ORTHOEPIC LETTERS, 
 
 ILLUSTRATED IN WORDS WHERE THEY OCCUR. 
 
 i2
 
 68 
 
 THE ENGLISH AND FRENCH SOUNDS, OR ORTHOEPIC 
 
 ENGLISH EXAMPLES. 
 
 Grave and Impure Sounds. 
 
 Pure and Acute Sounds. 
 
 
 J . d 
 
 =. a, in harm .Jather 
 
 a 
 
 =: a, in man . marry 
 
 
 E .e' 
 
 •=. e, in great . iccight 
 
 e 
 
 zzL e, in crest . merry 
 
 , 
 
 I .1 
 
 =. i, in sliield . priest 
 
 i 
 
 =. i, in print . chilly 
 
 
 J -J 
 
 ■=. {, in view. =:J, in Hallelujah 
 
 J 
 
 zz e, in fete, peic, Teutonic 
 
 ."^ 
 
 H .h 
 
 ziz h, in hero . Hungary 
 
 h 
 
 = h, in hate . hatchet 
 
 ^ 
 
 G .g 
 
 ZH g, in game . heggar 
 
 c 
 
 zz c, in catie . tobacco 
 
 
 iGh.gh 
 
 = gh^ in ghost . nighf] 
 
 Ich 
 
 zz ch, in chasm . yachf] 
 
 
 J5 . r] 
 
 = n, in a7iger .finger 
 
 n 
 
 zz. n, in rank . a?ichor 
 
 
 ^3 .; 
 
 re, in Aerd . ro, iiiword-i ] 
 
 L'. in bird . \_u, in curd J 
 
 r 
 
 =. 0, in love . =. u, in cup ^ 
 
 
 B .r 
 
 =: r, in grain . negro ^ 
 
 r 
 
 =. r, in crust . accrue ^ 
 
 X 
 
 L .1 
 
 ■=. I, in blind . sable ^ 
 
 I 
 
 = I, in pla7it . simple ^ 
 
 3 
 
 Z .z 
 
 =: z, in zone . razor 
 
 s 
 
 ■=. s, in sun . glossy 
 
 Cjj 
 
 Zh . zh 
 
 = z, in azure . =z 5, in pleasure 
 
 sh 
 
 =: sh, in ship . marshy 
 
 ^ 
 
 D . d 
 
 = d, in danger . ladder 
 
 t 
 
 = f, in taste . battle 
 
 
 Dh.dh 
 
 =. th, in father . breathe 
 
 th 
 
 zz th, in author . breath 
 
 
 N .n 
 
 z= n, in sun, icindow 
 
 n 
 
 IT n, in pan . ploify 
 
 
 ^Jl . n- 
 
 = a, in hall, m o, in bog 
 
 lY 
 
 zz a, in watch . zz o, in rock 
 
 
 .3 
 
 zz 0, in home . stone 
 
 6 
 
 zz 0, in obey . romance 
 
 
 U .u 
 
 = u, in truth . =z oo, in goose 
 
 u 
 
 ■= u, in bull . =z 0, in icolf 
 
 
 V .V 
 
 zz w, in 2car . dwarf 
 
 V 
 
 zz tv, in tceep . sweep 
 
 
 Vh . vh 
 
 ■=. ich, in u-hale . icherry 
 
 vh 
 
 zz ich, in wheat . ichistle 
 
 B .b 
 
 — b, in bag . rabbit 
 
 P 
 
 = p, in peace . rapid 
 
 
 Bh. Ih 
 
 =i: u, in veil . wave 
 
 ph 
 
 =. f, in fame, zz ph, in phantom 
 
 
 M . m 
 
 zz m, in mind . lame 
 
 m 
 
 ZH m, in might . champion 
 
 O . a- . This sound is the same as that described in French as ["e muet"~\ the mute e, when 
 sounded as in the words je, me, le, te, se, &c. See the " Phonarthron," Examples and Explanations, 
 Second Table — the Halitals. 
 
 » Neither the English nor the French pronounce the R . r final, nor do the French pronounce the 
 L . I final, as they ought, or as they think to do, but the French pronounce them both as Halitals 
 (aspirates) ; and the English pronounce 9- instead of r — thus : 
 Th fo^'-f. oc/ire, in English, ^ are really f" not o^-r, oe^-r, r but o^-*, oc-*. 
 
 < ordre, centre, in French, > and usually ^ not rrrd-r, srrrjt-r, < hut fTrd-rJi, sfrr^t-rh. 
 \^Bible,'boucle, in French, J pronounced [not Bib-l, biic-l, L but B'lb-lh, bitc-lh. 
 Note. That in some syllables the vowel sound is so obscure, or doubtful, as not to require thegrare 
 or acute sign of distinction at all.
 
 69 
 
 LETTERS, ILLUSTRATED IN WORDS WHERE THEY OCCUR. 
 
 FRENCH EXAMPLES. 
 
 Grave and Impure Sounds. 
 
 Pure and Acute Sounds. 
 
 
 A . a 
 
 =■ a, in cime . cable 
 
 a 
 
 zz a, in ami . 7nari 
 
 
 E .i 
 
 =. c, \nftfe. = oi, m foible 
 
 e 
 
 zz e, in bonte .festi7i 
 
 rJi 
 
 I . { 
 
 := i, in gite . cerise 
 
 i 
 
 zz i, in colibri . birihi 
 
 s 
 
 J 'J 
 
 = 2, in vieu , adieu 
 
 J 
 
 zz i, in Jier . pied . siecle 
 
 n"^ 
 
 H .h 
 
 := h, in heros . Hongroie 
 
 h 
 
 — h, in hache , hachette 
 
 
 G .rj 
 
 =: g, m gand . bagatelle 
 
 c 
 
 = c, in colere . saccade 
 
 
 iGh. gh 
 
 — -] 
 
 
 -^ 
 
 = n, in pla7i . = 7ig, in rang 
 
 - — J 
 
 = n, in Jin . zz nc, in ba7ic 
 
 
 9 .B. 
 
 ^ eu, in beurre . creuse * 
 
 I 
 
 = eu, in feu . peuplier'^ 
 
 
 R .r 
 
 = ?', in grai7i . negre (rh) 
 
 r 
 
 '=. r, in cri7i . sucre (rh) 
 
 r/j 
 
 L .1 
 
 = /, in blond . sable (Ih) 
 
 I 
 
 zi /, iwjla77ime . nefle (lli) 
 
 2 
 5; 
 
 ^ . z 
 
 ■=. z, \n zero . ziza7ue 
 
 s 
 
 = 5, in sahd .jcunesse 
 
 Zh . zh 
 
 := j, in Jour . = g, in rouge 
 
 sh 
 
 '=. cli, in chai7ie . hache 
 
 '^ 
 
 D .d 
 
 := d, in da7iger . 7'ideau 
 
 t 
 
 zz t, in tete . bateau 
 
 
 IDh. dh 
 
 N .71 
 
 __ -] 
 
 [th 
 
 71 
 
 = — ] 
 
 = 71, in can7ie-tille 
 
 
 =: 71, in ca7i7ie-berge 
 
 
 ' J2.^ 
 
 = 0, in mort . mordre 
 
 
 :=. a, in banc . banque 
 
 
 .6 
 
 =z 0, in role . rosier 
 
 6 
 
 zz 0, in loto . do7nino 
 
 
 U .tl 
 
 -=. ou, in voide . pelouse ' 
 
 u 
 
 zz ou, in joujou . vouloir 
 
 rt 
 
 V .V 
 
 zz oi, in 7'oi , bois ' 
 
 V 
 
 zz ou, in fouet .fouetter 
 
 ■A 
 
 Vh . vh 
 
 =: hou, in houari^ 
 
 vh 
 
 =■ hou, ir) houache or houage 
 
 B . h 
 
 zz b, in bague . rabbin 
 
 p 
 
 zz p, in paix . lapin 
 
 
 Bh. bh 
 
 ZH y, in voile . laver 
 
 ph 
 
 zzf, infa7itaisie . zz ph, inphrase 
 
 i 
 
 M . m 
 
 ■=. m, in r7iamelouc . baume 
 
 771 
 
 ■=. 771, in pommette . pomme. 
 
 ' In addition to the general sounds of 3 , U, V, Vh, tliere are variations from them in French, 
 which are effected by an extreme contraction of the mouth or lips in enouncing them : thus — 
 
 ■^■(Z . M = M, in the French words pure, flute — and in the Suffolk and Norfolk English words 
 
 two, truth, &c. 
 '^V . V ■=z u, in the French words puis, suite, &c. 
 ^Fh . I'h = hu, in the French words huit,huee, &c. 
 A tendency to mince, contract, and be very perspicuous, is, indeed, characteristic of French pro- 
 nunciation, as an opposite tendency (to be inexact and careless) is characteristically English. Still, 
 however, these sounds are so much contracted, as to be distinct sounds and actual imitations. See the 
 " Phonarthron," Explanation of the Plionarthron Tablet.
 
 70 
 
 THE TWO KINDS OF SYLLABLES, PULMONIC AND 
 
 
 THE 
 
 PULMO-VIC 
 
 SYLLABLES. 
 
 
 Ba 
 
 be 
 
 hi 
 
 ho 
 
 bu 
 
 Ca 
 
 ce 
 
 ci 
 
 CO 
 
 cu 
 
 Da 
 
 de 
 
 di 
 
 do 
 
 du 
 
 Fa 
 
 fi 
 
 fi 
 
 fo 
 
 A 
 
 Ga 
 
 9^ 
 
 9^ 
 
 90 
 
 9^ 
 
 Ha 
 
 he 
 
 hi 
 
 ho 
 
 hu 
 
 Ja 
 
 > 
 
 ji 
 
 > 
 
 > 
 
 Ka 
 
 he 
 
 ki 
 
 ko 
 
 ku 
 
 La 
 
 le 
 
 U 
 
 lo 
 
 lu 
 
 Ma 
 
 me 
 
 mi 
 
 mo 
 
 mu 
 
 Xa 
 
 ne 
 
 ni 
 
 no 
 
 nu 
 
 Pa 
 
 pe 
 
 pi 
 
 pa 
 
 pu 
 
 Ra 
 
 re 
 
 ri 
 
 ro 
 
 ru 
 
 Sa 
 
 se 
 
 si 
 
 so 
 
 su 
 
 Ta 
 
 te 
 
 ti 
 
 to 
 
 tu 
 
 Fa 
 
 ve 
 
 vi 
 
 vo 
 
 vu 
 
 JVa 
 
 ice 
 
 ici 
 
 too 
 
 ton 
 
 Ya 
 
 y^ 
 
 yi 
 
 yo 
 
 y" 
 
 Za 
 
 ze 
 
 zi 
 
 zo 
 
 zu
 
 71 
 
 ORIC, EXEMPLIFIED, IN ALPHABETIC SERIES. 
 
 
 
 THE ORIC SYLLABLES 
 
 • 
 
 
 Ab 
 
 eh 
 
 ib 
 
 oh 
 
 uh 
 
 Ac 
 
 ec 
 
 ic 
 
 oc 
 
 uc 
 
 Ad 
 
 ed 
 
 id 
 
 od 
 
 ud 
 
 Af 
 
 rf 
 
 if 
 
 of 
 
 yf 
 
 ^9 
 
 ^9 
 
 ^9 
 
 09 
 
 ug 
 
 Ah 
 
 eh 
 
 ih 
 
 oh 
 
 uh 
 
 Ax 
 
 ex 
 
 ix 
 
 ox 
 
 ux 
 
 Aq 
 
 eq 
 
 iq 
 
 oq 
 
 uq 
 
 Al 
 
 el 
 
 il 
 
 ol 
 
 ul 
 
 Am 
 
 em 
 
 im 
 
 om 
 
 um 
 
 An 
 
 en 
 
 in 
 
 on 
 
 un 
 
 Ap 
 
 ep 
 
 ip 
 
 op 
 
 up 
 
 Ar 
 
 er 
 
 ir 
 
 or 
 
 ur 
 
 As 
 
 es 
 
 is 
 
 OS 
 
 us 
 
 At 
 
 et 
 
 it 
 
 at 
 
 ut 
 
 Av 
 
 ev 
 
 iv 
 
 OV 
 
 uv 
 
 Aw 
 
 ew 
 
 iw 
 
 ow 
 
 mo 
 
 Ay 
 
 ey 
 
 iy 
 
 oy 
 
 uy 
 
 Az 
 
 ez 
 
 iz 
 
 oz 
 
 uz
 
 72 
 
 THE NAMES OF NUMBERS. 
 
 
 ENGLISH WORDS 
 
 
 FRENCH WORDS 
 
 AND 
 
 THEIR PRONUNCIATION. 
 
 AND 
 
 1 
 
 THEIR PRONUNCIATION. 
 
 I 
 
 . One 
 
 . Vln 
 
 1 
 
 . Un— Une 
 
 . '37] — un 
 
 II 
 
 . Two 
 
 . Tu 
 
 2 
 
 . Deux 
 
 . D^ [z] 
 
 III 
 
 . Three 
 
 . Thri 
 
 3 
 
 . Trois 
 
 . Trvn- [z] 
 
 IV 
 
 . Four 
 
 . Pho^- 
 
 4 
 
 . Quatre 
 
 . Cdtrh 
 
 V 
 
 . Five 
 
 . Phaibh 
 
 5 
 
 . Cinq 
 
 . Sdr}C 
 
 VI 
 
 . Six 
 
 . Sics 
 
 6 
 
 . Six 
 
 . Sis — Siz 
 
 VII 
 
 . Se-ven 
 
 . Sebh-en 
 
 7 
 
 . Sept 
 
 .Set 
 
 VIII 
 
 . Eight 
 
 . 'Et 
 
 8 
 
 . Huit 
 
 . ''Vhit 
 
 IX 
 
 . Nine 
 
 . Nain 
 
 9 
 
 . Neuf 
 
 . N^ph 
 
 X 
 
 . Ten 
 
 Ten 
 
 10 
 
 .Dix 
 
 . Dis—Diz 
 
 XI 
 
 . E-le-ven 
 
 . I-lebh-en 
 
 11 
 
 . Onze 
 
 r07]z 
 
 XII 
 
 . Twelve 
 
 Tvelhh 
 
 12 
 
 . Douze 
 
 . Diiz 
 
 XIII 
 
 . Thir-teen 
 
 . Th^-thi 
 
 13 
 
 . Treize 
 
 . Trez 
 
 XIV 
 
 . Four-teen 
 
 Ph^-tin 
 
 14 
 
 . Qua-torze 
 
 . Cd-tarz 
 
 XV 
 
 . Fif-teen 
 
 Phiph-tin 
 
 15 
 
 . Quinze 
 
 . Cd-qz 
 
 XVI 
 
 . Six-teen 
 
 Sics-tin 
 
 16 
 
 . Seize 
 
 . Siz 
 
 XVII 
 
 . Se-ven-teen 
 
 Sebh-en-tin 
 
 17 
 
 . Dix-sept 
 
 . Di-set 
 
 XVIII 
 
 . Eigh-teen 
 
 'E-tin 
 
 18 
 
 . Dix-huit 
 
 . Dis-vhit 
 
 XIX 
 
 . Nine-teen 
 
 Nain-tin 
 
 19 
 
 . Dix- neuf 
 
 . Dis-n$.ph 
 
 XX 
 
 . Twen-ty 
 
 Tven-ti 
 
 20 
 
 . Vingt 
 
 . Bhdt]
 
 73 
 
 THE NAMES OF NUMBERS. 
 
 
 ENGLISH WORDS 
 
 
 FRENCH WORDS 
 
 AND THEIR PRONUNCIATION. 
 
 AND THEIR PRONUNCIATION. 
 
 X 
 
 . Ten 
 
 Ten 
 
 10. 
 
 Dix 
 
 . Dis—Dix 
 
 XX 
 
 . T\ven-ty 
 
 Tven-ti 
 
 20. 
 
 Vingt 
 
 . Bhdr] 
 
 XXX 
 
 . Thir-ty 
 
 Th^-ti 
 
 30 . 
 
 Trente 
 
 . Trant 
 
 XL 
 
 . For-ty 
 
 Phr-ti 
 
 40 . 
 
 Qua-rante 
 
 . Cd-rn-nt 
 
 L 
 
 . Fif-ty 
 
 PMph-ti 
 
 50. 
 
 Cin-quante 
 
 . Sdii-cn-nt 
 
 LX 
 
 . Six-ty 
 
 Sics-ti 
 
 60 . 
 
 Soi-xante 
 
 . Svir-Zfhit 
 
 LXX 
 
 . Se-ven-ty 
 
 Sehh-en-ti 
 
 70. 
 
 Soi-xante-dix 
 
 . Svfr-Zn-nt-dis 
 
 LXXX 
 
 . Eigh-ty 
 
 'E-ti 
 
 80. 
 
 Quatre-vingts 
 
 . Cdtrh hluhi 
 
 XC 
 
 . Nine-ty 
 
 Nain-ti 
 
 90. 
 
 Quatre-vingt-dix 
 
 .Cdtrh bhdr]-dis 
 
 C 
 
 . Hun-dred 
 
 Hln-dred 
 
 100 
 
 Cent 
 
 . Sm] 
 
 C 
 
 One hun-dred 
 
 . Via ]i3-n-dred 
 
 100 
 
 Un cent 
 
 . 'c9^jj smj 
 
 CC . 
 
 Two liun-dreds 
 
 . Tu hln-dredz 
 
 200 
 
 Deux cents 
 
 . D^ Sm] 
 
 CCC . 
 
 Three hun-dreds 
 
 . Thri hln-dredz 
 
 300 
 
 Trois cents 
 
 . Trvfr Siri] 
 
 CD . 
 
 Four hun-dreds 
 
 . PI I IT r hln-dredz 
 
 400 
 
 . Quatre cents 
 
 . Cdtrh sm] 
 
 D 
 
 Five hun-dreds 
 
 . Phaihh hln-di^edz 
 
 500 
 
 . Cinq cents 
 
 . Sd)] sm] 
 
 DC . 
 
 Six hun-dreds 
 
 . Sics hln-dredz 
 
 600 
 
 . Six cents 
 
 . Sis snr] 
 
 DCC 
 
 Se-ven hun-dreds 
 
 . Sebh-en hln-dredz 
 
 700 
 
 . Sept cents 
 
 . Ses sm] 
 
 DCCC 
 
 Eight hun-dreds 
 
 . 'Et hln-dredz 
 
 800 
 
 . Huit cents 
 
 . ^Vhi sm] 
 
 CM 
 
 Nine hun-dreds 
 
 . Nain hln-dredz 
 
 900 
 
 . Neuf cents 
 
 . Ns- SOT] 
 
 M 
 
 Thou-sand 
 
 . Thau-zand 
 
 1000 
 
 . Mille 
 
 . Mil
 
 74 
 
 THE NAMES OF TIMES AND SEASONS. 
 
 ENGLISH WORDS 
 AND THEIR PRONUNCIATION. 
 
 FRENCH WORDS 
 AND THEIR PRONUNCIATION. 
 
 The day 
 
 . DM de 
 
 Le jour 
 
 . Z,s. zhur 
 
 The night 
 
 . Dhi nait 
 
 La nuit 
 
 . La nvi 
 
 The hour 
 
 . Dhi au-3- 
 
 L'heure 
 
 .L'^r 
 
 The week 
 
 . Dhi vie 
 
 La semaine 
 
 . La s'men 
 
 The month 
 
 . Dhi mlnth 
 
 Le mois 
 
 . L3. invtr 
 
 The year 
 
 . Dhijia- 
 
 L'an 
 
 . 1-t n-T] 
 
 One thou-sand 
 
 . Vln thau-zand 
 
 1 
 
 Mil 
 
 1 
 
 . Mil 
 
 Eight hun-dred 
 
 . ^Et hln-dred 
 
 Huit cents 
 
 . ''J'hi sirr. 
 
 and for-ty 
 
 and phtr-ti 
 
 Qua-rante 
 
 . Cd-rn-nt 
 
 The morn-ing . Dhi ma-niri 
 The fore-noon . Dhi phtr-nun 
 The af-ter-noon . Dhi aph-t3.-nun 
 The ev-en-ing . Dhi ibh-7iiij 
 
 Le ma- tin . L^ md-tdr^ 
 
 |] L'a-vant mi-di . L'dhh-,rr^ mi-di 
 
 \\ L'a-pres mi-di . Ud-pri. mi-di 
 
 1 Le soir . L5. sv,r(r) 
 
 Sun-day 
 
 . S^-n-de 
 
 Di-manche 
 
 . Di-nifrr^sh 
 
 Men- day 
 
 . Ms-n-de 
 
 Lun-di 
 
 . L^n-di 
 
 Tues-day 
 
 . Tjuz-de 
 
 Mar-di 
 
 . Mar-di 
 
 Wed-nes-day 
 
 . Venz-de 
 
 Mer-cre-di 
 
 . Mer-cr-di 
 
 Thurs-day 
 
 . Th^z-de 
 
 Jeu-di 
 
 . Zh^-di 
 
 Fri-day 
 
 . Frai-de 
 
 Ven-dre-di 
 
 . Bhrrr,-dr'-di 
 
 Sa-tur-day 
 
 . Sdt-?.-de 
 
 ' Sa-me-di 
 
 . Sdm-di 
 
 FAst-er 
 
 . Ls-t^ 
 
 Paque 
 
 . Pdc 
 
 Mi-ehael-mas 
 
 . Mic-l-mas 
 
 La Saint Mi-chel La Sdr] Mi-shel 
 
 Christ-mas 
 
 . Cris-mas 
 
 No-el 
 
 . Xo-tl 
 
 Mid-sum-mer 
 
 . Mid-s^7n-s^ 
 
 La Saint Jean 
 
 . La Sdij ^fTTj
 
 75 
 
 THE NAMES OF TIMES AND SEASONS. 
 
 ENGLISH WORDS 
 
 FRENCH 
 
 WORDS 
 
 AND THEIR PRONUNCIATION. 
 
 AND THEIR PRONUNCIATION. 
 
 The Spring 
 
 Dili Sprit] 
 
 Le Prin-temps . 
 
 Z/a- Prdr]~tfr')] 
 
 March 
 
 . Mdtsh 
 
 Mars 
 
 Mars 
 
 A-pril 
 
 , "E-pril 
 
 A-vril 
 
 'Abh-ril 
 
 May 
 
 .Md 
 
 Mai 
 
 Mi 
 
 The Sum-mer 
 
 . Dhi Slm-d. 
 
 L"E-te 
 
 n'Et-e 
 
 June 
 
 . Dzhun 
 
 Ju-in 
 
 Zhii-di] 
 
 Ju-ly 
 
 . Dzhu-lai 
 
 Juil-let 
 
 Zhid-je 
 
 Au-gust 
 
 . ^Jl-gs-st 
 
 Aout 
 
 . lA--]u 
 
 The Au-tumn 
 
 . Dhi ^Jl-Um 
 
 L'Au-tomne 
 
 U'O-ton 
 
 Sep-tem-ber 
 
 . Sep-tem-hs- 
 
 Sep-tem-bre 
 
 . Sep-tn-m-hrh 
 
 Oc-to-ber 
 
 . 'Jlc-to-h^ 
 
 Oe-to-bre 
 
 . 'Oc-td-hrh 
 
 No-vem-ber 
 
 . No-bliem-h^. 
 
 No-vem-bre 
 
 . No-bho-m-brh 
 
 The VVin-ter 
 
 . Dhi Vin-ta. 
 
 L'Hi~ver 
 
 Ul-bhir 
 
 De-cem-ber 
 
 . Di-sem-ha- 
 
 De cem-bre 
 
 . De-srrm-hrh 
 
 Ja-nu-a-ry 
 
 . Dzhdn-ju-e-ri 
 
 Jan-vi-er 
 
 . Zha-n-bhi-e 
 
 Feb-ru-a-ry 
 
 . Feh-ru-e-ri 
 
 Fev-ri-er 
 
 . Phebh-ri-e 
 
 Child-hood 
 
 . Tshaild-hud 
 
 L'En-fanee 
 
 . L''J2)]-phmjS 
 
 Youth 
 
 . Juth 
 
 La Jeu-nesse 
 
 . La Zhs.-nes 
 
 Man-hood 
 
 . Man-hud 
 
 L'A-do-les-cence U ' A-do-les-m]S 
 
 Age 
 
 . 'Edzh 
 
 La Vi-eil-lesse 
 
 . La Bhi-el-jcs 
 
 The East 
 
 . Dhi '1st 
 
 fL'Est 
 [L'O-ri-ent 
 
 . n'Est 
 
 . L'O-ri-ari 
 
 The West 
 
 . Dhi Vest 
 
 JL'Ouest 
 \L'Oc-ci-dent 
 
 . West 
 
 . n'Oc-si-drri] 
 
 The North 
 
 . Dhi Nrrth 
 
 fLe Nord . L^ Nrrr 
 \LeSep-ten-tri-on Ls-Sep-tfrrj-tri-Oi] 
 
 The South 
 
 . Dhi Smith 
 
 fLe Mi-di 
 \Le Sud 
 
 . L* Mi-di 
 . La. Sud 
 
 k2
 
 76 
 
 ENGLISH 
 
 Orthography and Orthoepy. 
 
 I. Af-fec-tion for one's pa-rents is the foun-da-ti-on of all 
 'Aph-ec-sh'-on phn vivHz pe-rents iz dhi phaun-de-sh'~on trhh irl 
 
 the vir-tues. 
 dhi bh^-tjuz. 
 
 II. No-thin^ is more de-light-ful, than to be with one's friends. 
 
 Ks^-thiij iz rnds- di-Iait-phul, dhdn tu bi vtdh v^7i'z phrendz. 
 
 III. Mu-tu~al lov-ing-kindness is the great bond of hu-man 
 Mju-tju-al Ubh-iri-caind-nes iz dhi gret bthid n-bh hjii-man 
 
 so-ci-e-ty : with-out it life is un-ea-sy, full of ap-pre-hen-si-on and 
 so-sai-i-ti : vidh-aut it laiph iz In-i-zi, phid abh dp-ri-hen-sh^-on and 
 
 dis-qui-et. 
 dis-cvai-et. 
 
 IV. Con-sci-ence is the voice of the soul, pas-si-on is the voice of 
 
 Cfrn-sh'-ens iz dhi hhais abh dhi sol, pd-sh'-on iz dhi bhnris trbh 
 
 the bo-dy; which of the two should we o-bey ? 
 dhi btr-di ; vhitsh nbh dhi til shud vi o-be? 
 
 V. True ho-nor is im-mu-ta-ble : it de-pends nei-ther up-on age, 
 
 Trii n-n-or iz im-ju-ta-bl: it di-pendz nai-dhs-r Ip-n-n edzh, 
 coun-try, nor pre-ju-dice ; it re-sults e~ter-nal-ly from the un-al-te- 
 
 cln-tri, no- pre-dzhu-di-s ; it ri-zllts i-t^-jia-Ii phj'o-m dhi a-n-al-ta-- 
 ra-ble laws of du-ty. 
 
 ra-bl lirz abh dju-ti. 
 
 ^ 1. The rose is beau-ti-ful, re-fresh-ing, and sweet-scent~ed, but 
 Dhi roz iz bjii-ti-phul, ri-phresh-ii], and svit-sent-ed, bU 
 it has its thorns. 
 it hdz its thanz. 
 
 VH. The sim-pli-ci-ty of na-ture is more love-ly, than all the 
 Dhi sim-pU-si-ti nbh ne-tja-r iz moa- Ubh-li, dhdn rrl dhi 
 cm-bel-lish-ments of art. 
 em-bel-ish-ments libh at.
 
 77 
 
 FRENCH 
 
 Orthography and Orthoepy. 
 
 I. L'af-fec-ti-on en-vers ses pa-rens est le fon-de-ment de toutes 
 Udph.ec-si-07i ^j-bher se pd-rrir^z e h pho^^-d'-mo-rj d^ ttlt 
 
 les ver-tus. 
 le bher-tu. 
 
 II. II n'y a ri-en de plus a-gre-a-ble que d'etre au mi-lieu de ses a-mis. 
 H n'i a ri-dii d^jyVuz a-fjre-a-hlh ^* d'e-trh o mil-j^ d^ sez d-mi. 
 
 III. Une bi-en-veil-lance mu-tu-elle est le grand li-en de la 
 ^'Un bi-di^-bhel-JnrrjS mu-tu-el e h grar] li-dr] d^ la 
 
 so-ci-e-te hu-maine ; et sans elle la vie est in-eom-mode, pleine de 
 so-si-e-te u-men ; e SfrrjZ el la bhi et di^-co-jnod, pUn ds- 
 crainte et d'in-qui-e-tude. 
 crdrit e d! dr\-ci-e-tud. 
 
 IV. La con-sci-ence est la voix de I'ame, les pas-si-ons sont la 
 La cd)^-si-n-r^s e la bhvn- ds- rdm, le pa-si-07] sot] la 
 
 voix du corps ; la-quelle des deux voix faut-il e-eou-ter ? 
 hhvo- du C(r ; la-cel de d^- bhvtr phot-il e-cu-te ? 
 
 V. Le so-lide hon-neur ii'est point va-ri-a-ble : il ne de-pend, ni 
 La. sd-lid 6n-^ n'e pvo-ij bhd-ri-a-blh : il na. de-pn^, ni 
 
 des temps, ni des lieux, ni des pre-ju-ges ; il a sa source e-ter-nelle 
 de tirvp ni de IJ^, ni de pre-zhu-zhe ; il a sa surs e-ter-nel 
 dans la rc-gle in-al-te-ra-ble de ses de-voirs. 
 dnrr] la re-gl in-dl-te-rd-hlh ds- se d-hhvtr. 
 
 VI. La rose a sa beau-te, sa frai-cheur, et son o-deur; mais elle 
 La roz a sa bo-te, sa phre-sli^r, e son o-d^ ; mez el 
 
 a aus-si ses e-pines. 
 a o-si sez e-pin. 
 
 VII. La sim-pli-ci-te de la na-ture est plus ai-ma-ble que tous les 
 La sdm-pli-si-te da- la nd-tur e pluz e-md-blh ca- tu lez 
 
 em-bel-lisse-ments de I'art. 
 ffm-bel-is-mo)] d> Far.
 
 78 
 
 ENGLISH 
 
 Orthography and Orthoepy. 
 
 Es-teem of a Hea-then Prince for certain Chris- ti-ans. 
 'Es-tim ,rbh e Hi-dhen Prins f.r sl-ten Cris-ti-anz. 
 
 CoN'-STAX-Ti-us Chlo-rus '^ once is-su-ed a pro-cla-ma-ti-on, that 
 Cfrn-stdii-shi-5^ Clo-rs-s v>ns is-shu-d e pro-da-me-sh'-on,dhdt 
 
 all Chris-ti-ans who oc-cu-pied pla-ces in his go-vern-ment, should 
 irl Cris-ti-anz hu ac-ju-pai-d pU-sez in hiz gibh-?.rn-ment, shud 
 
 of-fer sa-cri-fi-ces to Ju-pi-ter and the o-ther hea-then gods, on 
 fTph-3. sdc-ri-phai-siz tu Dzhii-pi-f^^r^ and dhi idh-?. hi-dhen g.-rdz, ,rn 
 
 pain of be-ing de-priv-ed of their si-tu-a-ti-ons. Some of them 
 pen ahh hi-ir^ di-praibh-d trbh dhes- sit-Ju-i-sh'-onz. Sim trbh dhem 
 
 com-pli-ed with the or-der, by means of which, how-ev-er, the so- 
 cam-plai-d vidh dhi ir-ds-, bai minz ,rbh vhitsh, hau-ebh-?., dhi str- 
 
 ve-reign on-ly in-tend-ed to try them. Ac-cord-ing-ly they fell 
 bh^-ren 6n-li in-tend-ed tu trai dhem. 'Ac-crd-ir^-Ii, dhe phel 
 
 uu-der his eon-tempt, and he dis-miss-ed them for ev-er from his pre- 
 ln-d?-r hiz c.rn-tempt, and hi dis-mis-t dhem phar ebh-> phram hizpre- 
 
 sence. One of this prince's cour-ti-ers, de-sir-ing to know the mo-tive 
 zens. Vin n-bh dhis prins-iz crt-J^^z, di-zair-iy- tu no dhi mo-tibh 
 
 of a pro-ceed-ing which ap-pear-ed so strange, — " Men," replied 
 ^hh e pro-sid-ir^ vhitsh d-pir-d so strenzh, — '•' Men," ri-plai-'d 
 
 Con-stan-ti-us, "who sa-cri-fice their re-li-gi-on to their in-te-rest, 
 C(rn-$tdn-shi-is, " hu sdc-ri-phais dhe?. ri-lid-zh' -on tu dhir in-t:~-rest, 
 
 are ca-pa-ble of an-y de-re-lic-ti-on ; and I could not ex-pect that 
 d ce-pa-bl frbh en-i de'-ri-Iic-sh'-on ; and ai cud n.rt ecs-pict dhdt 
 
 ' Constantius Chlorus, Emperor of Rome,, died at York, in the province of Britain, 
 A. D. 306.
 
 ENGLISH ORTHOGRAPHY AND ORTHOEPY. 79 
 
 those per-sons whose dis-grace you are sur-pris-ed at, should prove 
 dhoz pl-so7iz huz dis-gres ju a sa-praiz-d at, shud prubh 
 
 more faith-ful to me than to their God." The em-pe-ror then en-no- 
 mda. pheth-phul tu mi dhdn tu dhes- Gad." DM em-ps-r^ dhen en-no- 
 
 bled and en-rich-ed those Chris-ti-ans, who i-ma-gin-ed they were 
 hVd and en-ritsh-t dhoz Cris-ti-anz, hit i-mdd-zhin-d dhe vea- 
 
 brav-ing his an-ger and re-venge, in re-fus-ing to do ho-nor to his 
 brebli-iri hiz dr^-c/a- and ri-hhenzh, iri reph-jilz-iTj tu du n-n^. tu hiz 
 
 false gods, and he ev-en con-fid-ed to them the pro-tec-ti-on of his 
 phtrls gadz, and hi ibh-en crrn-phaid-ed tu dhem dhi pro-tec-sh'-on rrbh hiz 
 
 par-son. 
 p^-son.
 
 80 
 
 FRENXH 
 
 Orthography and Orthoepy. 
 
 Es-time d'un Prince i-do-la-tre pour les Chre-ti-ens. 
 'Es-tim (Til- Prdns i-do-ld-trh pur le Cret-jdr^. 
 
 CoN-STAXCE Chlore fit pub-li-er a une cer-taine e-poque, que 
 Coij-stn-ns Clor phi pub-Ii-e a un str-ten e-poc, c> 
 
 tous les Chre-ti-ens qui oc-cu-pai-ent des places a son ser-vice, 
 tu le Cref-Jdi- ci 6c-cu-pe de jilds-z a so 7- ser-bhis, 
 
 eus-sent a of-frir des sa-eri-fices a Ju-pi-ter et aux au-tres di-vi-ni-tes 
 
 mt d oph-rir des sdc-ri-phis-z a Zhii-pi-ter e 6z d-trh di-hhi-ni-te 
 
 du pa-ga-nisme, s'ils vou-lai-eut res-ter en charges. Quel-ques-uns 
 dii pd-gd-nism, s'il Ihu-Ie res-ter m- shdrzh. Ctl-c'z i?;c 
 
 o-be-ir-ent a cet or-dre, par le-quel on a-vait seule-ment vou-Iu les 
 o-be-ir't d set dr-drh, par l^ceJ on d-hhe s^r-jnarr, hhu-lu lez 
 
 e-prou-ver. lis s'at-ti-rer-ent le me-pris du prince, qui les chas-sa 
 e-prMhe. lis s'dt-ti-rer- I?, me-pri du prdns ci le shds-sa 
 
 pour ja-mais de sa pre-sence. Un de ses cour-ti-sans a-yant vou-lu 
 pur zhd-me d=^ sa pre-zo-ns. 3';; d?- se cur-ti-zm^z e-j.rr^ hhu-lu 
 
 ap-pren-dre de lui le mo-tif d'une con-duite qui pa-rais-sait aus-si 
 d-prrrr-drh d?- Ivi l^ mo-tiph d'un cor-dvit ci pa-res-set 6-si 
 
 e-trange : " Les hommes qui sa-cri-fi-ent leur re-li-gi-on a leur 
 e-trn-r^zh : ^^ Lez 6m ci sdc-ri-phi h r-li-zh'-07; a llr 
 
 in-te-ret," lui re-pon-dit Con-stance, "sont ca-pa-bles de man-quer a 
 dn-te-re" Ivi re-por^-di Cor-sto-iis, "so;; cd-pd-hV rf> mm-cer a 
 
 tous leurs de-voirs: et je ue pou-vais es-pe-rer que ceux, dont la dis- 
 tu h d'-bhi;r ; e zh.^ «> pu-bhez es-pe-re o .?>, doi- la dis- 
 grace Yous a sur-prLs me fus-sent plus fi-deles qu'ils ne I'ont e-te 
 grds bhuz a shr-pri, ,n. phus pfu fi-del cil n.^ Vo,-/ e-te
 
 FRENCH ORTHOGRAPHY AND ORTHOEPY. 81 
 
 a leur Dieu." Le prince com-bia en-suite, de bi-ens et d'hon-neurs, 
 a hr Djl" L.^ pram coij-bla a-q-svit, da- bi-dr^z e d'o-na-r, 
 
 les Chre-ti-ens qui ero-yai-ent bra-ver sa co-lere et sa ven-geance, en 
 le Cret-jdr] ci cr,r-je hrd-hhe sa co-Ur e sa hhrri-zhans, rft] 
 
 re-fu-sant de sa-eri-fi-er aux faux dieux, et il leur con-fi-a meme la 
 re-phu-zn-rj da- sdc-ri-phi-jer o pho djl, e il hr corj-phi-a mern la 
 
 garde de sa per-sonne. 
 ffdrd' da- sa person. 
 
 Qui est in-fi-dele a son Dieu, pent I'etre a son Prince ! 
 Ci et dij-phi-del d sorj Djl, pa- Vetr d soi] Prdns !
 
 83 
 
 ENGLISH 
 
 Ortliography and Orthoej)y. 
 
 The Blind Poet's Ad-dress to the Light. 
 Dhi Blaind Po-et's A-dres tu did La'it. 
 
 FROM 
 
 MILTON'S PARADISE LOST, BOOK IIL 
 
 Hail, ho- 
 
 ly Light ! 
 
 Off-spring 
 
 of Hea-ven 
 
 first-born ; 
 
 //eV, ho- 
 
 li Lait! 
 
 J2ph-spriT} 
 
 n-bh He-bhn 
 
 fist-birn ; 
 
 Or, of 
 
 the E-ter- 
 
 nal, 00- 
 
 e-ter- 
 
 nal beam ; 
 
 J2r, irhk 
 
 dlii^i-ta-- 
 
 nal, co- 
 
 i-t».- 
 
 nal bim ; 
 
 May I 
 
 ex-press 
 
 thee unblam'd 
 
 ? since God 
 
 is Light, 
 
 Me ai 
 
 ecs-pres 
 
 dhi^ln-blem^d 
 
 ? sins Gird 
 
 iz Lait, 
 
 And nev- 
 
 er but 
 
 in un- 
 
 ap-proach- 
 
 ed Light 
 
 And nehh- 
 
 * bit 
 
 in 3-n- 
 
 a-protsli- 
 
 ed Lait 
 
 Dvvelt from 
 
 E-ter- 
 
 ni-ty, 
 
 dwelt then 
 
 in thee. 
 
 Dvtlt phrthn 
 
 I-tl- 
 
 ni-ti, 
 
 dvelt dhen 
 
 in dhi. 
 
 Bright ef- 
 
 flu-ence of 
 
 bright es- 
 
 sence in- 
 
 ere-ate ! 
 
 Brait eph- 
 
 lumens rrbh 
 
 brait es- 
 
 ens in- 
 
 cri-et ! 
 
 * 
 
 * * 
 
 * * 
 
 Be-fore 
 
 the sun, 
 
 # 
 
 # * 
 
 * * 
 
 Bi-phtr 
 
 dhi sin, 
 
 Be-fore 
 
 the hea-vens 
 
 thou wert, 
 
 and, at 
 
 the voice 
 
 Bi-pht^ • 
 
 dhi htblinz 
 
 dhau v^t, 
 
 dnd^ at 
 
 dhi bhtris 
 
 Of God, 
 
 as with 
 
 a man- 
 
 tie, didst 
 
 in-vest 
 
 Jlbh G^d, 
 
 dz vidh 
 
 a mdn- 
 
 tl, didst 
 
 in-bhest 
 
 The ri- 
 
 sing world 
 
 of wa- 
 
 ters dark 
 
 and deep, 
 
 l)hi ral- 
 
 zir] vlld 
 
 a-bh v/r- 
 
 1 Bi'ph(r, or Bt-phd» 
 
 l2 
 
 ta-z ddc 
 
 and dip,
 
 84 
 
 ENGLISH ORTHOGRAPHY AND ORTHOEPY. 
 
 Won from 
 
 the void 
 
 and form- 
 
 less in- 
 
 fi-nite. 
 
 J'dn phrirm 
 
 dhi hhtrid 
 
 and phtrm- 
 
 les in- 
 
 phi-nit. 
 
 Taught by 
 
 the hea-ven- 
 
 ly muse 
 
 to ven- 
 
 ture down 
 
 Trrt hai 
 
 dhi hebhn- 
 
 li mjuz 
 
 tu bhen- 
 
 tja. daun 
 
 The dark 
 
 des-cent, 
 
 and up 
 
 to re- 
 
 as-cend, 
 
 DM ddc 
 
 di-sent. 
 
 and ip 
 
 tu rt- 
 
 a-send. 
 
 Though hard 
 
 and rare, 
 
 thee I 
 
 re-vis- 
 
 it now, 
 
 Dlio had 
 
 and reV, 
 
 dhi ai 
 
 ri-bhiz- 
 
 it 7iau, 
 
 And feel 
 
 thy sov- 
 
 ran vi- 
 
 tal lamp ; 
 
 but thou 
 
 And pkil 
 
 dliai srrbh- 
 
 ran bhai- 
 
 tal lamp ; 
 
 bit dhau 
 
 Re-vis- 
 
 it'st not 
 
 these eyes, 
 
 that roll 
 
 in vain 
 
 Ri-hhiz- 
 
 ifst Un-t 
 
 1 dhiz aiz, 
 
 dhat rol 
 
 in bhen 
 
 To find 
 Tu phaind 
 
 thy pier- 
 dhai pi3- 
 
 cing ray, 
 si}] re, 
 
 and find 
 and phaind 
 
 no dawn ; 
 no dtrn; 
 
 So thick 
 So thic 
 
 a drop 
 a drn-p 
 
 se-rene 
 si-rin 
 
 hath quench'd 
 hath cvenshH 
 
 their orbs, 
 dher trbz. 
 
 Or dim 
 Jl dim 
 
 suf-fu- 
 suph-ju- 
 
 si-on veil'd. 
 zhon bheVd. 
 
 Though with 
 Dho vidh 
 
 the year, 
 dhi jia.. 
 
 Sea-sons 
 
 re-turn ; 
 
 yet not 
 
 to me 
 
 re-turns 
 
 Si-zonz 
 
 ri-tB.n ; 
 
 jet Ufrt 
 
 tu mi 
 
 ri-td-nz 
 
 Day, or 
 
 De, rr 
 
 the sweet 
 dhi svit 
 
 ap-proach 
 a-prdtsh 
 
 of e-ven 
 trbh ibhn 
 
 or morn, 
 (T mtrn, 
 
 Or sight 
 J2 salt 
 
 of ver- 
 r^bh bh^- 
 
 nal bloom, 
 nal blum. 
 
 or sum- 
 fr slm- 
 
 mer's rose, 
 
 d-z roz, 
 
 Or flocks, 
 Jl phlrrCS, 
 
 or herds, 
 /rr hldz. 
 
 or hu- 
 rrr hju- 
 
 man face 
 maji phes 
 
 di-vine ; 
 di-bhain ; 
 
 But cloud 
 Bit clmtd 
 
 in-stead, 
 in-sted. 
 
 and ev- 
 dnd ebh- 
 
 er du- 
 * dju- 
 
 ring dark 
 riri doc 
 
 Sur-rounds 
 Sa-raundz 
 
 me, from 
 7ni, phrd-m 
 
 the cheer- 
 dhi tshia.- 
 
 ful ways 
 phul vez 
 
 of men 
 n-bh men
 
 ENGLISH ORTHOGRAPHY AND ORTHOEPY. 
 
 85 
 
 Cut off; 
 
 and for 
 
 the book 
 
 of know- 
 
 ledge fair, 
 
 Ci-t trph ; 
 
 and pha 
 
 dhi hue 
 
 n-bh ndl- 
 
 edzh j)]ie^. 
 
 Pre-sen- 
 
 ted with 
 
 a u- 
 
 ni-ver- 
 
 sal blank 
 
 Pri-zen- 
 
 ted vidh 
 
 aju- 
 
 ni-hhs- 
 
 sal hldric 
 
 OfNa- 
 
 ture's works, 
 
 to rae 
 
 ex-pung'd 
 
 and ras'd. 
 
 Jlhh Ne- 
 
 tja-^z v^cs 
 
 tu mi 
 
 ecs-plnzhUd 
 
 and ris't, 
 
 And Wis- 
 
 dom at 
 
 one en- 
 
 trance quite 
 
 shut out. 
 
 And Viz- 
 
 dom at 
 
 vln en- 
 
 trans cvait 
 
 shit aut. 
 
 So much 
 
 the ra- 
 
 ther Thou, 
 
 Ce-Ies- 
 
 ti-al Light, 
 
 So mltsh 
 
 dhi rd- 
 
 dhs. Dhau, 
 
 Si-les- 
 
 tjal Lait, 
 
 Shine in- 
 
 ward, and 
 
 the mind 
 
 th rough all 
 
 her pow-ers 
 
 Shain in- 
 
 v/rd, and 
 
 dhi maind 
 
 thru trl 
 
 ha. pau'Zs-z 
 
 Ir-ra- 
 
 di-ate : there 
 
 plant eyes. 
 
 all mist 
 
 from thence 
 
 I-rS- 
 
 djet : dhes- 
 
 plant aiz, 
 
 irl mist 
 
 phrorm dhens 
 
 Purge and 
 
 dis-perse, 
 
 that I 
 
 may see 
 
 and tell 
 
 P^dzh and 
 
 dis-p^{r)s, 
 
 dhat ai 
 
 me si 
 
 and tel 
 
 Of things 
 
 in-vis- 
 
 i-ble 
 
 to mor- 
 
 tal sight. 
 
 J2bh thirjz 
 
 in-hhiz- 
 
 i-hl 
 
 tu mtr- 
 
 tal salt.
 
 86 
 
 RE-MARK.— /7/-3/JC. 
 
 It is an o-pi-ni-on in France, that De-lille, the trans-la-tor of Mil-ton, 
 // iz an o-pin-jon in Phrdns, dhdt De-lil, dhi trdns-le-tor a-bh Mil-ton, 
 
 has ex-cell-ed the o-ri-gi-nal bard him-self. This, in-deed, is some- 
 haz ec-sel-d did o-ri-dzhi-nal bad him-selph. Dkis, indid, iz SB-m- 
 
 times the case, but not in the spe-ci-meu now ad-duc-ed. The fact is, 
 taimz dhi ces, bit n/rt in dhi spe-si-men nau dd-jih-d. Dhiphdctiz, 
 
 a traus-la-tor takes ad-van-tage of the o-ri-gi-na-tor s hum-bler flights, 
 a trdns-li-tor tecs dd-bhdn-tedzh n-bh dhi o-ri-dzhi-ne-t?.' z hd^yn-bh pklaits, 
 
 then to e-mu-late his mo-del in those par-ti-cu-lar soar-iugs which are 
 dhen iu em-ju-lef hiz mrr-del in dhoz pa-tic-ju-la sor-ii-z vhitsh a 
 
 more suit-ed to his own ta-lent. Thus. Pope al-so some-times e-mu-lates 
 mds- sut-ed tu hiz on ta-lent. Dhh, Pop trl-so SB-m-taimz em-ju-lits 
 
 Ho-mer ; but then the po-et-ry is no more that of Mil-ton or Ho-mer, 
 H6-ni3- ; bit dhen dhi po-et-ri iz no mo^ dhdt /rbh MU-ton nrr Ho-ms-, 
 
 but of Pope and De-lille. In the fi-nish of mo-dern style, and in a 
 bit frbh Pop and De-lil. In dhi phi-nish n-bh m(r-d$-n stail, and in a 
 
 de-scrip-ti-on of the more fa-vor-ite com-mon to-pics, the latter may 
 di-scrip-sh'-on n-bh dhi moB- phi-bhor-it crm-on t,T-pics. dhi ldi-=^ me 
 
 re-al-ly ri-val the form-er ; but, in sub-Ii-mi-ty, sim-pli-ci-ty, en-er-gy, 
 ri-al-i rai-bhal dhi ph/rm-?- ; bit, in slb-li-mi-ti, sim-pli-si-ti, en-s^-dzhi, 
 
 and o-ri-gi-na-li-t}-, Ho-mer and Mil-ton, and al-so Shake-speare, must 
 and o-ri-dzhi-nd-li-ti, Ho-ms-r and Mii-ton. and also Shec-spig-, mist 
 
 ev-er stand a-loof and a-lone. iu-im-it-a-ble, and uu-ri-val-led, by trans- 
 4bh-3. stand a-luph and a-lon, in-im-it-a-bl, and In-rai-blial- d, bai trdns- 
 
 la-tors. 
 
 U-t3.Z.
 
 87 
 
 FRENCH 
 
 Orthography and Orthoepy. 
 
 In-vo-ca-ti-on a la Lu-mi-ere, du Poete a-veu-gle. 
 ' Ari-bho-cd-si-ori a la Lu-mi-er, du Po-et d-hh^-glh. 
 
 TIREE DU 
 
 PARADIS PERDU, LIVRE TIL 
 
 TRADUIT 
 
 PAR J. DELILLE 
 
 Sa-lut, 
 
 clar-te 
 
 du jour, 
 
 e-ter- 
 
 nel-le 
 
 lu-mi-ere, 
 
 Sd-lu, 
 
 clar-te 
 
 du zhur, 
 
 e-ter- 
 
 nel-{3.) 
 
 lum-jer, 
 
 Du Ci-el 
 
 la fiUe 
 
 ai-nee 
 
 et la 
 
 beau-te 
 
 pre-mi-ere, 
 
 Die SJel 
 
 la phil- 
 
 je-ne 
 
 e la 
 
 bo-te 
 
 pr'm-jer, 
 
 Peut-c- 
 
 tre du 
 
 Tres-Haut 
 
 ra-yon 
 
 co-e- 
 
 ter-nel, 
 
 P^t-^- 
 
 trh du 
 
 Tri-Ho 
 
 re-jor] 
 
 co-e- 
 
 ter-nel, 
 
 ~Si te 
 -Si ts^ 
 
 nom-mer 
 
 ain-si 
 
 n'out-ra- 
 
 ge point 
 
 le Ci-el !-! 
 
 hSjel! . 
 
 nom-er 
 
 drj-si 
 
 ji^ut-rd- 
 
 zh{9-) pvn-rj 
 
 Que dis- 
 
 je ! Dieu 
 
 t'u-nit 
 
 a sa 
 
 di-vine 
 
 es-sence : 
 
 C* di- 
 
 zh\f Djl 
 
 fu-nit 
 
 a sa 
 
 di-hhin 
 
 es-(rris : 
 
 Dieu meme 
 
 est la 
 
 lu-mi-ere, 
 
 et sa 
 
 tou-te- 
 
 puis-sanee, 
 
 Djl. mem 
 
 e la 
 
 lum-jer, 
 
 i sa 
 
 tu-t{&.) 
 
 pvis-n-r]S, 
 
 Com-me 
 
 d'un pa- 
 
 vil-lon, 
 
 s'en-vi- 
 
 ron-ne 
 
 de toi. 
 
 Com-{») 
 
 d^d-1] pd- 
 
 bhil-joTji 
 
 s'iTTj-bhi- 
 
 ron-{^) 
 
 da. tv/r. 
 
 E-cla- 
 
 tant ta- 
 
 ber-na- 
 
 cle, ou re- 
 
 sid-e 
 
 ton roi, 
 
 E-cla- 
 
 trrij td- 
 
 ber-nd- 
 
 c/, u re- 
 
 zid-{3-) 
 
 tOT] rvrr. 
 
 Bril-lant 
 
 e-cou- 
 
 le-ment 
 
 de sa 
 
 gloire im- 
 
 mor-telle. 
 
 Bril-jtriit 
 
 e-cil- 
 
 V-mni] 
 
 da- sa 
 
 glv^r im- 
 
 trr-tel. 
 
 1 
 
 ti= 
 
 * 
 
 ip 
 
 «: 
 
 * 
 
 A 
 
 » 
 
 * ^ 
 
 It ' 
 
 It 
 
 *
 
 88 
 
 FRENCH ORTHOGRAPHY AND ORTHOEPY. 
 
 8a-lut ! 
 
 Av-ant 
 
 qu'un mot 
 
 eiit en- 
 
 fan-te 
 
 le monde, 
 
 Sti-lh ! 
 
 Abh-iTTi 
 
 c\ir, mo{i) 
 
 1^ irr- 
 
 phnrr^'te 
 
 /> moi-d', 
 
 Eut ar- 
 
 ra-che 
 
 la Terre 
 
 aux a- 
 
 bim-es 
 
 de I'onde, 
 
 ^3ta- 
 
 ra-she 
 
 la Ter 
 
 oz a- 
 
 him-a. 
 
 (/> For^d', 
 
 Eut as- 
 
 sis le 
 
 So-leil 
 
 sur le 
 
 tron-e 
 
 des Airs, 
 
 ''St ds- 
 
 i h 
 
 So-le 
 
 sur h 
 
 trdn-{?.) 
 
 des Er, 
 
 Et sur 
 
 le vide 
 
 im-mense 
 
 eut eon- 
 
 quis I'u- 
 
 ni-vers, 
 
 E sur 
 
 /> bhid 
 
 im-rrr^s 
 
 l COT- 
 
 ci Tii- 
 
 ni-bher, 
 
 Tu bril- 
 
 lais de 
 
 ses feux ; 
 
 I'in-sen- 
 
 si-ble 
 
 ma-ti-ere 
 
 Tu bril- 
 
 Je d?. 
 
 se phi ; 
 
 Fdr^-s/h}- 
 
 si-hl 
 
 mdt-jer 
 
 En re- 
 
 ce-vant 
 
 la vie 
 
 a sen- 
 
 tila 
 
 lu-mi-ere, 
 
 Jltjr^- 
 
 ss'-bhrfr^ 
 
 labhi 
 
 a s,rn- 
 
 tila 
 
 lum-jer, 
 
 Et, comme 
 
 un voil- 
 
 e pur 
 
 du Ci-el 
 
 res-plen- 
 
 dis-sant, 
 
 E, com 
 
 ^■7) hhvrril- 
 
 (>) pur 
 
 du Sjel 
 
 res-plm]- 
 
 dls-n-Tp 
 
 Tuje- 
 
 tas la 
 
 clar-te 
 
 sur ee 
 
 mon-de 
 
 nais-sant 
 
 Ti zh{3^y 
 
 ta la 
 
 cldr-te 
 
 sur s?- 
 
 mdn-d{^) 
 
 nes-nri]. 
 
 Trop long- 
 
 temps re- 
 
 te-nu 
 
 dans les 
 
 gouf-fres 
 
 fu-nebres, 
 
 Tro loTi- 
 
 t^r, r'- 
 
 t?.-nu 
 
 drrr, le 
 
 (jiiph-r' 
 
 phii-nebrh. 
 
 J'ai, de 
 
 mes pas 
 
 er-rants. 
 
 par-eou- 
 
 ru leurs 
 
 te-nebres ; 
 
 Zh\ d^ 
 
 me pdz 
 
 er-n-rp 
 
 par-cu- 
 
 rw llr 
 
 te-nebrh. ; 
 
 Grace aux 
 
 Mus-es, 
 
 du Ci-el 
 
 des-een- 
 
 du sans 
 
 ef-froi. 
 
 Grds 
 
 Muz-{^.), 
 
 du Sjel 
 
 des-rrr- 
 
 du sn-nz 
 
 eph-rvfT, 
 
 J'ai plon- 
 
 ge dans 
 
 I'a-bime 
 
 et re- 
 
 mon-te 
 
 vers toi : 
 
 Zh'e plor^ 
 
 zhe dirr, 
 
 Vd-bim 
 
 e 7-'- 
 
 mon-te 
 
 bher tvn : 
 
 Je vi-ens 
 
 re-voir 
 
 le Ci-el, 
 
 re-voir 
 
 ce monde 
 
 heu-reux, 
 
 Zh3^ hhi^dri 
 
 j'-hhvn 
 
 h Sjel, 
 
 r'-bhvn- 
 
 S3- nior^d 
 
 1 l-rl, 
 
 Bril-lant 
 
 de tes 
 
 ra-yons. 
 
 e-chauf- 
 
 fe de 
 
 tes feux ; 
 
 Bril-jar, 
 
 d:~ te 
 
 re-jor„ 
 
 e-shoph- 
 
 e d?- 
 
 te pill ; 
 
 Je sens 
 
 de-ja 
 
 ta flamme, 
 
 a-H- 
 
 ment de 
 
 la vie; 
 
 Zha- S/rr^ 
 
 de-zha 
 
 ta phldm. 
 
 d-li- 
 
 mnrr, d3i 
 
 la bhi ; 
 
 Mais, he- 
 
 las! a 
 
 mes yeux 
 
 ta lu- 
 
 mi-ere est 
 
 ra-vie. 
 
 Mez, he- 
 
 las! a 
 
 mes jl 
 
 1 ta liwi- 
 
 jtr e 
 
 rd-bhi.
 
 FRENCH ORTHOGRAPHY AND ORTHOEPY. 
 
 89 
 
 Ln vain 
 J2ri bhdi] 
 
 leur globe 
 llr glob 
 
 e-teint, 
 e-tdrj, 
 
 et rou- 
 e ric- 
 
 lant dans 
 l/TTj dn-7] 
 
 la nuit, 
 
 la nvii 
 
 Cherche aux vout-es 
 Shersh o bhut-{3.) 
 
 des Cieux 
 de Sjl 
 
 la clar- 
 la clar- 
 
 te qui 
 
 te ci 
 
 me fuit; 
 
 ms- phvi ; 
 
 Tu ne 
 Tu ne 
 
 vi-sit- 
 bhi-zit- 
 
 es plus 
 (*) plu 
 
 ma de- 
 ma de- 
 
 bil-e 
 bil-{,.) 
 
 pru-nelle. 
 pru-neV. 
 
 
 * ? 
 
 * 
 
 * 
 
 * * 
 
 
 
 # 
 
 *: 
 
 * 
 
 * * 
 
 
 Les ans, 
 Lez fTT}, 
 
 les mois, 
 le mvfr, 
 
 les jours, 
 le zhur. 
 
 par un- 
 par wi- 
 
 e sag- 
 (a-) sazh- 
 
 e loi, 
 (d-) Ivfr, 
 
 Tout re- 
 Tur'- 
 
 vi-ent, mais 
 bhfTuT], me 
 
 le jour 
 h zhur 
 
 ne Te- 
 ns- r'- 
 
 vi-ent pas 
 bhi^ari pa \ 
 
 pour moi : 
 pour moi : 
 
 Mes yeux 
 
 Mezjl 
 
 cherch-ent 
 shersh- {s-)t 
 
 en vain 
 n-T] bhdt] 
 
 les fleurs 
 le phllr 
 
 fraich-es 
 
 phresh-{^)z 
 
 e-closes, 
 e-cloz, 
 
 Mes prin- 
 
 Me prdij- 
 
 temps sont 
 tn-rj 50j; 
 
 sans grace, 
 snrr] grds, 
 
 et mes 
 e mez 
 
 e-tes 
 e-te 
 
 sans roses. 
 sn-j} roz. 
 
 J'ai per- 
 
 Zh'e pcr- 
 
 du des 
 
 du de 
 
 ru-is-seaux 
 rvis-o 
 
 le cris- 
 la- cris- 
 
 tal ar- 
 tal ar- 
 
 gen-tin, 
 zhrfri-tdt], 
 
 La pour- 
 La piir- 
 
 pre du 
 prh du 
 
 cou-chant, 
 cii-shmj. 
 
 les ra- 
 le re- 
 
 yons du 
 jfo?; du 
 
 ma- tin, 
 md-tdi]. 
 
 Etles 
 
 Ele 
 
 jeux des 
 zhl de 
 
 trou-peaux, 
 trii-poz, 
 
 et ce 
 
 e S3- 
 
 no-ble 
 no-blh 
 
 vi-sage 
 bhi-zazh 
 
 Oule 
 
 Dieu qui 
 Djl ci 
 
 fit I'homme 
 phi Vom, 
 
 , agra- 
 a gra- 
 
 ve son 
 hhe son 
 
 i-mage. 
 i-mazh. 
 
 J'ai gar- 
 ZKe gar- 
 
 de ses 
 de se 
 
 mal-heurs, 
 
 1 mdl-lz. 
 
 et per- 
 e per- 
 
 du ses 
 du se 
 
 plai-sirs. 
 pie-sir. 
 
 Ou sont 
 
 ' U SOI] 
 
 les doux 
 le du 
 
 ta-bleaux 
 td-blo 
 
 si chers 
 si sherz, 
 
 a mes 
 a me 
 
 loi-sirs ? 
 ivnr-zir ? 
 
 Ri-en, 
 
 de cet- 
 dd- set- 
 
 te scene, 
 (a-) sen, 
 
 en beau- 
 
 fTT] bo- 
 
 tes si 
 te si 
 
 fe-conde, 
 phe-corid, 
 
 Ne se 
 
 peint dans 
 par} dtrrj 
 
 ces yeux 
 
 1 sesjd-z 
 
 on se 
 
 U S9- 
 
 peign-ait 
 pen-je 
 
 le monde 
 is- mond.
 
 90 
 
 FRENCH ORTHOGRAPHY AND ORTHOEPY, 
 
 Vain-(e)- 
 Bhen-{a.)- 
 
 Pour moi 
 Pur mvn- 
 
 Ma vue, 
 Ma hhu, 
 
 Des ob- 
 
 Des 6b- 
 
 Tout est 
 Tide 
 
 Et pour 
 E piir 
 
 A-dieu I 
 A-dfif 
 
 Les tre- 
 Le tre- 
 
 La nuit 
 JLa nci{t) 
 
 E'-clair- 
 E-cUr- 
 
 E'-pur- 
 E'-pur- 
 
 Mets tes 
 Me te 
 
 Et fais 
 E phe 
 
 Desob- 
 Dezdb- 
 
 meut se 
 
 dans I'u- 
 d,7r^ tu- 
 
 a la 
 a la 
 
 jets ef- 
 z/iez e/?A- 
 
 vag-ue, 
 hhdg-{>), 
 
 moi le 
 
 des arts 
 
 sors du 
 zor du 
 
 en-glou- 
 iTT-glu- 
 
 e ma 
 (s-) r/ja 
 
 e tout 
 {>) '«^ 
 feux dans 
 phi. dirr^ 
 
 queje 
 jets que 
 
 co-lore 
 
 co-Wr 
 
 ni-vers 
 ni-hhers 
 
 clar-te 
 clar-te 
 
 fa-ces 
 d-se 
 
 con-fus, 
 cor-phu, 
 
 grand livre 
 grffr^ libhr 
 
 bril-lants, 
 bril-Jn-ri 
 
 sa-voir, 
 sa-bJiVfr, 
 
 tit tout. 
 ti tu. 
 
 rai-sou 
 re'-zovf 
 
 en moi, 
 
 ,7-?; mv,r, 
 
 mon coeur, 
 rnor^ clr, 
 
 de-voile, 
 de-bkvnril, 
 
 ja-mais 
 zha-me 
 
 et le 
 
 il nest 
 I il n'e 
 
 re-fu- 
 I r'-phu- 
 
 ne re- 
 
 cou-vert 
 I cu-hlier 
 
 est fer- 
 e pher- 
 
 la pompe 
 j la pomp 
 
 les fruits 
 le phrvi 
 
 Eh bi-en ! 
 1 E JiTfl;; / 
 
 an de- 
 I de- 
 
 par ta 
 I par ta 
 
 mets des 
 77ie dez 
 
 en mes 
 1 rrr^ me 
 
 n'ont %'us 
 
 j 71 or^ bh'i 
 
 fru-it et 
 frvi e 
 
 qu'un-e 
 
 sant le 
 
 Zirr^ I?- 
 
 coit plus 
 SV,r pill 
 
 d'un voile 
 d'?.r^ bhvtril 
 
 me pour 
 me pur 
 
 en-cban- 
 /rr^-shmj- 
 
 de la 
 
 ds^la 
 
 fil-le 
 phil-j{^) 
 
 faut de 
 pho ds' 
 
 ee-les- 
 se-les- 
 
 yeux dans 
 
 jl d,Tr, 
 
 vers so- 
 bher so- 
 les yeux 
 lezjl 
 
 la fleur : 
 la phJlr ; 
 
 cou-leur. 
 cu-ts^r. 
 
 pas-sage, 
 pds-azh, 
 
 I'i-maore : 
 Ti-77iazh : 
 
 e-pais, 
 e-pe, 
 
 ja-mais. 
 zha-me. 
 
 te-resse, 
 te-res, 
 
 sa-gesse ; 
 sd-zhes : 
 
 des Ci-eux, 
 de S/i, 
 
 mes yeux ; 
 
 mezjl ; 
 
 te flamme; 
 t[^) phldm ; 
 
 mon ame; 
 771071 ffm ; 
 
 len-nels, 
 len-el, 
 
 mor-tels. 
 
 77inrr-tel.
 
 91 
 
 RE-MAKQUE—R'-MARC. 
 
 L'iri-vo-ca-ti-on ii la lu-mi-ere est jus-te-ment ce-le-bre : elle est 
 L' drj-bko-cd-si-orj d la Iti-mi-er e zhus-V-mnri] se-le-brh : el et 
 
 e-crite d'une ma-ni-ere ad-mi-ra-ble : I'i-ma-gi-na-ti-on de Mil-ton 
 e-crif d'un' md-ni-er dd-mi-ra-blh : Vi-md-zhi-nd-si-OTi] ds- Mil-ton 
 
 y a de-plo-ye toute sa mag-ni-fi-cence ; mais ce qui en fait le prin- 
 i a de-plo-je tuf sa mdn-ji-phi-sn-fjS ; me ss- ci m] phe h p7'dr)- 
 
 ci-pal in-te-ret, ce sont les plaintes tou-chantes qu'il fait de sa ee-ci-te; 
 si-pal d7]-te-re, 5> sorj le pldnt' tu-shfriqnf c'il phe cZa- sa se-si-te ; 
 
 11 ex-prime ses re-grets de la ma-ni-ere la plus at-ten-dris-sante. Le 
 il ecs-prim' se r'-gre ds- la md-ni-er la pluz d-ta^-dri-sn-qf . L^ 
 
 rap-port mal-heur-eux que la tra-duc-teur a i-ei a-vee son au-teur, a 
 rd-par mdl-lr-l ca- U tra-duc-tlr a i-si dhh-ec son o-flr, a 
 
 peut-ctre a-jou-te au plai-sir et a la fa-ci-li-te a-vee les-quels il a 
 plt-etr a-zlm-te a pU-zir e a la pha-si-li-te dbli-ec le-celz il a 
 
 trans-por-te ce raor-ceau d'une Langue a I'au-tre. 
 trtrriz-por-tt sa- mor-so d'iin' L(rr]g a Votrh. 
 
 u 2
 
 9-2 
 
 ENGLISH 
 
 Orthographii and Orthoepy. 
 
 The Prayer of our Lord. 
 Dili Prer trbh au-?- Lad. 
 
 = Our Fa-tlier which art in Hea-ven — 
 Au-3- Phd-dhs- vhitsh at in Hebh-n — 
 
 L Hal-low-ed be Thy Name. 
 Hd-lo-ed hi Dhai Nem. 
 
 IL Thy king-dom come. 
 Dhai cir^-dom elm. 
 
 in. Thy will be done on earth, as it is in hea-ven. 
 Dhai vil hi din rfn ^3th, dz it iz in hehh-n. 
 
 IV. Give us this day our dai-ly bread : 
 Gibh Is dhis de au-?. de-Ii Ired : 
 
 ^ . And for-give us our tres-pas-ses, as we for-give them that tres- 
 And phtr-gibh Is au-a- tres-pds-ez^ dz vt phnr-gihh dhem dhdt tres- 
 
 pass a-gainst us. 
 
 pas a-genst Is. 
 
 VI. And lead us not in-to temp-ta-ti-on, but de-li-ver us from 
 And lid Is ntrt in-tu tem-te-sh'-on, bit di-Ubh-?-r Is phrn-m 
 
 e-vil. 
 i-bhl. 
 
 = FoT Thine is the king-dom, and the pow-er, and the glo-ry, for 
 Phr^ Dhain iz dhi cir,-dom, and did paU-s-r, dnd dhi gl^-ri, phar 
 
 ev-er and ev-er. A-men. 
 ehh-3.r dnd ebh-a-r. ^E-men.
 
 93 
 
 FRENCH 
 
 Orthography and Orthoepy. 
 
 L'O-rai-son Do-mi-ni-cale. 
 nO-re-zor] D6-mi-ni-cdL 
 
 zz No-tre Pere qui es aux cieux — 
 No-trh Per ci ez o sjl — 
 
 I. Ton nom soit sanc-ti-fi-e. 
 Toj} ndt] svtr sm]-tiph-je. 
 
 II. Ton regno vi-enne. 
 Tot] renj bhjen. 
 
 III. Ta vo-lon-tc soit faite en la terre comma au ci~el. 
 Ta blio-lori-te svir phet o-tj la ter com o sjel. 
 
 IV. Donne-nous au-jour-d'hui no-tre pain quo-ti-di-en. 
 D6n-[3.)-nuz o-zhiir-dvhi no-trh pdi] co-tid-jdrj. 
 
 V. Par-donne-nous nos of-fenses, comme nous par-donn-ons a ceux 
 Pdr-d6n-{^)-nu noz 6-ph(ri]S, coin nu pdr-don-orjz a ss- 
 
 qui nous ont of-fens-es. 
 ci nuz orjt 6-ph/rr]-se. 
 
 VI. Ne nous in-duis pas en ten-ta-ti-on, mais de-li-vre nous du 
 Nd. nuz dn-dvi pdz trr] t^r]-tds-jor), me de-libh-rh mi du 
 
 mal. 
 mdl. 
 
 = Car c'est a toi qu' ap-par-ti-ennent, le regne, et la puis-sance, et 
 Car s'et a tvtr c' d-pdr-ti-en, h renj, e la pvi-sirris, e 
 
 la gloire. aux si-ecles des si-ecles. A-men. 
 la glv(rr, o sjec-lh de sjec-lhz. ^ A-men.
 
 94 
 
 ALLITERATIVE CURIOSITY 
 
 " A certain French gentleman, praising the happiness of his native 
 language, which had words that implied a likeness to the thing signi- 
 fied, at the same time finding fault with the English tongue, as not 
 being able to do the like, he proposed the following verses to Dr. 
 Wallis : 
 
 " Quand un cordier, cordant; veut corder sa corde, 
 Pour sa corde corder, trois cordons il accorde ; 
 Mais, si un des cordons de la corde descorde, 
 Le cordon descordant fait descorder la corde. 
 
 " Which Dr. Wallis thus rendered into English verse, making use of 
 the pure English word ticist (contrary to the expectation of the French 
 gentleman) instead of the French word cord : 
 
 " When a twiner a twisting, will twist him a twist. 
 For the twining of his twist he three twines doth intwist ; 
 But if one of the twines of the twist do untwist, 
 The twine, that untwisteth, untwisteth the twist. 
 
 " Afterwards, the doctor added four lines more : 
 
 " fntwirling the twine that untwisteth between, 
 He twirls with his twister the two in a twine : 
 Then, twice having twisted the twines of the twine, 
 He twitcheth the twines he had twisted in twain. 
 " Afterwards he added four lines more : 
 
 " The twain, that, in twisting before in the twine. 
 As twins were intwisted, he now doth untwine, 
 'Twixt the twain intertwisting a twine more between, 
 He, twirling his twister, malies a twist of the twine." 
 
 The foregoing is copied from " An Essay towards a practical English Grammar. &c. by 
 James Greenwood, Sur-Master of St. Paul's School. London : Printed for Arthur Bettesworth, 
 at the Red- Lyon in Pater-Xoster Row. 1729." 
 
 END OF THE PHONAUTHRA ANGI.ICA-GALLICA.
 
 PHONARTHRA-HEBRAICA. 
 
 A 
 
 NEW AND SIMPLE 
 GUIDE TO HEBREW READING & PRONUNCIATION, 
 
 COMPRISING AND COMPARING 
 
 BOTH THE SYSTEMS WHICH DIVIDE THE STUDENTS 
 
 OF THE 
 
 SACRED LANGUAGE. 
 
 Jesus said, "It is easier for heaven and earth to pass, than one iittle of the Law to 
 
 fail." Luke xvi. 17- 
 
 Jesus said, — "Till heaven and earth pass, one ^o?, or one tittle shaW in nowise pass 
 from the Law, till all be fulfilled." Matt. v. 18. 
 
 Jesus said,—" Heaven and earth shall pass away, but 7ny words shall not pass away." 
 Matt. xxiv. 35 ; Mark xiii, 31 ; Luke xxi. 33.
 
 INTRODUCTION. 
 
 There are two ways of reading Hebrew: namely — I. The method 
 which is usually practised in languages, the letters of the alphabet 
 being naturally divided into the well-known classification of voivels and 
 consonants. II. An artificial method, invented for the purpose of per- 
 petuating a knowledge of the true pronunciation of the language when 
 it was (about to) become disused ; and wherein all the letters of the 
 alphabet are considered as either consonants^ or quiescent letters, the 
 vowel sounds being represented more accurately by certain arbitrary 
 points or marks placed about the alphabetic characters. The former of 
 these systems is, of course, the simpler of two, the more ancient, and 
 the more quickly learned : the latter may be preferred, or may be 
 dispensed with entirely, but should be learned together with the former 
 subordinately, as a useful help, but not as an infallible guide; the exact 
 power even of the vowel points themselves being sometimes doubtful. 
 
 There are also two kinds of Hebrew character, or letters, namely, I. 
 The Samaritan, or more ancient Hebrew, to which the punctual theory 
 is not known, nor applied ; and, II. The Chaldee character, which is 
 the more modern : similarly, as in English, there is the German text, 
 otherwise called the Old English, and the Black Letter; and, there is 
 the Latin (Roman and Italic), which is that in common modern use. 
 
 N. B. Hebrew is read from right to left, and not from left to right as 
 in English.
 
 INDEX OF CONTENTS. 
 
 PAGE 
 
 I. Introduction 97 
 
 II. The Hebrew Alphabets, &c 99 
 
 III. The Hebrew Xames of Numbers 102 
 
 IV. The Vowel Points J 04 
 
 V. The Names of the Hebrew Letters pronounced 107 
 
 VI. Prommciation of the word " Jehovah," &c 109 
 
 YII. The Names of the Writers of the Hebrew Scriptures, &c Ill 
 
 VIII. The 117th Psalm translated and pronounced 113 
 
 IX. The Exordium of the last Song of Moses, Deut. xxxii 114 
 
 X. Tlie Prayer of our Lord 117
 
 i)9 
 
 THE HEBREW ALPHABETS. 
 
 Numeral 
 
 Samaritan 
 
 Phonarthron 
 
 Chaldee 
 
 Numeral 
 
 Order. 
 
 Character. 
 
 Power. 
 
 Character. 
 
 Value. 
 
 1 
 
 A- 
 
 ^ or c/2 
 
 J< 
 
 I 
 
 2 
 
 S 
 
 i? or 5/t 
 
 n 
 
 II 
 
 3 
 
 1 
 
 G or GA 
 
 :i 
 
 III 
 
 4 
 
 '^ 
 
 Z) or Dh 
 
 1 
 
 IV 
 
 5 
 
 3 
 
 E . e 
 
 n 
 
 V 
 
 6 
 
 ^ 
 
 V or V 
 
 1 
 
 VI 
 
 7 
 
 ^ 
 
 Zh . zh 
 
 t ^ 
 
 VII 
 
 8 
 
 ^ 
 
 H . h 
 
 1 n 
 
 VIII 
 
 9 
 
 ^ 
 
 T . t 
 
 ^ 13 
 
 IX 
 
 10 
 
 m 
 
 I or J 
 
 1 
 
 X 
 
 11 
 
 a 
 
 Cli . ck 
 
 1 ■ ^ 
 
 XX 
 
 12 
 
 I 
 
 L . I 
 
 b 
 
 XXX 
 
 13 
 
 ^ 
 
 M . m 
 
 D • D 
 
 XL 
 
 14 
 
 •2^ 
 
 N . n 
 
 1 • ^ 
 
 L 
 
 15 
 
 ^ 
 
 S . s 
 
 D 
 
 LX 
 
 16 
 
 V 
 
 J3 or M 
 
 y 
 
 LXX 
 
 17 
 
 3 
 
 P or Pk 
 
 n • 3 
 
 LXXX 
 
 18 
 
 •m 
 
 Z . z 
 
 T • ii 
 
 XC 
 
 19 
 
 ? 
 
 C . c 
 
 P 
 
 C 
 
 20 
 
 *\ 
 
 R . r 
 
 -I 
 
 CC 
 
 21 
 
 WA 
 
 Sh . sh 
 
 i:^ 
 
 CCC 
 
 22 
 
 A 
 
 Th . th 
 
 n 
 
 CD 
 
 NOTES. 
 
 I. In the Masoretic, or punctual system, the letters ^ and H are 
 guiescent, or else represent the aspirate H.h; the letters > and 1 are 
 likewise quiescent, or represent the consonants J. J, V.v; and the let- 
 ler V is also sometimes quiescent, giving place to a vowel sound. 
 
 n2
 
 100 
 
 THE HEBREW ALPHABETS. 
 
 II. The followins' letters are sometimes eloiitjated : thus- 
 
 n 
 
 D 
 D 
 
 h • -I 
 
 K 
 
 III. The sign " ^pD . Macaph, joins words together like the English 
 hyphen (-) ; and the sign : plTD . Siluc, ends a sense like the Eno-lish 
 period, or full stop (.) , 
 
 IV. The Hebrew letters are properly classed accordina: to the 
 organs of speech : thus — 
 
 ' 8 
 
 
 
 rr 
 
 3 
 
 K K 
 
 v^ 
 
 1 
 
 n 
 
 N 
 
 Palatals 
 
 
 
 10 
 4 
 
 ^ 
 
 D 
 
 r 
 
 :: 
 
 n D 
 
 1 
 
 ^ J 
 
 ^"n 
 
 ") Linguals 
 
 
 
 
 
 
 » •< 
 
 D 
 
 "l 
 
 Labials 
 
 
 
 
 
 
 3 
 
 u 
 
 but improperly according to usual practice : thus — 
 
 i\^^^ — Gutturals 
 
 py:i — Palatals 
 JljbtDI — Lino-uals 
 ^^pJ^Pl — Dentals 
 =l^^n — Labials 
 
 V. Hebrew words are composed of letters which are distinguished 
 by the names of Radicals and ServUes : the former intimate the radical 
 or general sense of a word, and the latter the adjunct or qualifying 
 sense. The radical and servile letters exactly divide the Alphabet: 
 thus — 
 
 Jn-^J.D.'?.^. 
 
 1 • n . n • K I Serviles 
 
 Sy-D-^D.n.T.I-.JJ Radicals
 
 THE HEBREW ALPHABETS. 101 
 
 TJie servile letters are easily remembered, as eomposiiiir the three 
 
 names :- 
 
 2*73-1 n^D ^n^^* } - { Aith«n, Mose^, and - Caleb. 
 
 A root, or word of general sense alone, usually consists of three 
 letters, making two syllables; but there are exceptions, some roots 
 being defective, and some redundant in a letter. 
 
 N. B. The servile letters are sometimes radicals, but the radicals are 
 never serviles. 
 
 VI. In order to read and accent Hebrew without the vowel- 
 points, — 
 
 ( 1 ) . Pronounce every consonant-letter separately, and every vowel- 
 letter distinctly. 
 
 (2) . Where no vowel-letter divides the two consonants, one must be 
 supposed, as e or > ; this supposition is noted in the orthoepic examples 
 hereafter given, by the apostrophal comma (') being placed between 
 consonants. 
 
 (3) . In general, accent the second letter, or first syllable of the 
 root. It is not, indeed, necessary to make any strong accentuation ; on 
 the contrary, rather not, but so that every syllable and letter may be 
 equally pronounced, and so that the radical letters may be distinguished. 
 Experience will give tact and facility in the practice of these rules.
 
 102 
 
 THE HEBREW NAMES OF NUMBERS. 
 
 
 
 o 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 .H t 
 
 ^ "^ 
 
 
 
 1 
 
 
 
 
 
 
 
 
 
 
 
 00 
 
 
 he order 
 put eitli 
 
 
 X 
 
 
 2 
 
 
 X 
 
 s 
 
 X 
 
 ~^ 
 
 ■~ 
 
 ^ 
 
 
 > 
 
 C/2 
 
 1— 
 
 z 
 
 ~ 
 
 
 
 3 
 
 2 
 
 
 -u a; 
 
 i) 
 
 o 
 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r, i> 
 
 > i 
 
 _2 
 
 
 i 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 51 
 
 "5 
 
 
 
 a 
 
 r 
 
 fc» 
 
 a 
 
 r 
 
 n 
 
 s 
 
 S 
 
 & 
 
 c; 
 
 
 
 3 B 
 
 £ -5 
 
 II 
 
 "3 
 
 
 < 
 
 1 
 
 OS 
 
 a 
 
 
 J^ 
 
 
 n 
 
 Q 
 p 
 
 s 
 
 n 
 
 p 
 
 
 r 
 
 
 >> 
 
 
 -3 ij 
 
 '3 
 
 
 ■ 3 
 
 S 
 
 
 
 
 
 
 
 
 
 
 
 
 
 83 
 
 3 ^ 
 
 -IT "* 
 
 ■^ 
 
 
 
 
 
 
 r 
 
 & 
 
 t) 
 
 r 
 
 n 
 
 ^ 
 
 fc) 
 
 & 
 
 q 
 
 ^ 
 
 2 
 
 -t-» 
 
 ^ "^ 
 
 c^ 
 
 
 c 
 
 % 
 
 »-i 
 
 J-^ 
 
 n 
 
 n 
 
 ^ 
 
 n 
 
 ^ 
 
 § 
 
 a 
 
 ^3 
 
 5 
 
 
 H 
 
 
 
 "S 
 S 
 
 ^ 
 
 c; 
 
 S 
 
 p\ 
 
 & 
 
 q 
 
 U 
 
 f-i 
 
 ^ 
 
 r 
 
 
 ■1^ 
 
 "s -I* 
 
 
 
 
 
 
 ^ 
 
 C 
 
 c; 
 
 
 ^ 
 
 q 
 
 c; 
 
 q 
 
 .2 
 
 > 
 
 M* *-H 
 
 3 > 
 
 X 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 C- 
 
 a* 
 
 w IM 
 
 — 'x 
 J2 13 
 
 O 
 
 
 CO 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 OQ 
 
 o ^ 
 
 Figures 
 
 TT 
 
 c'l 
 
 ^ 
 
 '^ 
 
 
 
 --. 
 
 t>. 
 
 X 
 
 ^ 
 
 ^ 
 
 
 
 CC -"-J 
 
 O 3 
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 o 
 
 
 
 
 - • 
 
 
 
 • 
 
 • 
 
 • 
 
 • 
 
 • 
 
 • 
 
 • 
 
 X 
 
 C 
 
 - 
 
 S r 
 
 
 2 
 
 
 .2 ■'^ 
 
 'i 
 
 
 S 
 
 ^ 
 
 Letters 
 
 % 
 
 n 
 
 r-i 
 
 r 
 
 n 
 
 -- 
 
 »- 
 
 c 
 
 a 
 
 
 
 C ^ 
 
 ■5 o 
 1 ^' 
 
 S 
 
 
 Z 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 q 
 
 f things or 
 nbers are > 
 
 ■5, H 
 
 2 
 
 > 
 
 
 p 
 
 u 
 
 a 
 
 > 
 
 X 
 X 
 
 3 
 > 
 
 
 Tc 
 
 
 i? 
 
 
 r 
 a 
 
 ^ = 
 
 
 .3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 _j. 
 
 h *~ 
 
 i =«- 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^" 
 
 "^^ - 
 
 
 
 O 
 
 
 
 
 
 % 
 
 s 
 
 S 
 
 X 
 
 C 
 
 & 
 
 S 
 
 & 
 
 q 
 
 ^ 
 
 a 
 
 ^ 
 
 "3 
 
 
 
 
 c 
 
 n 
 
 *-« 
 
 -r^ 
 
 r 
 
 D 
 
 ^ 
 
 n 
 
 
 
 £i 
 
 fc> 
 
 
 "^ 
 
 the 77.1 
 Card 
 
 •^ 3 
 
 X 
 
 
 CO 
 
 
 
 .0 
 
 < 
 
 r 
 
 CD 
 
 & 
 
 a 
 
 ^ 
 
 
 ^ 
 
 
 ^ 
 
 r 
 
 s 
 
 
 ■1-3 —1 
 
 X H 
 _5 
 
 -3 
 
 1 a 
 
 
 
 4 
 
 H 
 
 i 
 
 "3 
 
 1 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i 
 1 
 
 
 
 
 • 
 
 3 
 Z 
 
 > 
 
 
 i 1 
 
 
 ."S 
 
 2 
 
 
 a 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 ^ 
 
 
 ;*- X 
 
 ^ 
 
 cT 
 
 1^ 
 
 < 
 
 
 U 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 C ■" 
 
 O '^ 
 
 • j^ 
 
 X ' 
 
 z 
 
 
 - 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 = 'r 
 
 3 "y 
 
 X • — 
 
 S 
 
 5 
 
 
 " 
 
 
 
 
 
 
 
 
 
 
 
 q 
 
 ~ — 
 
 "3 
 
 
 £^ 
 
 
 
 2S 
 
 S 
 
 D 
 
 3S 
 
 C 
 
 & 
 
 & 
 
 & 
 
 q 
 
 ^ 
 
 ,, 
 
 E 
 
 q 
 1 
 
 DINAI 
 
 place 
 
 •3 S 
 
 S 
 
 '.t^ 
 
 < 
 
 
 "3 
 
 c 
 
 c; 
 
 
 r 
 
 D 
 
 D 
 
 n 
 
 Q 
 
 S 
 
 fc> 
 
 c 
 
 X 
 
 
 
 
 
 
 c3 
 
 ■j: 
 < 
 
 c; 
 
 a 
 
 
 
 n 
 
 & 
 
 E 
 
 q 
 
 r 
 q 
 
 X 
 
 < b 
 
 .2 - 
 
 
 
 X 
 
 -T3 
 
 
 "5 
 
 y 
 
 
 
 & 
 
 a 
 
 % 
 
 c 
 
 ^ 
 
 s 
 
 s 
 
 q 
 
 ^ 
 
 
 
 q 
 
 
 *x ~ 
 
 
 
 
 3 
 
 
 
 c. 
 
 
 r 
 
 
 
 a 
 
 ^ 
 
 
 s 
 
 c; 
 
 § 
 & 
 
 r 
 q 
 
 z 
 
 r 
 q 
 
 ? 
 
 • :^ 'Jz 
 
 3 
 
 2 
 
 
 L. z 
 
 _ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 aT
 
 THE HEBREW NAMES OF NUMBERS. 
 
 103 
 
 y^ . 
 
 T . 
 
 "ID . 
 
 V . 
 
 T"» . 
 
 TV . 
 
 D^ . 
 
 «3 . 
 
 2D . 
 
 :i^ . 
 
 1:2 . 
 
 nj . 
 
 ID . 
 
 D^ . 
 P 
 
 n 
 
 II 
 
 12 
 
 13 
 14 
 15 
 16 
 17 
 18 
 19 
 
 21 
 22 
 33 
 
 44 
 55 
 
 66 
 
 77 
 88 
 99 
 
 Feminine 
 
 I •• : ••• 
 
 vtr\ 
 
 |TT 
 
 Masculine 
 WZt , or 'W 
 
 XT ; - 
 
 T • 
 
 Eleven 
 
 Twelve 
 
 Thirteen 
 
 Fourteen 
 
 Fifteen 
 
 Sixteen 
 
 Seventeen 
 
 Eighteen 
 
 Nineteen 
 
 Common 
 
 \- -r :- : 
 I ■ • : 
 
 D'V2p-) 
 I- : 
 
 Feminine 
 
 Masculine 
 
 ^D^i^ 
 
 im 
 
 D''nt 
 
 n^y^ 
 
 tbt 
 
 T I 
 
 rnnst 
 
 nv2-Mi 
 
 T T ; - 
 
 t^n . 
 
 nw!2n 
 
 T • -; 
 
 m 
 
 T " 
 
 ];2t . 
 
 n^nt^ 
 
 upt ■ 
 
 T ; 
 
 vtr\ ■ 
 
 ni?^ri 
 
 One and twenty 
 Two and twenty 
 Three and thirty 
 Four and forty 
 Five and fifty 
 Six and sixty 
 Seven and seventy 
 Eight and eighty 
 Nine and ninety 
 
 100 
 200 
 300 
 400 
 
 constr. J^^ip 
 
 •|- T 
 
 absol. niiD 
 
 |T" 
 
 for n'DikD 
 • 1 - T : 
 
 A hundred 
 
 [Two] huii(h'eds 
 Three hundred 
 Four hundred 
 
 ^bi^ . A thousand . U^Bbi^ - [Two] thousands 
 nan") or Kin , ini , ^^<n■^ or nUI . Ten thousand 
 
 |tt: I- |- it;- I 
 
 ^bii D')i^D U)"^ . Six hundred thousand 
 
 1 ia is used instead of n% because the latter denotes the Sacred Name, which might thus 
 be used irreverently. See page 109.
 
 104 
 
 THE NAMES OF THE POINTS. 
 
 THE VOWEL POINTS, 
 
 TOGETHER WITH THEIR CORRESPONDING PHONARTHRIC POWERS. 
 
 - 
 
 • • 
 
 • 
 
 = 
 
 i ^ 
 
 e 
 
 «- 
 
 • • 
 • 
 
 • 
 • 
 
 • • • 
 
 • • 
 
 9- 
 
 (') 
 
 
 T 
 
 ••. 
 
 t: 
 
 nr 
 
 u 
 
 nr 
 
 The Xames of the Points — their Meanings and Pronunciations, icith tlie 
 Points and tcithout the Points. 
 
 Names 
 
 pointed. 
 
 Fig. 
 
 Meaning. 
 
 Power. 
 
 Names unpointed. 
 
 nns . 
 
 Pathah 
 
 - 
 
 The Opener 
 
 a 
 
 nj-i3 . P'th'h 
 
 1 ••• 
 
 Ss^ol 
 
 •.• 
 
 The Peculiar 
 
 a- 
 
 b^::D . s\jul 
 
 vpp. • 
 
 Cn-mez 
 
 T 
 
 The Contractor 
 
 nr 
 
 ytSp . Cmz 
 
 n:i . 
 
 
 
 The Enforcer 
 
 e 
 
 n:i . ^ri 
 
 
 Sh'i:o- 
 
 : 
 
 The Void 
 
 (') 
 
 ^<r^ . Sh'va 
 
 i;?? • 
 
 Cibuz 
 
 *•• 
 
 The Compresser 
 
 u 
 
 v:ip . Cb'z 
 
 
 > 1" T 
 
 Htrteph 
 
 T : 
 
 Short 
 
 or 
 
 "Caught" 
 
 or 
 
 Acute 
 
 Pathah 
 
 S3-(/0l 
 
 Crrmez 
 
 a 
 
 I 
 
 nr 
 
 V'^P 
 
 5TJn 
 
 ' ITfp 
 
 = A11 these signs are placed underneath the letters. 
 =iThe sign or point im . Sh'r.y (:), intimates merely the absence of a 
 vowel, and is, therefore, as nearly as possible expressed by the apostro- 
 phal comma {'), as used in English to denote the absence or elision of 
 a vowel sound. At the same time, however, it usually supposes so
 
 THE NAMES OF THE POJNTS. 105 
 
 much of indistinct vowel sound as may suffice to detach (if need be) any 
 two consonants wliich are in juxta-position. 
 
 n:The uses of a single point, or dot, are as follow : — 
 
 1. A point, or dot, placed underneath any letter is 
 
 I pnrr . Hiric | . | The Trembler | i I 'p^'Sn . H'ric I 
 
 2. A point, or dot, placed over above any letter is 
 
 I D^in . Hola-m I . I The Robust I o I D'Pin . HuVm 1 
 
 If placed over above to the rights it is pronounced hefore the letter ; if 
 placed over above to the left^ it is pronounced after the letter : it must 
 not, however, be confounded with the arbitrary point placed over ti^, 
 to render it either S, or Sh ; thus, in the punctual system, t' =: S, and 
 ^ = Sh. Circumstances, indeed, will always indicate what is signified 
 by this point ; which, in the case of V, may, at first, appear versatile 
 and obscure : thus — 
 
 'V — S, and So 
 
 '^ = Sh, and O.sh 
 
 ):} — Sho, and Os 
 
 3. A point, or dot, placed inside the letter 1, is called 
 
 I plVi^ . Shurec I 1 I The Sibilant I u | plW . Shurc I 
 
 thus reconverting the consonant 1 . F, into a vowel. This, however, 
 must not be confounded with another power which it has of strengthen- 
 ing, accenting, or confirming the consonant 1 . F, as well as every other 
 consonant letter, except V and H. When the single point or dot 
 performs this office, it is called Dagesh ; and when it is placed 
 inside the vowel-letter R . E, which is then sounded H . ^, it is called 
 
 Mapic. 
 
 Note.— There are also many other points, or punctual signs, called 
 
 o
 
 106 THE NAMES OF THE TOINTS. 
 
 accents^ which have various offices ascribed to them ; but the precise 
 use and meanings of them all are not known. The foregoing are the 
 uojoeZ-points, a knowledge of which is sufficient for our present purpose, 
 and, it is presumed, not too complicate, or difficult, to deter the 
 beginner from proceeding further by-and-by.
 
 107 
 
 THE NAMES OF THE HEBREW LETTERS, 
 
 WITH THE POINTS AND WITHOUT THE POINTS. 
 
 1 'VIT 
 
 •I T 
 
 ^<^ . 
 
 I •• 
 
 I" 
 
 [•• 
 Tiv 
 
 ^?- 
 
 "IT 
 
 00 
 
 ' V I T 
 
 I" 
 
 I "T 
 
 ^n 
 I" 
 
 I • 
 
 in 
 
 |T 
 
 Jlhph 
 
 Beth 
 
 Gimel 
 
 Dfrhth 
 
 He 
 
 Vn- 
 
 Zhain 
 
 Heth 
 . Teth 
 
 Jod 
 
 , Chaph 
 . Ltrm9.d 
 . Mem 
 . Nun 
 . Sn-ma-c 
 . 3ain 
 . Pe 
 . Zn-de 
 . Cuph 
 . Resk 
 . Shin 
 . Thn- 
 
 n'2 
 
 nbi 
 
 ^i^ 
 
 ")■) 
 
 rt 
 
 ir^b. 
 
 DD . 
 ]13. 
 
 Hi* . 
 Clip. 
 
 t:^n . 
 in . 
 
 . Bith 
 . Gim'l 
 
 . nvth 
 
 . Ea 
 
 . Vu 
 
 . Zhin 
 
 . Hith 
 
 . Tith 
 
 . Jud 
 
 . Ch'ph 
 
 . LWd 
 
 . M'm 
 
 . Xzm 
 
 . S'm'ch 
 
 . ^in 
 Pa 
 Z'di 
 Cuph 
 Bish 
 Shin 
 Thn 
 
 1 The sign [i], consisting of a perpendicular 
 stroke below a letter, is called jno Ms-tha-g, i- e. a 
 bit, bridle, or rein. Its use is to mark the accented 
 syllable, and it causes a [:] i. e. ['] Sh'va, otherwise 
 mute, to be pronounced [5-]. 
 
 D 
 1 
 
 Y 
 
 l< 
 
 1 
 
 2. 
 
 2 
 
 J 
 
 3 
 
 "I 
 
 4 
 
 n 
 
 5 
 
 *) 
 
 6 
 
 T 
 
 7 
 
 n 
 
 8 
 
 JO 
 
 9 
 
 > 
 
 10 
 
 2 
 
 20 
 
 b 
 
 30 
 
 D 
 
 40 
 
 J 
 
 50 
 
 D 
 
 (50 
 
 V 
 
 i '^ 
 
 3 
 
 'i 80 
 
 :{ 
 
 90 
 
 P 
 
 100 
 
 -1 
 
 '200 
 
 i:^ 
 
 300 
 
 n 
 
 400 
 
 500 
 600 
 
 700 
 
 800 
 
 900 
 
 o2
 
 108 
 
 The following Verse 8, Chapter 3. from the Prophecy of Zephauiah, 
 contains in it all the letters of the Alphabet : 
 
 'i v:,v • T : • • -: • ' : \-r : \: r - |"t 
 
 ' VIT T T
 
 109 
 
 PRONUNCIATION OF THE NAME "JEHOVAH," &c. 
 
 = The four letters miT' of the Hebrew alphabet correspond with the 
 four letters EUEI of the Roman alphabet, that is, in the Roman order 
 of reading lEUE, or JEUE. 
 
 nNow lEUE or JE-U-E, as first pronounced and written by one 
 generation, coming (by a change of euphony incidental to all languages) 
 to be pronounced JE-O-A, by a succeeding generation, these three 
 syllables easily and naturally divide themselves, by aspiratitir/ before 
 the middle one (O), and parting it from the last by the cognate and 
 corresponding consonant of U, which is V : and, the original and pro- 
 per sound of V being that of English W, and J the sound of English 
 Y, the present and true pronunciation of the word is attained, namely, 
 JE-hOv-A, that is, Je-ho-va, or Ye-ho wa. 
 
 = Again: lEUE, or JEVE, being by the Masoretic, or punctual 
 system, JHVH (that is, four consonant letters instead of four vowels), 
 requires the insertion of certain vowel-signs in order to be pronounced ; 
 which is, therefore, done, l)y inserting those of the natural pronunciation 
 above shown : thus — JelloVaH . that is, Je-ho-vah (or Ye-ho-wah), 
 according to established ortliography ; but, according to the real 
 orthoepy^ X<>.HoV/rH, 
 
 ~In like manner may be explained all the examples following: as 
 thus — 
 
 0'!?"^^^ 
 
 u^rb'^ 
 
 1 ■"" : 
 
 mn> 
 
 L'H'M 
 
 ALE-IM 
 
 J'H'V'H 
 
 JEUE 
 
 eLoHiM 
 
 ELOhlM 
 
 JeHoVaH 
 
 JEhOvA 
 
 that is 
 
 Gods. 
 
 that is 
 
 The Eternal.
 
 110 TRONUNCIATION OF THE NAME " JEH OVAH," &C. 
 
 M'Sh'J'H ' M'ShlH J-H'Sh\3 ; JE-USh'.3 
 
 M>ShiJaH i M^ShlaH , JeHoShua.O JEh-OSljua.3 
 
 that is, Christ, or Anointed. |j that is, Jesus, or "Jehovah the 
 
 Saviour." 
 
 H-L-L--J-H EL'LU'JE 
 
 HaLeLuJaH ALeLU-JA 
 
 that is. •• Praise - Ye The - Lord !"
 
 Ill 
 
 THE NAMES, OR WRITERS' NAMES OF THE HEBREW 
 
 SCRIPTURES, 
 
 PRONOUNCED WITH THE POINTS AND WITHOUT THE POINTS. 
 
 1 . Moses 
 
 2 . Joshua 
 
 3 . Judges 
 
 4 . Ruth 
 
 5 . Samuel 
 
 6 . Kings 
 
 7 . Chronicles 
 
 8 . Ezra 
 
 9 . Esther 
 
 10 . Nehemiah 
 
 11 . Job 
 
 12 . David 
 
 13 . Psalms 
 
 14 . Solomon 
 
 15 . Proverbs 
 
 16 . Eeclesiastes 
 
 1 7 . Song of Songs 
 
 IS . Amos 
 
 19 . Hosea 
 
 20 . Micah 
 
 21 . Isaiah 
 
 22 . Joel 
 
 23 . Nahum 
 
 24 . Habakkuk 
 
 ntr2 . MosJis- 
 
 yti^in"; . J'hoshua^ 
 WigtiW . Shophtim 
 
 nn . Ruth 
 
 ^mCi'^ . Sh'mud 
 DO^Q . Malchim 
 
 • TT ••: • yHfrjirmim 
 ^')\V ■ ^B-zhm- 
 -|j;}pS . 3s-ther 
 n^Dm . N'/ia-m-jn- 
 21"^ . Jjob 
 TH . Do-vid 
 W^nn . Th'hilim 
 HKibp . Sh'lomo 
 ^bl^Q . Mishle 
 rhnp . Coha-hth 
 
 ■ [^ Hashirim 
 DiQV . ^nrmos 
 i^I^in . Hosheari 
 HD^Q . Mien- 
 
 T 
 
 ^""^V^ ■ J'shari-jnr 
 ■^NtV . Joel 
 DITO . Nahum 
 
 p^pin . Habacuc 
 
 ni^O . M'she 
 
 V^^T^"" . Jeush\ 
 
 U^'i^'B'W . Shuphtim 
 
 pen . Ruth 
 
 h^yOV . Sh'mual 
 
 W^brz . MTchim 
 
 [D'bri- 
 [^ hinnm 
 
 irwy . ^'zhra 
 IDDi^ . Asthr 
 r\''r2m . Nli'm-je 
 
 3V^^ . Ajuh 
 
 l^n . Duid 
 Uhr\r\ . Thelim 
 r\d7U} . Sh'Vme 
 
 ^b^D . M'shli 
 
 rbr\p . CeTth 
 
 (Shir- 
 (^ hshirim 
 
 D'SOV • 3'mus 
 
 V^^^ . Eush'i] 
 
 nyD . Miche 
 
 n^yi:;*' . ish'i]-je 
 b^r . Jual 
 
 mnj . N'hum 
 
 p^pnn . H'h'cuc
 
 112 THE writers' names OF THE HEBREW SCRIPTURES. 
 
 '2b 
 
 . Obadiah 
 
 nnniy 
 
 26 
 
 Zephaniah 
 
 
 27 
 
 Jeremiah 
 
 
 28 
 
 Lamentations 
 
 T •• 
 
 29 
 
 Ezekiel 
 
 '^''<p!'7' 
 
 30 
 
 Daniel 
 
 ^^'?1 
 
 31 
 
 Haoforai 
 
 'irj 
 
 32, 
 
 Zechariali 
 
 nnD? 
 
 33. 
 
 Jona 
 
 nji^ 
 
 34 . 
 
 Malachi 
 
 onVd 
 
 Jjobad-jtr 
 , Z'phan-jnr 
 , I/'m-Jn- 
 , Echo- 
 
 cThxzh'c-el 
 
 Dirni-jel 
 
 Hagnj 
 
 Zh'char-jnr 
 
 Joiur 
 
 Mahrchi 
 
 n'2ii'^ . Z'pk'n-Je 
 nya . Aiche 
 
 b^\i\n' . j'h'-h'c-ai 
 
 bii'2~^ . D'ni-al 
 
 ^:n . H'gi 
 nnDT . Zh'ch'r-Jc 
 
 njV . June 
 ON^:: . M'lachi
 
 113 
 
 PSALM 117. 
 
 TRANSLATED AND PRONOUNCED WITH THE POINTS AND WITHOUT THE POINTS. 
 
 
 ^ 
 
 /erse I. 
 
 
 
 Sing -ye [Praises] 
 
 ^bbn 
 
 HaTlu 
 
 ^bbr^ 
 
 EVlu 
 
 Uo 
 
 '^^ 
 
 3th 
 
 -nii 
 
 Ath 
 
 Jeliovali, 
 
 nin^ 
 
 Jliova^ 
 
 mn'' 
 
 Jeue 
 
 all 
 
 -^ 
 
 . Chrrl 
 
 -bD 
 
 Chi 
 
 nations : 
 
 0^121 
 
 . Goim: 
 
 D^i:) 
 
 Guim : 
 
 celebrate-ye- Him. 
 
 ^ininiiii? 
 
 . Shab'hu-hu, 
 
 imrrnt:^ 
 
 Sh'b'hu-eu 
 
 all 
 
 -b2 
 
 . Chal 
 
 -bj 
 
 . Ch'l 
 
 the -peoples. 
 
 1 • \ T 
 
 . Hnr-umim. 
 
 D^D^*^ 
 
 E-amirn. 
 
 
 Verse H. 
 
 
 
 For 
 
 '? 
 
 . Chi 
 
 o 
 
 . Chi 
 
 mighty 
 
 - T 
 
 . Grrhar 
 
 13:1 
 
 . G'Fr 
 
 over- us 
 
 •• T 
 
 . ^frle-nu 
 
 ^Tbv 
 
 . ^Ui-no, 
 
 (is) His -favor; 
 
 npn 
 
 . Has'd-o : 
 
 non 
 
 . H's'd-U : 
 
 and- (the) fidelity 
 
 "/IDNI 
 
 . Vd.-9.ma.th 
 
 -j-iQj^i 
 
 . U-am'th 
 
 (of) Jehovah 
 
 n^n' 
 
 . ,rhovn- 
 
 mn^ 
 
 . Jeue 
 
 (is) for -ever. 
 
 dr\vb 
 
 . L-rfilo-m. 
 
 □•^ly"? 
 
 . L-7jurm. 
 
 Praise -ye 
 
 -^bbn 
 
 . HaVlu 
 
 -^bbr^ 
 
 . Eriu 
 
 Jah. 
 
 n' 
 
 .Jrr. 
 
 n^ 
 
 .Je. 
 
 ♦ I • M T T : - 
 
 . — •• T - X 
 
 ♦ T ' : T : vv:!-.- 
 
 nnbbrf 
 
 1 nxbas no corresponding word in English. The nearest meaning is " the," yet not the 
 same as n " the," but intimating an objective case after it, whence it seems to i)artake ot 
 the force of the English prepositions at or to.
 
 114 
 
 EXORDIUM OF THE LAST SONG OF MOSES. 
 
 SEE DEtTEROXOMY XXXII. 
 
 Give ear, 
 
 ye Heavens, 
 and I will speak ; 
 
 and bear, 
 
 O Earth, 
 
 the words 
 
 (of) my mouth. 
 
 Shall drop 
 as the rain, 
 ni)' doctrine ; 
 shall distil 
 as the dew, 
 my speech ; 
 as the small rain 
 
 upon 
 
 the tender herb, 
 
 and as the showers 
 
 upon 
 
 the grass. 
 
 Because 
 
 the name 
 
 (of) Jehovah 
 
 1 will publish ; 
 
 Verse I. 
 I ^:'TNn . Haazhinu 
 D"5li'n . Hashirmai7n 
 niZlSl . Vahadaherrr: 
 >^2'jn} . J^thishjiiar^ 
 'pNn . Hnrhnrrs-Z 
 
 ' V T T 
 
 '^')';;>'^ . Im're 
 ^3 . Pi. 
 
 Verse H. 
 
 ^T>"_. Jar^aroph 
 1l3!23 . Chamfrtn-r 
 
 T T ~ 
 
 '^7}^^ . Lie' hi ; 
 b-in . Thizhal 
 "^^S . Chatal 
 '•j-n:2N^ . Im'rrrthi: 
 Dn;r'r|) . Chish'ipim 
 "hv . :5ale 
 
 U'yy^y . V'chir'hibim 
 
 ^wT . c2>es3.b. I 
 
 Verse IH. 
 
 '3 . Chi I 
 
 Di^ . Shetn ' 
 
 rrin^ . j'hovn- 
 
 T ; 
 
 1rT^^^ . Eazhinu 
 
 D'^Z'H . E-sh'mim 
 
 ninisn . U-acTb're; 
 
 I y'2Z'n^ . U-th'sh'm'r, 
 
 I "PN'^ • E-arz 
 ■n-^S . Am'ri 
 *3 . Pi. 
 
 ! 
 
 Lfr'ph 
 
 acm'er 
 
 . re hi; 
 JVzKl 
 
 Chri 
 
 Am'rthi .- 
 Ch'sh'r^iritn 
 
 .yii 
 
 D'sha, 
 U-ch'r'bibim 
 :d'li 
 .Jd'sh'b. 
 
 'D . Chi 
 DV . Sh'ffi 
 
 mn^ . jcue 
 
 ^<1pK . Jc'ra ;
 
 r> AiJii 
 
 > 1 U IVI U 1. '1- 
 
 HE LAST SONG 
 
 OF MOSES. i\l 
 
 ascribe- ye 
 
 •un 
 
 . H/rbu 
 
 nrr 
 
 . ^i?^ 
 
 greatness 
 
 •pii 
 
 . Gods-l 
 
 bij 
 
 . G'cVl 
 
 unto our God. 
 
 
 . Lelohenu. 
 Verse IV. 
 
 ^Trh^b 
 
 . L-aleinu. 
 
 The Rock ! 
 
 -niirr 
 
 . Hazur 
 
 "Tii:rT 
 
 . E-zur 
 
 perfect 
 
 ' T 
 
 . Thnrmim 
 
 D^DJ-l 
 
 TKmim 
 
 (is) His work ; 
 
 t:it 
 
 • Pfr7]rrlu ; 
 
 -bv^ 
 
 P\Uu; 
 
 for 
 
 '3 
 
 Chi 
 
 D 
 
 Chi 
 
 all His ways 
 
 T T ; T 
 
 Clurl Urncfr 
 
 vdit'pd 
 
 Chrrl-nr'c-jn 
 
 (are) judgment: 
 
 T • • 
 
 MisKpat : 
 
 DSt^D . 
 
 WsKpH : 
 
 a God 
 
 ^. 
 
 El 
 
 bi^ 
 
 Al 
 
 of truth, 
 
 T |v: 
 
 3munfr 
 
 nji,!:j< , 
 
 Amune 
 
 and - no 
 
 ]^j;t . 
 
 r En 
 
 r^J^ . 
 
 U-Ain 
 
 iniquity, 
 
 '^' 
 
 Jdfrv?.!, 
 
 b^v. 
 
 3ul, 
 
 just 
 
 pn^ . 
 
 Zadic 
 
 pn:: . 
 
 Zdic 
 
 and - right 
 
 
 Fj/rslmr 
 
 iii^^T . 
 
 U-IshW 
 
 (is) He. 
 
 N'ln . 
 
 Hu. 
 
 Nin . 
 
 Eun. 
 
 p2
 
 116 
 
 "^ 
 
 
 
 J, 
 
 
 
 
 
 -H 
 
 
 
 
 
 
 o 
 
 
 
 3 
 O 
 
 
 
 
 
 o 
 
 
 
 
 1 
 
 
 < 
 < 
 
 H 
 
 Pi 
 
 o 
 
 « 
 o 
 
 o 
 
 1— 1 
 
 s 
 
 o 
 
 O 
 
 0) 
 
 c 
 
 Si 
 
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 117 
 
 THE PRAYER OF OUR LORD "JESUS CHRIST." 
 
 
 Our Father 1 
 
 irnNt . J2bmu 
 
 ^y2i^ . 
 
 Abinu 
 
 1 
 
 which (art) in Heaven, 
 
 ■ ^ ^ ~ ■•■ I mfrim, 
 
 W^Dl^flTV . 
 
 Sh'b'sh'mimi 
 
 I. 
 
 Hallowed be 
 
 It^lp^ . Icfrdesh 
 
 t:^ip>. 
 
 IcWsh 
 
 
 Thy Name. 
 
 • "^Up . SKvi^clw. 
 
 •'i;o^ . 
 
 SKm'ch. 
 
 II. 
 
 Come 
 
 'i^^2^\ . Thfrho 
 
 T 
 
 Kun . 
 
 TKbua 
 
 
 Thy kingdom. 
 
 •• '■ ~ y chrr. 
 
 : imD'^Q . 
 
 MTchuth'ch. 
 
 Ill 
 
 Be 
 
 ^n*- . J' hi 
 
 ^n^ 
 
 Jei 
 
 
 Thy will 
 
 ^Ji::i . Rzon'clnr 
 
 i:iu"i . 
 
 Wzun!ch 
 
 
 as that 
 
 ■)i;^S3 . Cha-asher 
 
 -Wi^^. 
 
 Ch-ashr 
 
 
 in Heaven 
 
 D''aii^:2 . Bashtrmtrim 
 
 • T T ~ 
 
 W'lyD^. . 
 
 E'sNmim 
 
 
 also 
 
 \2) . F'chen 
 
 pi. 
 
 U-c'n 
 
 IV 
 
 on Earth. 
 Our bread 
 
 1Jpr6 . Lah'menu 
 
 
 B-ar'z. 
 
 
 brought 
 daily, 
 
 iOVa"DV . Jom-b'jomo, 
 
 131 
 
 UVr 
 Jum-Vjumu.^ 
 
 
 extend 
 
 \n . Then 
 
 ]n 
 
 TKn 
 
 
 to us 
 
 •12*? . Lo-nu 
 
 T 
 
 ^:h 
 
 Unu 
 
 V. 
 
 to day. 
 
 And forgive 
 
 us 
 
 : DTH . Ha-jom. 
 
 n^DT. Us'lah 
 
 ^zb . L/rnu 
 
 nVoi 
 
 E-jum. 
 
 . U-s'Vh 
 . Unu 
 
 
 our debts, 
 
 ^rnUirrn^^ .Sfth-Jwbothenv 
 
 •• 
 
 '\T^l^2')^-^)ik 
 
 Ath-hubuthinu 
 
 
 as 
 
 ■Iti;^l^3 . Cha-asha-r 
 
 l^ND 
 
 . Ch-ashr 
 
 
 we forgive 
 
 those possessing 
 
 our dues. 
 
 ^:rhD . Salah'nu 
 "hv^ . Vhai]ale 
 •■ ^2''ry\y\n • Hobothem. 
 
 ^2T^bD 
 
 . S'l'h'nu 
 . L'b\'U 
 . Hubuthinu.
 
 118 
 
 THE PRAYER OF OUR LORD " JESUS CHRIST. 
 
 VI. And not 
 lead us 
 into temptation, 
 but 
 deliver us 
 froni evil. 
 =: For thine (is) 
 the kingdom, 
 and the power, 
 and the glory, 
 
 for ever and ever. 
 Amen. 
 
 bi^). V'al 
 ^JN^nn . Th'bienu 
 ]VDy) . Unisirjon, 
 D^i-'3 . Chi-im 
 1j'?'i:rT . Hazilenu 
 ■inr2 . Merrrr. ! 
 
 T ■■ I 
 
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 ni^inJI . Ugburn- 
 li33T . V'chrrbod ': 
 
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 MYt}. 
 
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 Tr\^iy\ . 
 
 U-g'bure 
 
 nnDi . 
 
 U-ch'bud 
 
 D^::^i:rD'?i:?'? < 
 
 riuTmim, 
 
 ;:dn. 
 
 Am'n.
 
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 r7
 
 THE LIST OF SUBSCRIBERS' NAMES. 
 
 H. R. H 
 
 . THE PRINCESS AUGUSTA * 
 
 H. R. H. THE DUCHESS OF KENT. 
 
 Altamon't, The Earl of 
 
 Attwood, Rev. George, Framlingham, Suffolk. 
 
 Bacon, R. M. Esq., Cossey, Norwich. 
 
 Bamford, James, Esq., 6, Milk Street, Cheapside, London. 
 
 Bellamy, Rev. Edward, Dersingham, Norfolk. 
 
 Boyle, Charles John, Esq. ) p^^^^^^ Hampton Court, Middlesex. 
 
 , Miss Mary Louisa, ■' 
 
 Brander, Rev. Boulton, Calne, Wilts. 
 
 Branfil, Charles, Esq., Upminster Hall, Essex. 
 
 Buccleugh, Her Grace the Duchess of, Whitehall, London. 
 
 Burghersh, Right Hon. Lord Viscount, 12, Upper Harley Street, London. 
 
 Burnett, John Fasset, Esq. May Place, Dartford, Kent. 
 
 Burton, Lieut.-Col. Wilham, Royal Marines, Woolwich, Kent. 
 
 Campbell, Vice-Admiral Sir Patrick, K.C.B., Leamington, Warwickshire, 2 copies. 
 
 , Lieut. -General Sir Colin, K.C.B , Governor of Ceylon. 2 copies 
 
 , Colonel Frederick, commanding Royal Artillery at Montreal, Canada. 
 
 Condren de Suzanne, Monsieur de, Pro\dseur du College Royal, Angers, France. 
 
 Cooksley, Rev. J. C, Eton College, Windsor, Berks. 
 
 Craig, Rev. Edward, Burton-Latimer, Northamptonshire. 
 
 Dawson, Rev. W. A., Christ College, Cambridge. 
 
 Dixon, Mrs. C, Nightingale Vale, Woolwich, Kent. 
 
 Doyle, James, Esq., Crimplesham Hall, Norfolk. 
 
 Dupont, Mons. Claude Jean, Dijon, France. 
 
 Evans, Aliss, Burton-Latimer, Northamptonshire. 
 
 Falkland, Lord Viscount, Governor of Nova Scotia, 2 copies. 
 
 Fox, Rev. William, Girsby House, Louth, Lincolnshire, 6 copies. 
 
 Frere, Philip H., Esq., Downing College, Cambridge. 
 
 Grimshawe, Charles Livius, Esq. Biddenham, Bedfordshire. 
 
 Gurney, Daniel, Esq. North Runcton, Lynn, Norfolk. 
 
 Hamilton, Rev. George, 32, Burton Crescent, London. 
 
 Harper, Rev. Latimer, Burton-Latimer, Northamptonshire. 
 
 Harrison, Rev. W. B., Goudhurst, Kent. 
 
 Hawtrey, Rev. Dr., Eton College, Windsor, 6 copies. 
 
 Henslow, The Misses, Down Cottage, Clifton, Somerset. 
 
 * Deceased, 22d September, 1840.
 
 122 THE LIST OF SUBSCRIBERS' NA3IES. 
 
 Henslowe, E. P. Esq., Cranham, Essex. 
 
 ^ F. I. F. Lieut. R.N- Chevalier de I'ordre de Leopold. 
 
 — ', F. H. Esq., Sydney, N. S. W. 
 
 Hulkes, Thomas William, Esq., Rochester, Kent. 
 
 Jones, Charles, Esq. 32, Gower Street, London. 
 
 Kennedy, Rev. Dr., Shrewsbury School, Salop. 
 
 Kelly, Thomas Julius, Esq., Major, commanding at Tilbury Fort. 
 
 Llandati; Right Rev. Lord Bishop of. Deanery, St. Paul's, London. 
 
 Lee, Rev. Professor, D.D., Trinity college, Cambridge. 
 
 Lloyd, William Horton, Esq., 1, Park Square, Regent's Park, London. 
 
 London, Right Hon. Lord Mayor of, lS39-iO. 
 
 Mechanics' Institution, The Chatham, Rochester, and Stroud, High Street, Chat- 
 ham, Kent. 
 
 Montgomerie, Miss, Puttenham Priory, Guilford, Surrey. 
 
 Nichols, J. B. Esq., 25, Parhament Street, London. 
 
 Norfolk, His Grace the Duke of, Fomham, St. Genevieve, Bury, Suffolk, 
 
 Northumberland, His Grace the Duke of, Northumberland House, London. 
 
 Okes, C. Esq., Travers' Naval College, Windsor, Berks. 
 
 Okes, Rev. B., Eton College, Windsor, Berks. 
 
 Ouseley, Right Hon. Sir Gore, Bart, 41, Upper Brook Street, Grosvenor Square, 
 London. 
 
 Parker, Rev. J. T., 21, Bedford Place, Kensington. 
 
 Patterson, James, Esq., M. D., Downham, Norfolk. 
 
 Pearce, Rev. Thomas, Folkestone, Kent. 
 
 Peterborough, Right Rev. Lord Bishop of. Palace, Peterborough. 
 
 Phipps, Hon. Edmund, Mount Street, Park Lane, London, 2 copies. 
 
 Powerscourt, Viscountess, Sandgate, Kent. 
 
 Ripon, Right Rev. Lord Bishop of, Bishopton, Ripon. 
 
 Robinson, Frederick, Esq., Southery, Norfolk. 
 
 Rule, William, Esq. Upper Bedford Place, London. 
 
 Rushbrook, Lieut. -Col. Robert, Rushbrook Park, Suffolk. 
 
 Saumarez, Hon Mrs. T. Lemarchant, Milford Villa, Lymington, Hants, 2 copies. 
 
 Scott, Capt. Charies Rochefort, R. S. C, Cheltenham. 
 
 Strode, Mrs. Col. Chetham, Milford Villa, Lymington, Hants, 2 copies. 
 
 Sumner, Richard, Esq., Puttenham Prior}-, Guilford, Siurey. 
 
 Tan-er, Mons., Eton College, Windsor, Berks. 
 
 Tattam, Rev. Henry, St. Cuthbert's, Bedford. 
 
 Taylor, R. Cuninghame, Esq. 63, Baker Street, Portman Square. London. 
 
 Thompson, Charles, Esq., Jesus College, Cambridge. 
 
 Tulk, Charles Augustus, Esq., Duke Street, Westminster. 
 
 L'ppleby, Rev. George, Bardney Hall, Barton upon Humber, Lincolnshire, 2 copies. 
 
 L'sko, Rev. John Frederick, Orsett, Essex. 
 
 Ware, Martin, Esq. New Bridge Street, London. 
 
 Yorke, Mrs., Prospect Place, Woolwich Common, Kent.
 
 EIGHT SERMONS, 
 
 ADDRESSED TO 
 
 THE ROYAL REGIMENT OF ARTILLERY, 
 
 IN THE BARRACK-CHAPEL AT WOOLWICH. 
 
 To which are annexed, copious and interesting Notes, illustrative of the lawful 
 extent and limitation of Military Discipline, and the importance of 
 Religious Principle in the Soldier. 
 
 By the Rev. WILLIAM-HENRY HENSLOWE, M.A. 
 
 London : Published by J. Hatchard & Son, 187, Piccadilly. 183C. 
 
 NOTICES ON THE SERMONS. 
 
 From the Atlas Newspaper of Sunday, Tth August, 1836. 
 = " There is always something peculiarly impressive in spiritual teaching addressed to men in 
 the harness of war. What can be more grand than the contemplation of a soldier of truth ? 
 And such is really the chaplain in the midst of a military congregation. The proud are to be 
 humbled, the valiant to be put down ; the strong must be overcome, the weak supported, the 
 faint-hearted cheered ; and the battle against ourselves must be led with vigour, to secure 
 triumph. But there is something unusually interesting in the discourses before us ; they are 
 written by a younger brother of the chaplain, during the illness of the latter, generally on the 
 night before the day of preaching. The discourses were, by military authority, forbidden to 
 exceed twenty viinutes in delivery; and yet these hastily composed ' sermon essays' created a 
 sensation, which proves the courage and spirit with which they were written and delivered. 
 The absence of chaplains from regiments, the horrid practice of flogging, and other points of 
 deepest interest to the soldier, who is spoken of as a ' sheep without a shepherd,' are treated 
 with great boldness in one of these discourses, in consequence of which, the military autho- 
 rities interfered, and the preaching of this ardent Soldier of Truth was suspended. The 
 present volume is the result, and the Sermons are dedicated to Lord Hill, in a spirit of con- 
 fidence which shows the author's zeal, and promises a happy result." 
 
 From the SPECTAToa/or Saturday, 20th August, 1836. 
 = " The contents of this volume do not suflSciently differ from the twenty or thirty thousand 
 sermons (at a moderate computation), that are weekly delivered in Great Britain, to require 
 much criticism for themselves ; but they may be noticed for the singular simple-mindedness 
 of the author, and an unpleasant result which their delivery produced. They were originally 
 preached to the Royal Regiment of Artillery in the Barrack Chapel at Woolwich ; but the 
 ruling powers of that distinguished corps stopped the sacred orator after the eighth hortative. 
 Divines have established for themselves a perfect freedom of speech in the pulpit ; but they 
 usually exercise it in general terms. William Henslowe was too personal to be pleasant ; he 
 not only charged the corps with being of little faith, and much bad practice, but he drew his 
 illustrations and evidences from passing events, using the death-bed scenes of the military 
 hospitals as a proof and a warning, and hurling in the teeth of the living the fact of their 
 frequent floggings, as testimonies of their unworthiness not to be gainsaid. He touched upon 
 a tender part, when he hinted (so we understand him) that soldiers ought not to obey orders 
 to render honour to a rival creed. He perhaps put forward an opinion of questionable sound- 
 ness in a military point of view, when he declared he would rather face an enemy, with a 
 force, however small, from whence every ' wicked man ' was removed, than have the entire
 
 124 NOTICES ON THE SERMONS. 
 
 English army with the 'wicked' in it. But the soldier-authorities seem to have alleged 
 doctrinal objections to the seventh sermon, on ' Providential Warnings and Divine Visitations,' 
 from the text, 'Shall the trumpet he blown in the city, and the peo^ile not he afraid? Shall 
 there he evil in a city, and the Lord hath not done it ?' We may lack the acumen of the 
 military divines, or have not examined the discourse with the attention they gave it, but we 
 have perceived nothing very uncommon (for sermons) in the argument ; perhaps it was in the 
 instances selected for the illustration of the special providence, that the offence lay. Here are 
 the warnings without the comments ; the italics are the author's. 
 
 " ' I. First of all ; since the last Sabbath-day dawned and darkened over our heads, a soldier 
 has committed murder in the day-time ! 
 
 II. " ' The trumpet of God' s providence has also been sounded by another evil, of recent and 
 lamentable occurrence. I allude to the case of a poor soldier who is at this moment suspended 
 hetween life and death, in consequence of an injury he sustained, whilst engaged at work on 
 account of the monthly amusements, the celebrated periodical festivities of this place lately 
 begun. [An oflScer's ball we infer.] 
 
 " ' III. There is yet another and a third evil which has taken place of late, and whereby the 
 trumpet of God's providence has blown a shrill and shrieking blast around the vealls of the 
 Academy. Year after year, for three years in succession, has a similar blast been repeated in 
 the ears of the cadets ; and, it is to be feared, from the circumstance of that repetition, with 
 but little pious regard on their parts. But, what ! Shall the trumpet be blown in the city, and 
 the people not be afraid? Shall there be evil in a city, and the Lord hath not done it ? 
 [The evil was three accidental deaths ; or, as we should rather consider, three providential 
 ones.]' " 
 
 From a Critic to a Friend, November, 1836. 
 = " The Sermons are beautifully written : really some passages are so awakening, that they 
 make you start with conviction and admiration. I much admire his holy boldness in advo- 
 cating the cause for which he will not compromise the truth. I shall endeavour to make his 
 discourses circulate ; already I have interested my cousin, the member," [Mr. P ]. 
 
 Fromihe Gentleman's MAGAZiNE/or December, 1836. 
 = " Of tlie zeal and piety of Mr. Henslowe we have ample evidence ; but one of his sermons, 
 the fourth, gave such offence to the officers, that the pulpit of the Chapel was closed against 
 him. The chief cause of complaint was grounded on his allusion to the punishment of 
 flogging. Upon reference to the passage, we can find nothing that ought, in justice, to havp 
 offended, since the punishment is only mentioned incidentally as a consequence of the de- 
 gradation which rendered it necessary. The author has both talent and piety, sucli as would 
 adorn the profession to which he belongs. The present volume is certainly not learned, nor 
 very eloquent [for learning directly applied to such an audience would be misplaced ; and the 
 eloquence of Chrysostom, or Basil, would have fallen on ears that could not drink in those 
 strains divine], but it is very well written, animated, forcible, perspicuous."
 
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