CAMBRIDGE J^
PRIMERS OF PRONUNCIATION
Edited by Daniel Jones
The Pronunciation of English
CAMBRIDGE UNIVERSITY PRESS
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^ The
Pronunciation of English
i. Phonetics
ii. Phonetic Transcriptions
by
Daniel Jones, M.A.
Lecturer m Phonetics at University College, London
SECOND EDITION
Cambridge
at the University Press
1914
First Edition 1909
Reprinted 1909, 1911
Second Edition 1914
Pf
35
Jt7
PREFACE
TN studying the pronunciation of a language two things
-^ are necessary, firstly to acquire familiarity with the
variou8_elementary speech_Simnds of which the language
is composed and the modes of producing them, and
secondly to learn when and in what combinations the
elementary sounds are used so as to form words and
sentences.
This book is accordingly divided into two parts. Part I
dealing with phonetics proper, that is the analysis and
classification of the elementary speech sounds of the
English language, Part II consisting of phonetic tran-
scriptions of passages selected from well-known English
authors. In Part I Educated Southern English pronun-
ciation is dealt with in detail and the principal varieties
of pronunciation heard in London and elsewhere are
described. Part II contains specimens of various kinds
of pronunciation and is divided into five sections. Sec-
tions I, II and III contain transcriptions of average
Standard English (as defined in Part I, § 1), illustrating
the careful conversational, the rapid conversational, and
the declamatory styles of pronunciation respectively;
section iv contains transcriptions of the actual pronun-
ciation of various educated persons from different parts
VI PREFACE
of the country; section v consists of a specimen of
uneducated London dialect.
The phonetic system used is that of the International
Phonetic Association, and the symbols are fully explained
in Part I. The ordinary spelling of the pieces transcribed
is given at the end for reference.
I have to thank the following authors and publishers
for kindly allowing me to reproduce copyright matter:
Messrs Sampson Low, Marston & Co. for the illustrations
of the Larynx (fig. 2) which are taken from Voice, Song
and Speech by Browne and Behnke, Messrs George Bell
& Sons for the poem of Calverley (no. 3), Mr Benson and
his publishers Messrs Methuen for the passage from Dodo
(no. 9), Dr Fuhrken and Dr Rodhe for the transcription
from Fuhrken- Jespersen-Rodhe's Engelsk Ldsehok (no. 17),
Messrs Macmillan & Co. for the passage of Huxley (no. 19),
Messrs Teubner for the transcription from Lloyd's Northern
English (no. 20), and Mr Pett Ridge for the passage from
his London Only (no. 26).
1 also wish to express my thanks to Mr G. Noel-
Armfield (London), Dr E. R. Edwards (London), Mr H. D.
Ellis (London), Mr B. Lockhart (Scotland), and Miss
B. Robson (Edinburgh), for their kindness in furnishing
me with transcriptions of their respective pronunciations
(nos. 16, 18, 19, 22 and 24 respectively) and giving me
information for the notes which are placed after each
transcription. I am also indebted to Dr G. E. Fuhrken,
the transcriber of no. 17 mentioned above, for information
regarding his pronunciation. Special thanks are also due
to Mr Noel-Armfield, who was kind enough to make the
PREFACE VU
transcriptions of the pronunciation of Mr R. P. H. Blore
(no. 21), Mr J H. Fadge (no. 23) and Mr J. Sinclair
(no. 25) (whose kindness in allowing their pronunciation
to be recorded I also desire to acknowledge) and to furnish
me with notes on their pronunciation.
The present work is primarily designed for the use of
English students and teachers, and more especially for
students in training-colleges and teachers whose aim is
to correct cockneyisms or other undesirable pronuncia-
tion in their scholars. At the same time it is hoped that
the book may be found of use to lecturers, barristers,
clergy, etc., in short to all who desire to read or speak
in public. The dialectal peculiarities, indistinctness and
artificialities which are unfortunately so common in the
pronunciation of public speakers may be avoided by the
application of the elementary principles of phonetics. It
may be added that a study of the pronunciation of the
mother tongue is the indispensable foundation for the ac-
quisition of the correct pronunciation of foreign languages.
It is not necessary to urge further reasons why English
people should be encouraged to study the pronunciation
of their own language. The fact that the Board of
Education has now introduced the subject into the
regular course of training of teachers for service in
public elementary schools is sufi&cient proof that its
importance is now generally recognised.
DANIEL JONES.
Wimbledon,
Aprily 1909.
PEEFACE TO THE SECOND EDITION
TN the second edition of this book alterations have been
-*- made in the definition of a vowel (§ 12) and in the
classification of vowels (pp. 10, 11 and § 129). Several
corrections have also been made in the intonation-curves
on pp. 87 — 97. Otherwise the book remains substantially
as before.
Gramophone Records of Texts 8 and 9 have recently
been prepared, and it is hoped that they may be of
assistance to those readers who have access to gramo-
phones. They are spoken by myself and are published
by the Deutsche Grammophon-Gesellschaft, Rittcrstr. 35,
Berlin. The catalogue numbers of the records are 201392
and 201393 respectively. (For the benefit of Indian
readers it may be added that the records are stocked at
Spencers Stores, Madras.)
A few discrepancies between the pronunciation on the
records and that indicated in the texts will be noticed.
These are chiefly due to the fact that in making a gramo-
phone record it is necessary to speak with exaggerated
distinctness. A study of such discrepancies is instructive.
DANIEL JONES.
University College,
London, W.C.
Augustf 1914.
CONTENTS
SECTION PAGE
Preface v
Table of English Speech Sounds .... xiii
Values of phonetic symbols xiv
Abbreviations xvii
Script forms of phonetic symbols and specimens of
phonetic writing xviii
PART I: PHONETICS
I. Standard pronunciation 1
II. Organs of Speech :
General remarks 2
Vocal chords. Breath and Voice ... 3
III. Classification of Sounds :
General remarks. Definitions of Vowels and
Consonants ...... 6
Classification of Consonants .... 7
Classification of Vowels 9
IV. English Speech-sounds in detail :
General remarks 14
Consonants : Plosives 15
Liquids 19
Fricatives 28
Semi- Vowels 33
Vowels 34
V. Nasalisation 48
a5
X
CONTENTS
SECTION
PAOE
VI.
Assimilation 49
VIL
Quantity
52
VIII.
Syllables
65
IX.
Stress
57
X.
Breath -groups .
58
XI.
Intonation ....
69
XII.
Theory of Plosive Consonants.
65
XIII.
Initial and Final Voiced Fricatives
69
PART II: PHONETIC TRANSCRIPTIONS
I. Standard Pronunciation. A. Careful Conversational
Style :
1. Bronte, a passage from Jane Eyrej , , 73
2. Burke, a passage from Thoughts on the
French Revolution 74
3. Calverlet, Contentment (after the manner
of Horace) 75
4. Scott, Hunting Song 77
5. Thackeray, a passage from the Essay on
Whitebait 79
6. yfoB.T>&YfORTB^** I wandered lonely" . , 82
II. Standard Pronunciation. B. Rapid Conversational
Style :
7. Dickens, a passage from the Pickwick Papers 83
8. George Eliot, a passage from the MiU on
the Floss 85
9. Benson, a passage from Dodo (with Intona-
tion Curves) 87
CONTENTS XI
SKCTION PAOJfi
III. Standard Pronunciation. C. Declamatory Stylo :
10. Byron, a passage from Childe Harold . . 98
11. Gladstone, Peroration of the Speech on the
Second Reading of the Reform Bill of 1866 . 99
12. Keats, Sonnet to Sleep .... 101
13. Milton, At a Solemn Music .... 102
14. Shakespeare, a passage from Julius Caesar 103
16. Tennyson, Lyrics from The Princess (with
Intonation Curves) . . ... . . 104
IV. Pronunciation of particular speakers :
16. Addison, a passage from Sir Roger de Cover-
ley^ s country residev/ie and friends (pronuncia-
tion of G. Noel-Armfield, Esq., Yorkshire and
London) . . 108
Notes on Mr No6l- Arm field's pronunciation . 109
17. Fuhrken-Jespersen-Rodhe, anecdote taken
from Fuhrken's transcription of Jespersen-
Rodhe's Engelsk Ldsebok (pronunciation of G.
E. Fuhrken, Esq., London) . . . . Ill
Notes on Dr Fuhrken's pronunciation . . 112
18. Goldsmith, a passage from Beau Tibbs at
Vauxhall (pronunciation of Dr E. R. Edwards,
London) 112
Notes on Dr Edwards' pronunciation . . . 113
19. lluxLEY, a passage from Discourses Biological
and Geological (pronunciation of H. D. Ellis,
Esq., Devonshire and London) . . . 114
Notes on Mr Ellis' pronunciation . . . 114
20. Lloyd, a passage from the Daily Mail as
transcribed in Lloyd's Northern English (pro-
nunciation of R. J. Lloyd, Esq., Liverpool) . 115
Notes on Dr Lloyd's pronunciation . . . 117
XU CONTENTS
SECTION I'AUK
21. Macaulay, a passage from the History of
England (pronunciation of R P. Houghton
Blore, Esq., Lancashire and London) . . 118
Notes on Mr Blore's pronunciation . . . 118
22. Macaulay, a passage from the History of
England (pronunciation of B. Lockhart, Esq.,
Scotland and South of England) . . . 119
Notes on Mr Lockhart's pronunciation . . 120
23. Buskin, a passage from Modern Painters
(pronunciation of J. H. Fudge, Esq., Hamp-
shire and London) 120
Notes on Mr Fudge's pronunciation . . . 121
24. Scott, a passage from Old Mortality (pro-
nunciation of Miss B. Robson, Edinburgh) . 122
Notes on Miss Robson's pronunciation . . 123
25. Stevenson, a passage from Treasure Island
(pronunciation of J. Sinclair, Esq., Glasgow) . 124
Notes on Mr Sinclair's pronunciation . . . 124
V. London Dialect :
26. Pett Ridge, a passage from London Only . 126
Appendix. Ordinary spelling of the pieces transcribed in
Part II 129
TABLE OF ENGLISH SPEECH SOUNDS
This table is for reference only. It should be used
constantly in connexion with the detailed descriptions of
the sounds, Part I, §§ 29 ff.
Glot-
tal
1
1
Velar
o:
^1
P
3
£
1 ^
1
O
0)
<l>
>
8-*
■^
'3
1
•Ml
C
f— t
t«
2>.
CD P
1-
■11
>
(Hi
I
1
!
0*1
a
^
.^.
5
^
J.
>
'i
1
J
1
1
1
-1
1
tri
1
o
s(juisuosno;3
S|8M0^
The sounds underlined in the table are breathed, all
others are voiced (§ 9).
Sounds which appear twice in the table have a double
articulation, the secondary articulation being shown by
the symbol in ( ); see the sections relating to each of
the sounds in question.
VALUES OF PHONETIC SYMBOLS
The following key words are in StP as defined in
Part I, §^ 1, 2.
Phonetic
Ordinary
Phonetic
Symbols
Spelling
Transcription
a: heard in father
'fCLlSa
a
COW
kau (see § 135)
a
„ %
flai
SB
cab
kaeb
A
, mwch
mAt/
b
6oat
bout
d
rfay
dei
$
then
Sen
e ,
, red
red
ci
play
plei
e
, there
Sea
a:
, bird
ba:d
a
, above,china a'bAvr^tJama/
f
, /cot
fut
g
^ive
qiv
h
hurt
h9:t
i:
, queen
kwi;n
i
„ Hp
lip
J
», yon
i^-
VALUES OF PHONETIC SYMBOLS XV
Phonetic
Ordinary
Phonetic
Symbols
Spelling T
ranscriptioii
k heard
in cold
kould
1
>:
/eap, fee^
li:p, fill (see § 62)
m
»
mark
maik
n
»
new
nju;
D
»
son^
sor)
(low
INoveiaber
lou
o
J»
no'vemba (see § 150)
o:
JJ
saw
so:
o
)}
long
lor)
P
„
pay
pei
r
»
right
rait (see § 69)
s
»
sun
SAn
/
»
show
Jou
t
„
too
tu:
e
,,
thin
ein
u:
»
food
fu:d
u
,,
good
gud
V
»J
vow-
VCLU
w
»
wine
wain
z
»
2:eal
ziil
3
)»
measure
'meja
' means that the following syllable is stressed, e.g.
above aTjAV, measure 'mesa.
, placed under a consonant symbol, as in n, ], means
that the consonant is syllabic. It is not usually
necessary to insert this mark ; see § 199.
The foregoing symbols are those used in the tran-
scription of ordinary Standard English. The following
are required in exceptional cases for indicating variations
from the normal pronunciation.
XVI VALUES OF PHONETIC SYMBOLS
A, the open back unrounded vowel, § 130
a:, a lengthened a, § 126
d, a vowel intermediate between a: and a, § 175
®> » „ H SB „ a, §175
as:, a lengthened aB, § 100
e:, the half-closed front tense unrounded vowel, §§ 117, 119
e, the half-closed mixed lax unrounded vowel, § 153
e:, a lengthened 6
a, a vowel intermediate between a: and a, § 175 j
a-ri, a lowered variety of a:, § 167 |
axi, a raised variety of a:, § 167
1, the closed mixed lax unrounded vowel, § 158 i
I, a vowel intermediate between i and e, § 111 .
o:, the half-closed back tense rounded vowel, § 151 j
o, the half-closed mixed lax rounded vowel, § 153 i
Q, a vowel intermediate between o and a, § 175 \
OB, the half-open front rounded vowel, § 153
in, the closed back lax unrounded vowel, § 157
ii, the closed mixed lax rounded vowel, ^ 153, 158
a
vowels pronounced with " inversion " of the tip of the
tongue, § 71
nasalised vowels, §§ 25, 180
I
5
ft
?, the glottal plosive, § 47
c, the breathed palatal plosive, § 46
f, the voiced palatal plosive, § 46
VALUES OF PHONETIC SYMBOLS XVIJ
9, the breathed palatal fricative, § 99
V L devocalised d, v, z, §§ 238, 239
m
o
n
o
r
., devocalised 1, m, n, r, j, §§ 14, 51, 55, 185
1", 1', 1' etc., varieties of 1 sounds, § Gl
f , the semirolled r sound, § 69 note
J, the fricative r sound, § 69
B, the uvular r sound, § 73
J^, a sound intermediate between / and j, § 101
5', ...... » 3 " i' § 101
v^, a semivocalic v, § 77
AV, the breathed w sound, § 81
LIST OF ABBREVIATIONS
L London dialect
N Northern dialects (Lancashire, etc.)
N.Eng. The North of England
N.Mid. North Midland dialects
Sc Scottish dialects
S.Eng. The South of England
StP The form of Standard Pronunciation described
in Part I, § 2
W Western dialects (Devon, etc.)
SCRIPT FORMS OF PHONETIC SYMBOLS
a a, ^ y
a a.
r 7*' {or It when no con-
fusion can arise)
e t *
//
o ^ z z.
SPECIMENS OF PHONETIC WRITING
c^J<ccl -^ /ccyiy^^^^ ^TT 66:o?j. /cI/Pto ^71x6 yctUjC
(Sweet.)
(Sweet.)
Many prefer to write : as .«^, as in the following
example.
(Ellis.)
PART I
PHONETICS
L STANDARD PRONUNCIATION
1. No two persons pronounce exactly alike. The
differences may arise from a variety of causes, such as
locality, early influences, social surroundings, individual
peculiarities, and the like. For the purposes of the
present book it is necessary to. set up a standard, and
the standard selected is the pronunciation which appears
to be most usually employed by Southern English persons
who have been educated at the great public boarding-
schools. Where such usage varies, the style adopted by
the majority will be preferred.
2. But here it must be noticed that even the best
speakers commonly use more than one style. There is
the rapid colloquial style and the formal oratorical style,
and there are many shades between the two extremes.
For our standard pronunciation we shall adopt in Part I
of this book an intermediate style, which may be termed
the careful conversational style. This form of standard
pronunciation will be denoted by the abbreviation StP, and
it will be understood that whenever phonetic transcription
is used, StP is intended to be represented, unless the
contrary is stated. Students should note carefully all
points in which their own pronunciation differs from StP.
J. 1
PHONETICS
11. ORGANS OF SPEECH
3. The first essential for the student of Phonetics is
to have a clear idea of the structure and functions of the
various parts of the organs of speech. Those who have
not already done so, should make a thorough examination
of the inside of their mouth by means of a hand looking-
glass. The best way of doing this is to stand with the
back to the light and to hold the looking-glass in such a
position that it reflects the light into the mouth, and at
the same time enables the observer to see the interior
thus illuminated. It is not difficult to find the right
position for the glass.
4. The following diagram shows all that is required
for the purposes of this book.
B. Back of Tongue.
Bl. Blade of Tongue.
F. Front of Tongue.
G. Upper Gums.
Gt. Gullet (food passage).
H. Hard Palate.
LL. Lips.
P. Pbaryngal cavity (Pharynx).
S. Soft Palate.
TT. Teeth.
U. Uvula.
V. Position of Vocal Chords.
W, Wind-pipe,
Fig. 1. The Organs of Speech.
ORGANS OF SPEECH 3
6. Note that the main part of the roof of the mouth
is divided into two parts, the front part constituting the
hatd palate, and the back part the soft palate. These
two parts should be examined carefully in the looking-
glass. They may be felt by the tongue or with the finger.
The soft palate can be moved upwards from the position
shown in fig. 1. When raised to its fullest extent it
touches the back wall of the pharynx, as in fig. 5 (p. 11).
The upper gums are defined as the part of the roof of
the mouth which is convex to the tongue, the imaginary
division between the gums and hard palate being made at
the point where the roof of the mouth ceases to be convex
to the tongue, and begins to be concave.
6. Note particularly the meaning of the terms back
and front, as applied to the tongue. The back is the part
opposite the soft palate when the tongue is in the position
of rest, the front is the part opposite the hard palate.
The blade is the part opposite the gums, and includes the
tip.
THE VOCAL CHOEDS. BEEATH AND VOICE
7. The vocal chords are situated in the larynx and
resemble two lips. They run in a horizontal direction
from back to front (see figs. 1 and 2). The space between
them is called the glottis. The chords may be kept apart,
or they may be brought together so as to close the air
passage completely. When they are brought close together
and air is forced between them, they vibrate, producing
the sound known as voice. When they are wide apart
and air passes between them, the sound produced is called
BREATH. Certain intermediate states of the glottis give
1—2
4
PHONETICS
rise to whisper. The sound h (§ 102) is pure breath ; the
vowel sounds are practically pure voice.
Fron^
Fronf
Back B
Back
Fig. 2. The Larynx as seen through the laryngoscope.
A. Position for Breath. B. Position for Voice.
TT. Tongue. VV. Vocal Chords, W. Windpipe.
8. Breath and voice may be illustrated artificially by
the following simple experiment. Take a short tube of
wood or glass T, say 1 J inches long and \ inch in diameter,
and tie on to one end of it a piece of thin indiarubber
tubing I, of a rather larger diameter, say J inch, as shown
in the accompanying diagram. The tube
of wood or glass represents the windpipe,
and the indiarubber part the larynx. The
space enclosed by the edge of the india-
rubber EE, represents the glottis. If we
leave the indiarubber in its natural posi-
tion and blow through the tube, air passes
out, making a slight hissing sound. This
corresponds to breath. If we take hold
of two opposite points of the edge of the
indiarubber E, E, and draw them apart Fig. 3.
so that two edges of the indiarubber come
into contact along a straight line, we have a representation
ORGANS OF SPEECH 5
of the glottis in the position for voice, the two edges
which are in contact representing the two vocal chords.
Now, if we blow down the tube, the air in passing out
causes the edges to vibrate and a kind of musical sound is
produced. This sound corresponds to voice.
9. Every normal speech sound contains cither breath
or voice. Those which contain breath are called breathed,
and those which contain voice arc called voiced. Examples
of breathed sounds are p, f ; examples of voiced sounds
are b, v, a:\
10. When we speak in a whisper, voice is replaced
throughout by whisper (§ 7), the breathed sounds remain-
ing unaltered. It will not be necessary to deal further
with whisper.
11. It does not require much practice to be able to
recognise by the ear the difference between breathed and
voiced sounds. The following well-known tests may how-
ever sometimes be found useful. If breathed and voiced
sounds are pronounced while the ears are stopped, a loud
buzzing sound is heard in the latter case but not in the
former. Again, if the throat be touched by the fingers,
a distinct vibration is felt when voiced sounds are pro-
nounced, but not otherwise. Compare in these ways f
with V, p with a:.
1 Letters in tliick type are plionetic symbols. In naming the pho-
netic symbols, they should be designated by their sounds and not by the
ordinary names of the letters ; thus the symbols p, f are not called pi:,
cf but are designated by the initial and final sounds of these two groups
respectively.
PHONETICS
ni. CLASSIFICATION OF SOUNDS
12. Every speech sound belongs to one or other of
the two main classes known as Vowels and Consonants.
A VOWEL (in normal speech^) is defined as a voiced sound
in which the air has a free passage through the mouth,
and does not produce any audible friction. All other
sounds (in normal speech^) are called CONSONANTS.
13. The distinction between vowels and consonants
is not an arbitrary physiological distinction. It is in
reality a distinction based on acoustic considerations,
namely on the relative sonority of the various sounds.
Some sounds are more sonorous than others, that is to
say they carry better or can be heard at a greater dis-
tance. Thus the sound a pronounced in the normal
manner can be heard at a greater distance than the sound
p or the sound f pronounced in the normal manner. It
so happens that the sounds defined as vowels in § 12 are
noticeably more sonorous than any other speech sounds
(when pronounced in the normal manner).
Consonants
14. Some consonants are breathed, others are voiced
(§ 9). To every breathed consonant corresponds a voiced
consonant, i.e. one produced with the same position of the
articulating organs, but with voice substituted for breath,
and vice versa: thus v corresponds to f, b to p. The
^ Whispered speech is not considered as normal. In whispered
speech " voice " is replaced throughout by " whisper " and every sound
consists of audible friction and nothing else (except the *' stops " of
breathed plosives, which have no sound at all).
CLASSIFICATION OF SOUNDS 7
breathed forms corresponding to several of the English
voiced consonants, e.g., m, 1, do not occur regularly in
English. It is, however, a good phonetic exercise to
practise such unfamiliar breathed sounds (phonetic sym-
bols m, 1). They may be acquired by practising vfvf...,
zszs..., until the method of passing from voice to breath
is clearly understood, and then applying the same method
to m, 1, etc., thus obtaining mmmm..., 1111..., etc. The
voiced consonant corresponding to h does not occur
regularly in English, but it is not a difficult sound to
pronounce.
Vowels
15. There are numerous positions of the organs of
speech, and more especially of the tongue, in which, when
voice is produced, it is accompanied by little or no noise.
Such positions are called vowel positions. In each of
these positions a resonance chamber is formed, which
modifies the quality of tone produced, and gives rise to
a distinct vowel. The number of possible vowels which
can be distinguished by a good ear is very large — some
hundreds — but in any one language the number of distinct
vowels in use is comparatively small. (See Table of
English Vowels, p. 14.)
CLASSIFICATION OP CONSONANTS
16. Consonants may be classified (1) according to the
organs which articulate them, (2) according to the manner
in which the organs articulate them. If we classify them
according to the organs which articulate them, we dis-
tinguish five main classes : —
8 PHONETICS
(1) Labial or lip sounds, which may be subdivided
into
Bi-lahial, viz. sounds articulated by the two
lips. Examples p, m.
Labio-dental, viz. sounds articulated by the
lower lip against the upper teeth. Ex-
ample f.
(2) Dental, viz. sounds articulated by the tip or
blade of the tongue against the upper teeth or gums\
Examples t, ^.
(3) Palatal, viz. sounds articulated by the front of
the tongue against the hard palate. Example j.
(4) Velar, viz. sounds articulated by the back of
the tongue against the soft palate^ Example k.
(5) Glottal, viz. sounds articulated in the glottis.
Example h.
17. If we classify consonants according to the manner
in which the organs articulate them, we distinguish five
main classes : —
(1) Plosive, formed by completely closing the air
passage and suddenly removing the obstacle (or one of
the obstacles), so that the air escapes making an explosive
sound. Examples p, d.
(2) Nasal, formed by completely closing the mouth
at some point, the soft palate remaining lowered so that
the air is free to pass out through the nose. Example m.
(These are the only sounds of StP in which the soft palate
is lowered.)
(3) Lateral, formed by an obstacle placed in the
middle of the mouth, the air being free to escape at the
sides (see § 60). Example 1.
^ These consonants are termed lingual by many authors.
' The velum is another name for the soft palate.
CLASSIFICATION OF SOUNDS
9
(4) Rolled, formed by a rapid succession of taps of
some elastic organ. Example rolled r.
(5) Fricative, formed by a narrowing of the air
passage at some point so that the air in escaping makes
a kind of hissing sound. Examples f, z.
The nasal, lateral, and rolled consonants are sometimes
grouped together under the name of liquids.
18. It is convenient to arrange the consonants in a
table, horizontal rows containing sounds articulated in the
same manner, and vertical columns containing sounds
articulated by the same organs thus: — ■
Lai
Bi-
labial
3ial
Labio-
dental
Dental
Palatal
Velar
Glottal
Plosive
Pb
ta
kg
?
Nasal
m
n
T)
Lateral
1
(1)
Rolled
r
Fricative
w
fv
05, sz
/3,J
J
(w)
h
Tliese consonants are examined in detail in 55 29 — 105.
CLASSIFICATION OP VOWELS
19. The characteristic qualities of vowels depend on
the positions of the tongue and lips. It is convenient to
classify them according to the position of the main part
of the tongue. The position of the tip has no great effect
10 PHONETICS
on vowel quality, except in the cases noted in § 71, which
do not occur in StP. In the following explanation the
tip of the tongue is supposed to be touching the lower
teeth, or at any rate to be close to them (see fig. 5).
20. Some vowels (e.g. those in see, far) have clear and
well-defined quality ; others (e.g. that in bird) have a more
obscure sound. Vowels of obscure quality are chiefly those
in which the tongue is in an intermediate vowel position,
not raised markedly in the front or at the back, and not
too low down in the mouth ; vowels of well-defined quality
are chiefly those in which the tongue is remote from such
an intermediate position, that is to say those in which the
tongue is markedly raised in the front or at the back or
is quite low down in the mouth. If we examine the
tongue positions of the most typical sounds of well-defined
quality we find that the highest points of the tongue lie
roughly on the sides of a triangle the angles of which are
marked by the points i, a, u in fig. 5 (the sounds of the
e type falling between i and a, and the sounds of the
o type falling between a and u). Vowels which have
the highest point of the tongue approximately on the
left-hand side of this triangle are called front vowels',
those in which the highest point of the tongue is ap-
proximately on the right-hand side of this triangle are
called hack vowels \ those in which the highest point of
the tongue is well within the triangle are called mixed
vowels.
21. Vowels are thus classed as front, mixed, and back,
according to the horizontal position of the highest point
of the tongue. They may also be classified according to
the vertical position of the highest point of the tongue.
Those in which the tongue is as high as possible con-
CLASSIFICATION OF SOUNDS
11
sistently with not producing perceptible friction are called
close vowels. Those in which the tongue is as low as
possible are called open vowels. We distinguish two
intermediate positions, half-close and half-open, in which
the tongue is lowered from the close position to about
one-third, and two-thirds, of the total distance from the
close position to the open position. Examples of front,
mixed and back vowels are i (lip, lip), a: (bird, ba:d),
u (good, gud), respectively. Examples of close, half-close,
half-open, and open vowels are u: (boot, buit), e (pen, pen).
Front
Close
Half-close
Half- open
Open
Half-closed
Open
Fronr Back'
Fig. 4. The classification of vowels.
Fig. 5. Tongue-positions for the vowels l, a, u.
12 PHONETICS
6 {pair, pea), a {father, faiSa), respectively. Figs. 4
and 5 will help to make clear the basis of the classifi-
cation of vowels. (Fig. 4 is an elaboration of the " vowel-
triangle.")
22. Vowel quality is also largely dependent on the
position of the lips. The lips may be held in a natural
or neutral position, they may be spread out so as to leave
a long narrow opening between them, or they may be
drawn together so that the opening between them is
more or less round. Vowels produced with the lips in
the latter position are called rounded vowels. Others
are called unrounded. If the spreading of the lips is
very marked, the vowels may be termed sj^read. Such
lip-spreading is, however, not usual in English, and it is
sufficient to distinguish the English vowels simply as
rounded and unrounded. An example of a rounded vowel
is u:; examples of unrounded vowels are i, a:.
23. Another element which is sometimes of import-
ance in determining vowel quality is what may be termed
the state of the tongue and lips (more especially the former)
as regards muscular tension. Vowels produced while the
tongue is in a state of considerable muscular tension
are called tense vowels; example i: {leap, liip). Those
produced while the tongue is not in a state of muscular
tension but is held loosely, are called lax vowels ; example
i {lip, lip). The difference in quality between a tense
vowel and the corresponding lax vowel (i.e. one in which
the highest point of the tongue is in about the same
position as in the case of the tense vowel, but the tongue
is relaxed) is sometimes very considerable, especially in
the case of close vowels, i is the lax vowel corresponding
CLASSIFICATION OF SOUNDS 13
to the tense i:. The u: in boot, bu:t, and u in foot, fut,
are corresponding tense and lax vowels \
24. The tenseness or laxness of a vowel can in some
cases be observed mechanically by placing the finger on
the throat between the larynx and the chin. When
pronouncing a lax vowel such as i this part feels loose,
but when pronouncing a tense vowel as i:, it becomes
considerably tenser and is slightly pushed forward.
25. The soft palate may affect vowel quality. In the
articulation of normal vowels the soft palate is raised so
that it touches the back wall of the pharynx as shown in
fig. 5 (p. 11). The result is that no air can pass through
the nose. It is, however, possible to lower the soft palate
so that it takes up the position shown in fig. 1 (p. 2) and
the air can then pass out through the nose as well as
through the mouth. When vowels are pronounced with
the soft palate lowered in this way, they are said to be
nasalised. Nasalised vowels do not occur in StP, but
they are heard in many dialects, notably L (see §§ 179 ff.).
Lateral, rolled and fricative consonants may also be nasal-
ised^, but such nasalised consonants do not occur in StP.
2G. We now give a table of the vowels ordinarily
used in StP. A few others are used in very careful
speaking (see § 175), but it is not necessary to complicate
the table by inserting them.
1 The terms tense and lax will only be applied in the case of close
and half-close vowels, and in the case of the sounds o:, o. In other
cases it is hardly necessary to make any distinction between tense and
lax vowels ; in fact there is in regard to some of the opener vowels con-
siderable difference of opinion as to whether they are tense or lax.
2 When ay\plosive consonant is nasalised, it becomes a nasal con-
sonant, e.g. piasalised b is in.
^rUiAJt^
14
PHONETICS
Front Mixed Back
Close
i:,l \ / u:,u
Half-close
e \ / o
Half-open
* w ^
Open
SB ^ o:
a a o
These vowels are examined in detail in §§ 106 — 178.
IV. ENGLISH SPEECH SOUNDS IN DETAIL
27. We are now in a position to consider the English
speech sounds in detail. It will in many cases be sufficient
to explain the formation of sounds by using the terms
already defined. Raising of the soft palate (as in fig. 5)
is to be implied in the case of all sounds except the nasal
consonants, unless the contrary is stated.
28. Thus when we say that k is the breathed
velar plosive, no further description is necessary. The
description 'breathed velar plosive* means that it is a
consonant which is articulated by raising the back of
the tongue so as to touch the soft palate ; the soft palate
is raised so that no air can pass through the nose; the
air is forced upwards from the lungs without causing
the vocal chords to vibrate, and the tongue is suddenly
removed from the soft palate, the result being an explosive
sound. Similarly, voiced labio-dental fricative is a sufficient
description of the sound v. It means that v is a consonant
ENGLISH SPEECH SOUNDS IN DETAIL 16
articulated by placing the lower lip against the upper
teeth so as to leave only a very narrow space for the air
to escape ; the soft palate is raised so that no air can pass
through the nose; air is forced upwards from the lungs,
and the vocal chords are so placed that the air passing
between them causes them to vibrate, producing voice;
the air in passing between the lower lip and upper teeth
escapes continuously, making a fricative noise. Again,
close front lax unrounded is a sufficient explanation of
the formation oi the vowel i. It means that i is a vowel
in which the front of the tongue is raised in the direction
of the hard palate as high as possible consistently with
not producing perceptible friction, and is held loosely ; the
soft palate is raised, and there is no lip-rounding.
CONSONANTS
1. Plosives
29. p. Breathed bi-labial plosive. Example pipCt
paip.
30. When p is followed by a vowel in a stressed
syllable (as in apart, apait), a slight puff of breath, i.e. a
slight h (§ 102), is heard after the explosion of the p and^
before the beginning of the vowel IrTStP^lihis h sound
isTo slight that it is not necessary to indicate it specially
in a practical phonetic transcription. With some speakers,
however, this h sound is very marked, sufficiently so to
require a separate symbol in the phonetic transcription,
thus aphait. Such a pronunciation is not recommended.
See also Theory of Plosive Consonants, §§ 224 ff.
31. b. Voiced bi-labial plosive. Example hnhe, beib.
16 PHONETICS
32. No remarks necessary here. See, however, Theory
of Plosive Consonants, §§ 224 ff. As regards sebm for
sevn see § 86.
33. t. Breathed dental plosive. Articulated in StP
by the tip of the tongue against the upper gums. Example
touch, tAtJ.
34. A slight h sound is inserted in StP between t
and a following vowel in stressed syllables, as in target,
ta:git, but this is not sufficient to require marking in an
ordinary phonetic transcription. The exaggerated pro-
nunciation thaigit is not recommended. See also Theory
of Plosive Consonants, §§ 224 ff.
35. In some N dialects when t is followed by r as in
true, tru:, it is articulated against the upper teeth instead
of the upper gums. This produces a very peculiar effect,
which sounds rather as if a 6 were inserted (t9ru:). In
many dialects t between two vowels is replaced in certain
cases by a kind of semi-rolled r (§ 69), Saturday, saetadi,
becoming saeradi. In L get out of the way is often
pronounced girsearatSawai. In Sc and L, t is often
replaced by the glottal plosive ? (§ 47). Saturday in
Glasgow dialect is pronounced saPadi, water, woPr (StP
woita). In L the expression / haven't got one (StP ai
hsBvnt got war) becomes aaiijgoPwan.
36. In StP the sound t is very often dropped when
it occurs in the middle of a group of consonants, especially
when preceded by s. This is regular in words like listen,
castle, mustn't (lisn, kaisl, mAsnt). There are, however,
many cases in which it is dropped in conversational
pronunciation though it might be retained in very careful
speaking. Examples: next Christmas, nekskrismas ;
ENGLISH SPEECH SOUNDS IN DETAIL 17
postman, pousman; most people, mouspiipl. Note the
word often, eight different pronunciations of which may
be heard from educated people, viz. often, oftn, ofan,
ofn, oiftan, oiftn, oifan, o:fn. of tan is the pronuncia-
tion generally recommended by teachers, but many people
consider this affected, oifn and o:ftan are on the whole /
the pronunciations most frequently heard from educated \
people. (See § 146.)
37. Some speakers often drop t before d. Pronuncia-
tions like sidaun, wodjuiwont for sitdaun {sit down),
(h)wot<yu:wont (what do you want?) may not infre-
quently be heard from educated people, but they are not
pronunciations to be recommended for teaching purposes.
t is often inserted in fifth, fif(t)9; sixth, siks(t)9 and /
always in eighth, eit9. '-
38. d. Voiced dental plosive. Articulated in StP by
the tip of the tongue against the upper gums. Example
deed, di:d. ' ^
39. In some N dialects it is articulated against the
upper teeth when followed by r, as in drop, drop. This
gives rather the effect of an inserted ® (d?5rop). See
also Theory of Plosive Consonants, §§ 224 ff.
40. The sound d is frequently dropped in conversa-
tional pronunciation when it occurs in the middle of a
group of consonants, especially when preceded or followed
by a nasal. Kindness, grandmother, are very commonly, if
not usually, pronounced kainnis, graenmA^a. (These are
really cases of Assimilation, see §§ 182 ff.) A very common
c ise is the word and when unstressed. Bread and butter
is generally pronounced brednbAta (not bredsendbAta !),
and two-and-six is usually tuiansiks in conversational
pronunciation.
18 PHONETICS
41. k. Breathed velar plosive. Example cake, keik.
42. A slight h sound is inserted in StP between k
and a following vowel in stressed syllables (as in cupboard,
kAbad), but this is not sufficient to require marking in
an ordinary phonetic transcription. The exaggerated
pronunciation khAbad is not recommended. See also
Theory of Plosive Consonants, §§ 224 ff.
43. Note the common mispronunciation a:st for a:skt
(asked). It is no doubt due to this that the word ask
itself is so frequently pronounced a:st in L (a:la:stim for
aila:sk(h)im, I'll ask him). As regards nAOlrjk for nAOir)
see § 59.
44. g. Voiced velar plosive. Example go, gou.
45. See Theory of Plosive Consonants, §§ 224 ff.
Note the common mispronunciation of recognise (StP
rekagnaiz) as rekanaiz. As regards g after tj when
not required in StP see § 59.
46. The old-fashioned use of the breathed and voiced
palatal plosives (phonetic symbols c, j), instead of k,g before
a and ai (and a: in the single word girl), is rapidly dying
out but is still heard occasionally in the words kind, sky,
girl (caind, scai, jail; StP kaind, skai, ga:l)\ These
palatal sounds are frequently heard in L, e.g. count, csunt
(StP kaunt or kaunt), catch, cet/ (StP kaet/).
47. P. Glottal plosive. Formed by closing the
glottis completely (i.e. bringing the vocal chords into
contact), and suddenly opening it (i.e. separating the
vocal chords).
48. This consonant in an exaggerated form is the
' For the various pr^onunciations of this latter word see § 170.
ENGLISH SPEECH SOUNDS IN DETAIL 19
explosive sound heard in coughing. A cough may be
represented in phonetic transcription if desired. A com-
mon kind is Paha Pah. The sound P occurs in many
dialects but is not common in StP. It frequently replaces
t in Sc and L (see § 35). In Sc it is sometimes simply
inserted in the middle of words, e g. in Glasgow dialect
donH (StP dount) is pronounced doiPnt.
49. In StP the sound is sometimes heard at the
beginning of a syllable which normally begins with a
vowel, when that vowel is very strongly stressed, e.g. it
waz tJi Pounli wei ta du: it^ and even (h)wenPevar ai
gou Sea, hi: z aut. Sonie use it also to avoid a sequence
of two vowels in such expressions as the India Office,
indja Pofis. This is no doubt due to a reaction against
the pronunciation indjarofis which is frequently heard
even from educated people (see § 74). Some speakers
have a tendency to insert the sound at the beginning of
all words which normally begin with a vowel, whether
strongly stressed or not: examples, Westminster Abbey,
wes(t)minsta Paebi, the ends of the earth, tJi Pendz av tSi
Pa:6 (StP wes(t)minstaraBbi, fJiendzavt$:a:9) ; this pro-
nunciation is, however, not to be recommended. The sound
P should in fact be avoided as much as possible. It is
not a pleasant sound in itself, and is never necessary for
the sense. The second syllable of (h)weneva can be
made quite prominent enough without inserting P. India
Office may very well be pronounced indjaofis.
2. Liquids
50. m. Voiced bi-labial nasal. Example move, muiy.
51. The corresponding breathed sound (phonetic
symbol m) only occurs in interjections such as i|ixn,
2—2
20 PHONETICS
mipm (generally written hm, ahem), and occasionally in
rapid conversational pronunciation, e.g. ai doumi|i maind,
for StP ai dount maind. See also § 185.
52. In words like prism, chasm, prizm, kaezm, the m
is syllabic (§ 199). Many speakers insert a vowel of some
kind, usually a, between the z and m in such words
(prizam, etc.); this pronunciation is not recommended.
These words are frequently regarded in poetry as consti-
tuting only one syllable. In such cases the m should
be -pronounced as lightly as possible.
53. m sometimes occurs in careless speech instead of
syllabic n, when preceded by p or b, e.g. open, StP oup(a)ii
becoming oupm, cup and saucer, StP kAp an(d) 8o:s3
becoming kApmsoisa. Such forms should be avoided.
Note the following forms heard in L, sebm, ilebm, ebm,
aipmi, gremfAiva, for StP sevn, ilevn, hevn, heipani,
graBn(d)fa:tJ3.
54. n. Voiced dental nasal. Articulated by the tip
of the tongue against the upper gums. Example now, nau.
65. The corresponding breathed sound (phonetic
symbol 9) only occurs in interjectional sounds such as
9119 and occasionally in rapid conversational pronunciation,
e.g. ai doun^ nou for ai dount nou (an expression which
is often still further modified, becoming aidou(n)nou,
or even aid(a)nou in careless speaking, especially when
followed by a strongly stressed word such as how, hau).
See also § 185.
56. n is frequently syllabic (§ 199), especially in syl-
lables beginning with other dental consonants, thus, mutton,
ridden, person, are usually pronounced mAtn, ridn, paisn
(not mAtan, etc.). Sometimes this syllabic n does not
ENGLISH SPEECH SOUNDS IN DETAIL 21
count as a separate syllable in poetry, words like even
being considered as monosyllabic and written ev'n^, etc.
In such cases the n must be pronounced as lightly as
possible.
57. In uneducated speech n is sometimes omitted
from the beginning of words which ought to begin with
it. The commonest case is the pronunciation of nought,
no:t (zero) as o:t. This is due to the fact that the word
is usually preceded by the indefinite article a, an (a, an),
and the group a no:t is almost indistinguishable from
an o:t. Conversely in some dialects an initial n is some-
times inserted where not required, e.g. nATjkl for ATjkl
(due to main AT)kl)^
58. T). Voiced velar nasal. Examples song, sotj, ink,
iTjk.
59. Many speakers use syllabic i) instead of (a)n
when preceded by k or g, e.g. bacon, beikij, better beik(a)n.
The mispronunciation of " dropping one's ^'s " is simply a
substitution of n for tj, e.g. kAmin for kAmiij (coming).
In L k is often inserted after t) in nothing, anything,
the words being pronounced nafiTjk, enifii]k (StP nAGii],
eniGiTj). In some dialects, especially in N.Mid., g is added
after T) Avhere it is not inserted in StP, e.g. Iotjcj for Iot)
(long), sii]giT)g for sItj'tj (singing)^ Note the uneducated
pronunciation kit/ii] for kit/in (kitchen),
^ Distinct from the other contraction e^en.
' The same thing has occurred in the past in many words which are
now included in standard English. Adder was formerly nadder, newt
was formerly ewt.
3 In StP ng is pronounced tj alone (1) when final, (2) when medial in
words formed from words ending in ng, by the addition of a simple sufBx
such as -er, -ing (e.g. siTja, siijii], compared with anger, seijga, changing.
tjeindjiij).
22 PHONETICS
60. 1. Voiced dental lateral. Articulated by the
tip of the tongue against the upper gums. The sound
is sometimes pronounced uni-laterally, i.e. the tongue
obstructs the air-passage in the middle of the mouth and
on one side, the air being free to pass out on the other.
The sound so produced is not appreciably different from
the normal lateral sound. Example laugh, laif
61. Many varieties of 1 sounds may be formed with
the tip of the tongue against the upper gums in the
lateral position. These varieties depend on the position
of the main part of the tongue. While the tip is touching
the upper gums, the main part is free to take up any
position, and in particular, it may take up any given
vowel position. The 1 sound produced with a given vowel
position of the main part of the tongue, always has a
noticeable resemblance to the vowel in question. Thus
the 1 sound heard in StP people very much resembles
the vowel u, the reason being that though the sound is
primarily articulated by the tip of the tongue against the
upper gums, yet the back of the tongue is simultaneously
raised in the direction of the soft palate into the u
position (§ 162). An 1 sound in which the front of the
tongue is raised to the i position (§ 110) sounds rather
like the vowel i, and one in which the main part of the
tongue is neutral sounds rather like the vowel 9. These
varieties of 1 may be represented by 1", 1*, 1*, ...^
^ It is often stated (erroneously) that the peculiar qualities of the
sounds here denoted by 1", l=», as compared with 1*, 1», are due to
retraction of the tip of the tongue. As a matter of fact I" pronounced
with the tip of the tongue against the back part of the gums is practically
indistinguishable from I" pronounced with the tip of the tongue against
the teeth, and the same applies to all the other varieties.
ENGLISH SPEECH SOUNDS IN DETAIL 2:3
62. In StP when the 1 sound is final or followed by
a consonant, it usually has the value 1"; when followed
by a vowel it has the value 1® which tends towards I* when
the following vowel is i: or i (compare /eeZ, fill", with /ee?-
17?^, fi:l*ii], and the two Vs in little, l4tl"). Some speakers
use 1® in all cases, and this pronunciation is usually recom-
mended by elocutionists. Pronunciations like pi:pl® are
however very often found difficult to acquire by those who
are accustomed to pronounce piipl".
63. In L the 1 sound when final or followed by a
consonant, has the value 1', e.g. field, fil'd (StP fi:l"d
or fi:l®d). It is sometimes even replaced by a vowel
resembling o, e.g. raiowai for reilwei (railway). In
the N and in Ireland the 1 sound when final or followed
by a consonant is often pronounced 1* (piipl', bells, bel*z).
64. Pronunciations such as f il'd may be corrected by
putting the tip of the tongue against the upper gums in
the lateral position, and trying to pronounce simultaneously
different vowels (a, e, o, u:, i:...) one after the other;
with a little practice students will be able to produce
readily the various varieties of 1 (P, 1®, 1*, ...), and will
therefore be able in particular to pronounce the 1", 1* of
StP.
65. In transcribing StP the plain symbol 1 is used to
avoid unnecessary complication, its precise value depend-
ing on the rule given at the beginning of § 62,
66. The following diagrams showing the approximate
tongue-positions of 1*, 1" will help to make clear the
formation of the 1 sounds. They should be compared
with the tongue-positions of i, u shown in fig. 5 (p. 11).
21
PHONETIC
V lu
(i) Fig. 6. (ii)
67. 1 is sometimes dropped in careless speech, e.g.
wS8/(a)wigou for (h)wea/alwi:gou {where shall we go ?),
o:rait for ailrait (all right). Breathed 1 sounds do not
exist regularly in English ; see, however, § 185.
68. r. Voiced dental rolled. Formed by a rapid
succession of taps made by the tip of the tongue against
the upper gums. Examples right, write, rait.
69. The fully rolled sound is common in N.Eng. It
is not generally used in StP, though it is regarded by
most teachers as the correct pronunciation of the letter r
when followed by a vowel. In StP a semi-rolled r, i.e. one
which is formed like the fully-rolled sound, but consists
of one single tap of the tongue \ is commonly used between
^ This sound may be represented by £ when great accuracy is required,
but a separate symbol is not usually necessary.
ENGLISH SPEECH SOUNDS IN DETAIL 25
two vowels, as in period, piariad, arrive, araiv*. It is
also frequently used after G, t (§§ 87, 89), as in three,
Gri:. In other cases, and notably when preceded by a
dental consonant, the r sound is a voiced dental fricative
consonant, which may be represented when necessary by
J (§ 95). Examples : try, taai, draw, djo:, Henry, henji,
shrink, /aii)k (usually written trai, etc. for convenience).
70. Many S.Eng. speakers use J (§ 95) in all cases.
These are said not to "roll their r's." There are no
infallible rules for learning to pronounce the rolled r.
The method usually recommended is the following.
Pronounce tadaitada:... at first slowly and then with
gradually increasing speed. If the tongue is kept loose,
when this is pronounced very fast, the d tends to become
a kind of semi-rolled r (traitra: ...). When the semi-
rolled r has been thus acquired, after a little practice the
action can be extended to the fully-rolled sound. The
only other method is to practise all kinds of voiced dental
fricative sounds, using considerable force of the breath
and keeping the tongue loose. After a little practice
students usually manage to hit on the position in which
the tip of the tongue will begin to vibrate slightly. A
perfect sustained r often requires very considerable prac-
tice, say five or ten minutes a day for several weeks.
71. When final or followed by a consonant, the letter
r is not pronounced as a consonant at all in StP, e.g.
farm, fa:m; purse, pais; nor, no: {=^gnnw)', poor, pua;
jjair, pea; fire, faia". In Sc a consonantal r sound (i.e.
r fully or semi-rolled, or j) is used in this position, thus
' Exception, where the first vowel is o and is preceded by a dental
consonant. In these cases x (§ 95) is used, e.g. history, bistazi, literary,
Utoaooi.
' When a word ending with r is followed by a word beginning with a
26
PHONETICS
farm, pArs, puir^ In N the letter r is either pronounced
J in this position, or is heard as a peculiar modification
of the preceding vowel. This modification is called inversion
and is produced by turning back the tip of the tongue
towards the hard palate during the pronunciation of the
vowel (phonetic symbol placed under the symbol for the
Fig. 7. Diagram illnstrating Inversion,
sound which is thus modified, thus CL, inverted a). Fig. 7
shows the approximate tongue-position in pronouncing an
open vowel such as a with inversion of the tongue.
72. This modification of vowels is found not only in
N but also in W (where it is very marked) and many
other parts, including L. Examples: heard, ha:d, there,
vowel which is closely connected with the first word by the sense, a
consonantal r is generally inserted, e.g. • peor ev btuts. The omission
of this r (pe© ov) though common, is not to be recommended.
^ Some Southern English elocutionists recommend inserting a trace
of a consonantal r sound finally and before consonants, as is usually
done in singing ; there does not however seem to be any great advantage
in doing so.
I
ENGLISH SPEECH SOUNDS IN DETAIL 27
«E8, or «6:i, farw., fa:m, for StP haid, «ea, fa:m. This
inversion can be corrected by keeping the tip of the tongue
1 irmly pressed against the lower teeth during the pro-
nunciation of the, vowel, holding it down mechanically
if necessary, say with the end of a pencil.
73. In parts of Scotland, Northumberland and Dur-
ham r is replaced by a uvular rolled consonant, known as
the "burr," formed by a vibration of the uvula against
the back of the. tongue (phonetic symbol b).
74. Many speakers, including educated speakers,
insert a consonantal r sound in such phrases as the idea
of it, the India Office, where there is no r in the spelling,
so as to avoid the succession of vowels aa, ao, etc., thus :
tSi aidiar av it, indjar of is, hi: put iz Ambrelar Ap,
a soudar an milk and a vanilar ais, instead of aidia av,
etc. This is considered incorrect by most teachers. In
L it is done not only after a as in the above examples
but also after stressed vowels, e.g. tJa loir av ii]C|land {law
of), BOirin (sawing), and also where in StP there is an
unstressed ou, e.g. swolarin (swallowing, StP swolouirj).
75. Note the incorrect insertion of a before the r
sound in Henry, umbrella, L enari, Ambarela, StP henri,
Ambrela.
76. When there are two consecutive weak syllables
beginning with the r sound in StP, one of the rs is dropped
in L, e.g. lAib(a)ri, febjuari or febjueri for StP laibrari,
(library), februari (February). Servants who go out by
the week generally call themselves tempariz (temporaries,
StP temparariz).
77. A common fault is the substitution of a semi-
vocalic V for r (for the meaning of "semi- vocalic" see § 105).
* f : denotes a lengthened e .
28 priONETics
This peculiarity is usually represented in print by w {vewy
for very, etc.). The sound is, however, not w but a very
weak kind of v, which may be represented by v^ (vev^i
for StP veri).
78. Breathed r sounds do not exist regularly in
English; see, however, § 185.
79. In transcribing StP we shall in future use the
symbol r in all cases so as to avoid unnecessary complica-
tions. Whether r, r or j is actually pronounced depends
on circumstances, as mentioned in § 69.
3, Fricatives
80. w. Voiced bi-labial fricative. The back of the
tongue is simultaneously raised in the direction of the
soft palate. The consonant is therefore very like the
vowel u (§ 162). Some phoneticians prefer to regard it
as a consonantal u, and represent it by fi. Example
want, wont.
81. The corresponding breathed consonant (phonetic
symbol ia) is used by many speakers in words spelt with
wh (what, lAot). This is regular in Sc and N.Eng., but
w is the more usual in S. Eng. (wot). Some use hw
instead of this ja. The pronunciation m or hw is
generally recommended by teachers as correct in words
beginning with wh. These words may be conveniently
transcribed with (h)w, this being taken to mean that
either w, m or hw may be used. For other cases in
which JA is occasionally heard see § 185.
82. Note that w is often omitted in the words will,
would, e.g. that will do, 9aetldu:.
83. f. Breathed labio-dental fricative. Example
foot, fut.
ENGLISH SPEECH SOUNDS IN DETAIL 29
84. Note the faulty pronunciations of dtphihoiig,
naphtha, etc. as dip9oTj, naepBa, etc. (StP difOoTj, naefGa,
etc.). Note also the dialectal pronunciation of nephew
(StP nevju:) as nefju:.
85. V. Voiced labio-dental fricative. Examples vain,
vein, vein.
86. In L and other dialects, v has become b in words
ending in v(a)n in StP, e.g. sebm, ilebm, ebm, for StP
sevn, ilevn, hevn. In L the v of unstressed of and have
(av) is regularly dropped before consonants (e.g. eio:t9a-
danit, StP hi:o:ttuavdAnit, he ought to have done it).
This may sometimes be heard even from educated speakers,
e.g. an auta^awei pleis, instead of autavtSawei.
87. G. A breathed dental fricative. Articulated by
the tip of the tongue against the upper teeth, the main
part of the tongue being more or less flat (see fig. 8).
Example thin, Gin.
88. In careless speaking G is sometimes weakened
to a kind of h between two vowels, e.g. nohaerjkju for
nouGaBTjkju:. There is also a tendency to drop G or change
it into t in combinations such as nGs, sGs, e.g. sikss for
siks(t)Gs (sixths), mAns or mAnts for mAnGs (months).
Such contractions should be avoided ^ In L the sound G
is frequently replaced by f, e.g. frei, nafirjk for Gri:,
HAGiT).
89. 9. A voiced dental fricative. It is the voiced
form of G (see fig. 8). Example then, Sen.
90. In L this sound is frequently replaced by v, e.g.
fAiva for fa:Sa. Note the old-fashioned pronunciation of
kloutSz as klouz, which is now considered a vulgarism.
* In asthma, seaSma, the 9 is generally very weak, but should not be
omitted entirely, sestms is also permissible.
30 PHONETICS
91. s. A breathed dental fricative. Articulated by
the tip of the tongue^ against the upper gums, the front
part of the tongue being slightly raised towards the hard
palate (see fig. 8). Example cease, si:s. As regards sj
becoming / see § 100.
92. z. A voiced dental fricative. It is the voiced
form of s (see fig. 8). Examples zeal, zi:l, has, haez. As
regards zj becoming 5 see § 100.
93. /. A breathed dental fricative. Articulated by
the tip of the tongue^ against the upper gums, the front
of the tongue being considerably raised towards the hard
palate (see fig. 8). Many speakers add some lip-rounding
to this consonant. Examples shoe, /u:, church, t/a:t/. As
regards tj becoming t/ see § 101.
94. 3. A voiced dental fricative. It is the voiced
form of / (see fig. 8). Many speakers use lip-rounding.
Examples measure, mesa, judge, d5Ad5. As regards dj
becoming d5 see § 101.
95. J. A voiced dental fricative. Articulated by
the tip of the tongue against the upper gums, the front
part of the tongue being rather hollowed (see fig. 8).
96. It is the r sound regularly used in StP when the
preceding sound is a dental consonant, e.g. draw, djo:,
Henry, henji (usually written dro:, henri to avoid un-
necessary complication). It is also very commonly used
initially, and when preceded by consonants other than
dentals. When intervocalic the r sound is usually semi-
rolled. There are, however, many who use j in all cases
(see § 69). Jn some dialects J is replaced by the 'inverted'
1 Some articulate the sound with the blade, keeping the tip against
the lower teeth. The sound thus produced is not appreciably different
from the normal sound.
ENGLISH SPEECH SOUNDS IN DETAIL
31
consonant J, i.e. a fricative r sound pronounced with the
tip of the tongue turned back towards the hard palate.
As regards partial de vocalisation of J see § 185.
97. The formation of the various dental fricatives will
be made clearer by the following diagram.
e, s
s, z
Fig. 8.
Tongue-positions of the dental fricatives'*.
98. J. Voiced palatal fricative. Example young, jatj
The tongue-position is very similar to that which produces
the vowel i (§ 110), but the tongue is slightly higher (see
fig. 9, p. 51). Some phoneticians prefer to regard the
sound as a consonantal i, and represent it by 1
99. The corresponding breathed sound (phonetic
symbol 9) is occasionally heard instead of initial hj, e.g.
9u:d5 for hjuids (huge) (see also § 185). Note the dia-
^ For the sake of clearness the mouth has been drawn wide open. As
a matter of fact, in pronouncing u, z and J, j the teeth are generally
almost in contact.
32 PHONETICS
lectal pronunciation of ear (StP ia) as jia or Jai. J is
often omitted in beyond, bi(j)ond.
100. In L and other dialects, StP sj, zj often become
J, 3, e.g. i/u:, tJiJia, isaboksredel, for isju: (issue),
tSisjia {this year), izjoiboksredi (Is your box ready?).
This change is due to assimilation (§ 191). Former sj, zJ
have become /, 3 in StP in many cases, e.g. nation, nei/(a)n
(Shakespearian pronunciation nsisjon or naeision^), but
in the best pronunciation this assimilation has not been
made, except where the following sound is a or a syllabic
consonant^, as in nei/(a)n, ocean, ouJ(a)n, special, spej(a)l.
Exceptional cases : sure, Jua, sugar, /uga, usual, Ju:3ual
(sometimes contracted in rapid familiar speech to Ju:3ul,
ju:3(a)l). In casual the pronunciations kaezjual, ks3ual,
kae5Jual may all be heard from educated people.
101. In L and other dialects, StP tj, dj often become
t/, d3, by assimilation (§ 192), e.g. tjiiib (for iii see
§ 158) for tjuib, indsius for in<yu:s. Former tj, 6j
have become tj, d3 in StP in many cases, e.g. nature,
neit/a, grandeur, grsendsa (Shakespearian naeitjur^,
grandjur). In the best pronunciation tj, d3 are not
used in such words unless the following sound is a or a
syllabic consonant. In very careful speaking a compromise
is often made between tj, dj and tj, d3, in words of this
kind. This compromise may be represented when necessary
by tj^, d3^. In recitation nature would be pronounced
neitj^a rather than neitja, grandeur, graends^ua or
even graencyua rather than grsnd5a.
* ae: denotes a lengthened ee.
2 The assimilation is not invariably made even in these cases, excep-
tions being words which are comparatively rare, especially names of
places etc., e.g. Lycia, lisjo, not lijo, Elysian, ilizjan, cp. elision,
ENGLISH SPEECH SOUNDS IN DETAIL 33
102. h. Breathed glottal fricative. Examples hard,
ha:d, who, hu:, hit, hit. This is the fricative sound heard
as the air passes through the open glottis, the other organs
being in position, for the following vowels
103. The sound h disappeared long ago from L and
many other dialects. Dropping ^'s has long been looked
upon as a vulgarism. The influence of teachers is now-
beginning to cause the sound to reappear in the pronun-
ciation of the uneducated classes. The chief difficulty
experienced is that when those who do not naturally
possess the sound try to acquire it, they often insert it
where not required (e.g. aemanhegz for hsemandegz).
104. In StP h is frequently dropped in unimportant
words such as him, her, have, when unstressed, e.g. / should
have thought so, ai /ad av 9o:t sou, but in deliberate
speaking (recitation, etc.) it should be inserted.
SEMI-VOWELS
105. All fricative consonants may be pronounced
with a varying amount of friction. In the case of voiced
consonants, when the friction is very slight, the sounds
become what are called semi-vowels, sounds which are on
the border line between vowels and consonants (see
definition of vowels and consonants, § 13). Fricative
consonants in which the friction is strong may be termed
pure fricatives. To every pure fricative corresponds a
semi- vowel and vice versa. Of the English fricative con-
sonants w, J, and j are pronounced with much less friction
than the rest and may be classed, if desired, as semi-
vowels.
^ It would therefore be logically more accurate to represent the li in
hard, lia:d by ^, the li in hit, hit by |, etc. (q being the symbol of
devocalisation), bat this would be practically inconvenient.
J. 3
34 PHONETICS
VOWELS
(For the meaning of the terms closed, front, etc., see
§§ 20-23.)
106. i:. Close front tense unrounded. Example
meet, mi:t.
107. Many speakers slightly diphthongise the sound,
especially when final (for the meaning of the term diphthong
see § 201). This diphthong may be represented by i;j or
ij, e.g. sea, si: or siy (sy). Pure i: is, however, preferable.
108. In L the vowel is regularly diphthongised, and
the diphthongisation is much more marked than in St P.
One form is a diphthong beginning with a very lax I,
and finishing with a tenser i or j. Another form is el,
e.g. akapatei for StP akApavti:. When followed by 1
(L 1*, § 63) the vowel is reduced bo simple i or e, e.g.
field, f il'd or felM, for StP fi:l»d or fi:lM (§ 62).
109. Some use i: as the first element of the diphthong
in hear, thus hi:a. i is however preferable (hia).
110. i. Close front lax unrounded. Example ^^, fit.
111. In StP the sound tends towards e when un-
stressed (§ 205), e.g. the second vowel in very, veri, is not
very different from the first. The two vowels in pity, pitl,
are noticeably different. When great accuracy is required
this lowered i may be represented by i (ven). This
sound I is also heard in words like basket, baiskit,
language, laBT]gwid5 (usually written for convenience
ba:skit, IseTjgwids).
112. In carefiil speech a distinction is often made
between these words spelt with e, a, etc., and words spelt
with i, 2/, etc., i being used in the first, and i in the
ENGLISH SPEECH SOUNDS IN DETAIL 35
socond. Thus many good speakers would make a distinc-
tion between prophet, profit, profit, profit; enquire,
inkwaia, inquire, inkwaia; language, \?Bi^'yNi6.'^, Gam-
bridge, keimbrid^.
113. In L i sometimes tends to become e even when
.stressed, and when final it is diphthongised, e.g. sing,
StP sIt), in L frequently seij; twenty, L twentei, StP
twenti. In some dialects, e.g. Australian English, i is
replaced by the corresponding tense vowel when final (as
in very, veri). Note the artificial pronunciation of Eng-
land as CTjgland (StP irjgland).
114. i also occurs in StP as the first element of the
diphthong ia (for the definition of the term diphthong see
§ 201). Examples : here, hear, hia. This diphthong is
often pronounced i:a (in N and W etc., i:a, iu, etc., §§71,
72), but ia is preferable. In affected pronunciation the
diphthong often becomes Ia or ia (for a, a see §§ 147,
129), oh dear being pronounced oiidia, StP being oudia
(for oii see § 153). Note the frequent omission of i in
year, jia or jai. i also occurs in the diphthongs ei, ai, oi
(see g 117, 123,145).
115. e. Half-close front lax unrounded. Examples:
jjen, pen, head, bed.
116. In L this vowel is often replaced by i, e.g. git,
ind5in for get (get), end5in (engine). In many dialects
it is replaced by the opener e (§ 118), thus, pen, bed.
117. Besides occurring independently, the sound e
occurs in StP as the first element of the diphthong ei,
e.g. day, dei. With many speakers, especially in N.Eng.
this diphthong is tense, i.e. the two elements are the tense
3—2
36 PHONETICS
vowels corresponding to the lax e, i. In Sc the diphthong
is not generally used, a pure tense vowel (phonetic symbol
e:) being substituted (de:). In L the first element of the
diphthong ei is much opener than in StP, becoming e, ae,
a, or even a (§§ 118, 121, 123, 129), thus dei, daBi, dai,
dai. In L e sometimes occurs instead of a (see § 148).
Note the faulty pronunciation of aerate (StP eiareit or
eareit) as eareit or iareit. The words again, always
are often pronounced agen, oilwiz, o:lwaz, but the forms
agein, oilweiz are preferable.
118. e. Half-open front unrounded. This sound only
occurs in StP in the diphthong ea. Examples there, their,
tJea. See also the previous section.
119. In the pronunciation of many S.Eng. speakers,
the first element of this diphthong is more open than e,
being in fact practically ae (§ 121) ("SaBa). The form ea is
preferable. In L the first element of this diphthong is
the half-close tense vowel e: (tJeia).
120. In many dialects, especially N and W, the
diphthong becomes ea, e:, ej, etc. (§§ 71, 72).
121. ae. A vowel intermediate between half-open
front unrounded, and open front unrounded ^ Example
man, maen.
122. In N the sound tends towards the fully open
vowel a (§ 123) (man). In L the sound generally tends
towards 6 or e, e.g. keb or keb for kaeb (cab).
123. a. Open front unrounded. This vowel only
occurs in StP as the first element of the diphthong ai.
Example fly, flai.
* There is considerable difference of opinion as to tbe exact analysis
of this vowel. Some regard c as a tense vowel and ae as the corre-^
spending lax vowel.
ENGLISH SPEECH SOUNDS IN DETAIL 37
124. In ordinary speaking the tongue usually does
not reach the full i position in pronouncing this diphthong,
so that ae Avould perhaps be a more accurate represen-
tation of it. i should, however, be aimed at in careful
speaking (but see § 126).
125. In L the first element of this diphthong is
retracted to a, a (§ 130) or even o (flat, fLai, floi). The
pronunciation aei is sometimes heard, especially in N.Eng.
In the best pronunciation of ai, the a should err on-
the side of ae rather than on the side of a. Note the
pronunciation a:l for Fll, as in Fll ask him, ailaiskim,
not unfrequently heard from educated people in rapid
familiar conversation.
126. ai sometimes forms a triphthong (§ 203) with a
following 9, e.g. fire, faia. In pronouncing this triphthong,
the tongue does not usually reach the full i position ; aea
or aea would be a nearer representation of the pronuncia-
tion usually heard. Sometimes the assimilation is carried
so far that the triphthong becomes simply a lengthened a
(represented phonetically by a:), e.g. fii^e, fa: (distinct
from far, fa:). This is especially frequent in unstressed
syllables, e.g. irate, a:'reit for aia'reit, aea'reit^.
127. In very careful pronunciation aia often does not
form a triphthong, but is pronounced as two syllables, ai-a.
Compare higher with hire, which are both pronounced as
one syllable in ordinary speaking (written phonetically
haia). In such cases a distinction is made in the pro-
nunciation of the second element of the triphthong. When
the group aia constitutes two syllables, the second element
is distinctly pronounced as i. When the group only con-
stitutes one syllable the i position is not reached, in tact
^ ' denotes that the following syllable is stressed.
38 PHONETICS
the tongue hardly rises above e. When it is desired to
bring out this distinction we can write aia and aea, thus
higher, haia ; buyer, baia ; but hire, haea ; irony, aearanl.
This is, however, not usually necessary.
128. In many dialects, especially N and W, the
triphthong becomes aia, a€, a:, aij, etc. (see §§ 71, 72).
a is sometimes used for a (§ 148), but this is not to be
recommended.
129. a (written a: when long). Open advanced-back
unrounded. Examples /a^Ae?',/ar^/ier, faitSa.
130. In L this sound is retracted to the full back
position. This retracted vowel has a much deeper sound
than the a: of StP, and may be represented if desired by
a: (fAi^Ja). Sometimes lip-rounding is added, the sound
becoming a lengthened o (§ 140) or even o: (§ 142).
131. Some speakers use a or ae instead of StP a: in
many words spelt with a followed by n, f, or 8, followed
in turn by a consonant letter, e.g. plant, plant, plaent;
ash, ask; master, massta, etc. for StP plaint, aisk,
ma:sta^. This is regularly done in N. It is also heard
in S.Eng. but sounds rather affected. Some elocutionists,
however, recommend the use of a in these cases.
132. Some old-fashioned speakers use S, (nasalised a,
§ 25) in words spelt with an followed by a consonant
letter, e.g. plant, brant/.
133. Many speakers slightly diphthongise a: especially
when final, e.g. far, fa:a, StP fa: . Some make a distinction
between words which are and are not spelt with the letter
^ A few words of this kind are regularly pronounced with 8d in StP,
e.g. mass, ant, macs, sent. The pronunciations ina:a, a:at are also heard,
but are not recommended.
I
ENGLISH SPEECH SOUNDS IN DETAIL 39
r, by diphthongising the former, e.g. afar, dfaia, but 'pa'pa,
papa:.
134. In many dialects, especially N and W, a distinc-
tion is made between words which are and are not spelt
with the letter r by inverting the tip of the tongue in the
former cq&q, farther becoming faiSa, as distinguished from
father, faiSa (see §§ 71, 72).
135. The sound a also occurs as the first element of
the diphthong written au. Example how, hau. This
first element is strictly a vowel intermediate between a
and a.
186. In L this diphthong is treated in two ways,
becoming either a: (broad Cockney), or 8bu, sea or even
eu, ea, e.g. get out, gitait, gitaeut, etc., StP getaut ; and
it is sometimes even reduced to ae or e, e.g. how are you
getting on? L aejagitnon, StP haudju:getii]on. The StP
diphthong is usually transcribed au, and there is no great
objection to this, if it is clearly understood that the a is
with most speakers not quite the same a as in ai, but a
retracted variety rather like a. Pure a is not unfre-
quently heard in this diphthong from educated people,
but any variety of a that tends towards ae is not good : it
is better to err on the side of a than on that of a (ae),
and for this reason the transcription au is used in this
book in preference to au.
137. au often forms a triphthong (§ 203) with a fol-
lowing a. This triphthong aua is treated similarly to the
triphthong aia. The tongue does not usually reach the
full u position, the usual pronunciation being rather aoa.
Sometimes the assimilation is carried so far that the triph-
thong is simply reduced to the first element lengthened,
viz. a:, not very different from the ordinary a: in fa:9a,
40 PHONETICS
e.g. power, pau3 becoming pa:, very like par, pa:. This
is especially frequent in unstressed syllables, e.g. our own,
ai'roun for aua'roun or aoa'roun.
138. In very careful pronunciation aua often does
not form a triphthong, but is pronounced as two separate
syllables, au-a, compare tower, taua with hour, aua, which
are both pronounced as one syllable in ordinary speech.
In such cases a distinction is made in the pronunciation
of the second element of the triphthong. When the group
constitutes two syllables the second element is distinctly
pronounced u or even w, and when the group constitutes
only one syllable, the full u position is not reached.
When it is desired to bring out this distinction, we can
write aua, aoa, thus, tower, taua, plougher, plaua, but
hour, aoa. This is, however, not usually necessary.
139. In many dialects, especially N and W, the
triphthong becomes aua, a:, auj, etc. (see §§ 71, 72).
140. o. Open back, with slight lip-rounding. Ex-
ample hot, hot.
141. In many dialects the sound is pronounced with-
out lip-rounding. It thus becomes the sound a described
in § 130. In L o is often replaced by o:; thus want, dog,
StP wont, dog often become in L wo:nt, do:g. In some
dialects the sound is replaced by a or even a, e.g. in
America, where for instance Oxford (StP oksfad) is pro-
nounced aksfad. A kind of o occurs as the first element
of the diphthong oi (see § 145).
142. o:. A vowel intermediate between open back
rounded and half-open back rounded. Examples saw,
sore, soar, so:.
143. Many speakers diphthongise this sound, especially
when final, e.g. four, fo:a, StP fo:. Some make a distinc-
ENGLISH SPEECH SOUNDS IN DETAIL 41
tion between words which are and are not spelt with the
letter r, by diphthongising the former, e.g. soar, sore, sots,
but saw, so:. o:a is often used in one or two words
spelt with our, e.g. mourns pour, by people who do not
diphthongise the sound o: in other cases. In L o: is often
replaced by o: (§ 151), and when final by oiwa, e.g. fo:wo
for fox.
144. In many dialects, especially N and W, a dis-
tinction is made between words which are and are not
spelt with the letter r, by inverting the tip of the tongue
in the former case, sore, soar becoming so:?, so:, so: J, etc.
(see §§ 71, 72), distinct from saw, so:.
145. The first element of the diphthong oi, as in hoy,
boi, is strictly a sound intermediate between o: and o.
Pronunciations in which the first element is exactly o:
or o are dialectal (the former is common in L). Some
dialects substitute oi (boil) (for o see § 150).
146. In many words spelt with of or os followed by
a consonant letter, there is hesitation in StP between o:
and o, e.g. often, off, cross, lost, o: (o:f(ta)n, kro:s, etc.) is
perhaps the most common, but o (ofl^t9)n, etc.) is generally
considered more elegant. Many good speakers use an
intermediate vowel in these words. The same applies to
salt, solt or so:lt, gone, gon or go:n. Because is usually
pronounced bikoz, but many teachers recommend biko:z
as more correct. Some make a compromise in this word
and use o, as in hot, lengthened, which gives the effect
of a sound intermediate between o and o:.
147. . A. Half-open back unrounded. Example rug,
FAg.
42 PHONETICS
148. In many dialects, including L, A is replaced by
a. a is also sometimes heard. These are, however, not to
be recommended. In L e is also sometimes substituted
(e.g. d5es set/ for d5Ast SAtJ), and sometimes i (d5is sit/).
149. In some words there is hesitation in StP between
A and o, e.g. hovel, hAv(a)l or hov(a)l; dromedary,
drAHiddari or dromadari. ' In such cases a is generally
preferable. Wont is now usually pronounced wount, like
wont "WAnt is old-fashioned.
160. o. Half-close back lax rounded. In StP
this vowel generally occurs as the first element of the
diphthong ou, as in no, nou (for u see § 162). It some-
times occurs by itself in unstressed positions, e.g. November,
novemba (also pronounced nouvemba or navemba).
151. In N this diphthong is tense, i.e. the two
elements are the tense vowels corresponding to the lax
o, u. In So the diphthong is not used, a pure tense
vowel (phonetic symbol o:) being substituted (no:).
152. Many varieties of the standard diphthong ou
are found in L, e.g. ou, au, au, au, au ; oh no (StP ou
nou) being pronounced ou nou, au nau, etc.
153. Sometimes o and u are shifted forwards into
the mixed position, becoming the half-close mixed lax
rounded, and close mixed lax rounded vowels respectively
(phonetic symbols o, ii), nou becoming noii. Sometimes
this pronunciation of the diphthong is still further modified
by unrounding the first element so that it becomes the
half-close mixed lax unrounded vowel (phonetic symbol
e), thus neii. oii and eii are heard in affected speech,
also sometimes in L. Sometimes in educated speech o is
shifted even as far as the front position, especially when
unstressed, becoming some variety of front rounded vowel.
ENGLISH SPEECH SOUNDS IN DETAIL 43
snch as the half-open front rounded vowel (phonetic symbol
ob) ; there is an example in Part II, passage 16, inoesnt
for StP inosnt (or inasnt). In L unstressed ou often
becomes a, e.g. wlnda, swolarin, for windou, swolouii).
154. In the best speaking care should be taken to
round the lips properly in pronouncing ou, and not to
exaggerate the diphthongisation.
155 u: Close back tense rounded. Example /ood,
fuid.
156. Many speakers slightly diphthongise the sound,
especially when final. This diphthong may be represented
by u:w or uw, e.g. too, tu:w (tuw). Pure u: is, however,
preferable.
157. In L the vowel is regularly diphthongised, and
the diphthongisation is much more marked than in StP.
One form is a diphthong beginning with a very lax u
(§ 162) and finishing with a tenser u or w. Another variety
is produced by complete unrounding of the first element
of this latter diphthong (the phonetic symbol for unrounded
u is in), e.g. ftuwd or fuiud.
158. Other common varieties are formed by advancing
the tongue towards the mixed position. The symbol for
the close mixed lax rounded vowel is ii, and the corre-
sponding unrounded vowel is represented by 'i, and the
diphthong often becomes raii, iiw, or iii, e.g. StP hu:9ju:
(who are you?) becomes miiajuiu or iiiajiu. Sometimes
the first element is advanced as far as the front position,
becoming i, e.g. tjiuz for StP tjuiz. All these varieties
arc objectionable.
159. In the best speaking care must be taken to
round the lips well, and to keep the tongue as far back
as possible.
44 PHONETICS
160. Some use u: as the first element of the diphthong
heard in poor, pua, thus pu:d. u (§ 162) is, however,
preferable.
161. The sound u: when represented by the letters
u, eUj ew, ui is often preceded by J in StP, e.g. tune,
Ijuin, suit, sjuit. In many dialects, including L, this j is
often omitted (tiiwii, smiit, etc.). The rule relating to
insertion of this j in StP is as follows, j is not inserted
when the preceding consonant is r, /, or 5, or when the
preceding consonant is 1 preceded in turn by a consonant,
e.g. rule, chew, June, blu£, ru:l, t/u:, d5u:n, blu:, not
rjuil, t/ju:, etc. When the preceding consonant is 1 not
])receded in turn by a consonant, usage varies, e.g. lute,
Ijuit or lu:t. It is generally considered more elegant to
insert the j, though it is perhaps more usual in conver-
sational pronunciation not to do so. In other cases j is
regularly inserted.
162. u. Close back lax rounded. Example good.
gud.
163. In Sc u is generally replaced by u:. In St?
besides occurring independently, the sound u occurs as the
first element of the diphthong ua. Example poor, pua.
This diphthong is often pronounced u:a (and in many
dialects, especially N and W, u:a, uu, etc., §§71, 72), but
ua is preferable. Other varieties not unfrequently heard
from educated speakers in London are oa and o: (poa, po:).
This latter pronunciation is usual in the word your, jua
or Jo:. In other cases it is not to be recommended ^
a: (§ 166) is sometimes substituted for ua in the words
sure, curious (/a:, ljja:rias for StP /ua, kjuarias).
^ The group us does not always form a diphthong, e.g. in influence,
inflaons, where the two sounds belong to different syllables ; in such
cas3S there is no tendency to replace the group ua by »:.
ENGLISH SPEECH SOUNDS IN DETAIL 45
164. In StP J is inserted before ua in the same cases
as before u: (§ 161), e.g. rural, niarol, sure, Jua, jury,
d5uari, plural, pluaral; lure, Ijua or lua (the first of
these two pronunciations being preferable); cure, kjua,
fury, fjuari.
165. u also occurs in the diphthongs au, ou (§§ 135,
150).
16G. a:. Half-open mixed tense unrounded. The
tongue is perhaps slightly higher than the exact half-open
position^ Examples fir, fur, fa:.
167. Some speakers endeavour artificially to make a
difference between words spelt with ur and those spelt
with ir, er, ear, etc., by using a lowered variety of a:
(phonetic symbol a^:) in the former case, and a raised
variety (phonetic symbol a^:) in the latter, e.g. fur, fa^i,
but fir, pearl, fa-"-:, pe^il, etc.
168. a: is generally replaced by the lowered variety
a^: in L.
169. In many dialects, especially N and W, the sound
becomes a: (§§ 71, 72).
170. The word girl is pronounced in a great many
different ways by educated people. ga:l is the most
common, geal is very frequently used, especially by ladies.
Other varieties are gial, gsal, j.a:l, a-eal, etc. (3. is the
voiced palatal plosive, § 46) ; in N and W etc. ga:l, ge?!,
etc. (§§ 71, 72) ; in Sc gerl. In vulgar speech the following
forms may also be heard, ga^:!, gaeal, gael, gel, gel.
* Some regard this vowel as open. This cannot well be the case,
because if the mouth is opened as widely as possible o: cannot be
pronounced properly, whereas open vowels such as o, a, a, ae can be
pronounced perfectly well.
46 PHONETICS
171. 9. Half-open mixed lax unrounded. Examples :
over, ouva, alight, alait.
172. This sound varies slightly in quality according
to its position. When final, the tongue is rather lower
than in other cases; compare the a sounds in the above
two examples. It is not generally necessary to mark these
variations in practical phonetic transcriptions. Some
speakers actually replace a when final by a, thus making
the two vowels in butter (StP bAta) identical (bAtA). In
many dialects, especially N and W, a is replaced by a, i.e.
a pronounced with simultaneous inversion of the tip of
the tongue (§ 71), in cases where the vowel letter in the
spelling is followed by r + a consonant or r final, proverb,
provab becoming provab, tojether, tageVa becoming
tagetSa.
173. a is only used in unstressed syllables. Cases
occur in which almost all other vowels may be reduced
to a when unstressed. Thus:
e becomes o in moment, moumant, compare momentous, ino(ti)xnent9s
ae „
„ miracle, mirdkl, ,,
miraculous, miraBlsJulds
O'- »
„ vineyard, vini9d, ,,
yard, Ja:d
O' u
„ cupboard, kAbad, „
board, bo:d
ou „
„ Gladstone, glsedston, „
stone, stoun
o: >i
„ proverb, prsvdb, ,,
proverbial, pravdibjal
174. i: and i are not generally reduced to a when
unstressed, except in the word the when followed by a
word beginning with a consonant, as in the man, 5a msn,
and in the termination -ible, e.g. possible, posibl or posabl.
i generally remains unchanged and i: tends to become i
when unstressed; thus receive is pronounced risi:v (cp.
however precede, pri:si:d), latin, Isetin. Pronunciations
like rasi:v, lst(a)n, are heard, but are dialectal.
ENGLISH SPEECH SOUNDS IN DETAIL
47
175. In very careful speaking there is, in many cases,
a tendency to replace a by strong vowels, i.e. vowels which
can occur in stressed syllables. The result is that several
new vowels are introduced, viz. sounds intermediate in
acoustic effect between various strong vowels and the
weak vowel a. Thus, in very careful speaking, moment
would not be pronounced either moumant, as in ordinary
conversation, or moument, but the last vowel would be
something intermediate in acoustic effect between a and e.
This vowel is practically the same as the sound e referred
to in § 153. Similarly, the first vowel in acknowledge
would not be a as in ordinary pronunciation (aknolids),
but something intermediate between a and aB. This
intermediate vowel may be conveniently represented by ».
Similar vowels occur which are intermediate between i and
a, a and a, o: or o and a, a: and a. The first of these is
practiially the same as the sound i referred to in § 158.
The second, third and fourth may be represented by d, o,
and a. The sound intermediate between u: and a is
u, and that intermediate between ou and a is the first
element o. Examples :
horrible, conversational pronun. lior»bl, careful prouun. horibl
vineyard ,, ,, vinjad ,, ,, vi^jad
forget
offend
exercise
obey
today
176. It is very important to use these intermediate
vowels correctly in the declamatory style of speaking. If
ordinary strong vowels are used in their place undue
prominence is given to unimportant syllables, as when
untrained curates say tu aeknolidj an konfes where
they should say tu aeknolid5 send konfes. On the
faget M
, fISget
afend „ ,
, ofend
elcsasaiz ,, ,
eksSsaiz
abei „ ,
, obei
tod«i
tndei
48 PHONETICS
other hand, if a is used just as in ordinary conversation
the utterance becomes obscure and the pronunciation may
even sound vulgar.
177. The existence of these vowels renders the pho-
netic transcription of the declamatory style of English
rather complicated. This is, however, unavoidable. For
this reason students should start with transcriptions in
conversational style and make themselves thoroughly
familiar with this before proceeding to the declamatory
style.
178. In cases where diphthongs are reduced to a in
conversational pronunciation, the full strong form is used
in careful speaking. Thus in declamatory style the word
hy would always be pronounced bai and never reduced to
b3 as it often is in conversational pronunciation, e.g. ta
sel tiam ba "Sa paund.
V. NASALISATION
179. Nasalised sounds (§ 25) do not occur in StP.
They are sometimes heard as individual or dialectal
peculiarities. The symbol of nasalisation is * placed
over the symbol of the sound which is nasalised.
180. In L vowels are generally nasalised when fol-
lowed by nasal consonants, e.g. Arerit you coming? StP
aint Ju: kAmir) becomes in L alnt /a kamin. Sometimes
the nasal consonant is dropped, especially when w follows ;
thus / don't want it, StP ai dount wont it, often becomes
in L Ai dau woint it. Sometimes all vowels, or at any
rate all the more open vowels, are nasalised independently
of any nasal consonant ; this produces what is called nasal
twang.
NASALISATION. ASSIMILATION 49
181. Those who habitually nasalise their vowels^ often
liave difiSculty in getting rid of the fault. It can only be
cured by constant practice of isolated vowel sounds. It is
better to start practising with close vowels, there being
less tendency to nasalise these. When a pure i: and u:
can be produced, which should not require much practice,
the opener vowels may be rendered pure by exercises such
as i:ei:e...u:ou:o... pronounced without a break of any
kind between the i: and e, u: and o, etc. Half-open and
open vowels may be practised in the same way. When
all the isolated vowels can be pronounced without nasal-
isation, easy words should be practised. The greatest
difficulty will probably be found in words in which the
vowel is followed by a nasal consonant, e.g. can, kaen;
such words should therefore be reserved till the last. In
practising the word can a complete break should at first
be made between the SB and the n, kaB-n; this interval
may be gradually reduced until at last there is no break
whatever. Other words containing vowels followed by
nasal consonants may be practised in a similar way.
VI. ASSIMILATION
182. When a sound is influenced by another sound
near it, it is said to undergo an assimilation. Various
kinds of assimilation are met with in English. The
principal are:
183. (1) Assimilations from breath to voice or voice
to breath.
184. In raspberry, raizbari the p has dropped out
and the s has been voiced under the influence of the
* We are here speaking of nasalisation which is merely the result of
habit and not due to any physical defect.
J. 4
•50 PHONETICS
following voiced consonant b, thus becoming z. In. dogs,
dogz the plural termination is pronounced z (see, how-
ever, § 239) ; this is due to the influence of the preceding
voiced consonant (cp. cats, kaets). Pronunciations such
as sidaun for sitdaun are due to assimilation of the t to
d under the influence of the following d.
185. Partial assimilation of voice to breath regularly
occurs where a liquid or semi-vowel is preceded by a
breathed consonant in the same syllable; e.g. in small,
smo:l, snuff, buaT, place, pleis, sweet, swi:t, try, trai,
jyew, pju:, the consonants m, n, 1, w, r (which here = j), j
are partially devocalised, the sounds beginning breathed
and ending voiced. With some speakers the assimilation
is complete, the words becoming s^o:l, s^Af, pleis, SMi:t,
taai, P9u:.
186. An assimilation of a similar kind occurs when
tj, sj become t/, / (§§ 101, 100). A simple assimilation
of tongue-position (§§ 191, 192) would change J to 3.
There is, however, in addition a de vocalisation under the
influence of the preceding breathed consonant.
187. (2) Nasalisations under the influence of a nasal
consonant, e.g. the nasalisation of vowels w^hen followed
by a nasal consonant referred to in § 180. The disappear-
ance of d in kindness, kainnis, grandmother, grsnmAVa
is due to this; when the d is nasalised it becomes n,
which then readily disappears.
188. (3) Assimilations affecting the position of the
tongue.
189. The k sound in key, ki: is more advanced than
the k sound in cot, kot. This is readily heard if we
ASSIMILATION
51
whisper the words. The advancement in the case of ki:
is due to the influence of the front vowel i:. The n
sound in month, mAn9 is formed against the teeth under
tlie influence of the 9, and not against the upper gums
like the normal n sound.
190. In these cases the character of the sound is
not greatly altered by the assimilation. In certain cases,
Z(8)
5^f)
Fig. 9. Diagram illustrating the Assimilation of j to jfj) under
the influence of ^(s)^
however, the sound is considerably modified. A common
one is the assimilation of s(z) to J(5) under the influence
of a following J(5) ; thus liorseshoe, does she are generally
^ For the sake of clearness the mouth has been drawn wide open. As
a matter of fact, in pronouncing z(8) and ^(J) the teeth are generally
almost in contact.
4—2
62 PHONETICS
pronounced ho:J/u:, dAjJi:, not hoisju:, dAzJi:. Another
case is the change of n to i] under the influence of a
preceding or following velar consonant — bacon, beikT] (§ 59);
congress, koTjgres (compare congratulate, kangrstjuleit).
Another is that of k, g to t, d under the influence of a
following 1, e.g. tli:n dlAVZ for kliin glAVZ {clean gloves),
(This latter assimilation should be avoided.)
191. Another very common assimilation is that of j
to 5(/) under the influence of a preceding z(s) or d(t)
(§§ 100, 101). 5(/) is intermediate in tongue-position
between z(s) and j. Hence the coalition of z(s) and j
naturally gives 3(/), see fig. 9.
192. The tongue-position for d(t) is much the same
as that for z(s), except that actual contact is made by the
tip of the tongue against the upper gums. The d(t) has
therefore influenced the j by drawing the front of the
tongue somewhat downwards, thus changing the sound
into 5(/).
193. (4) Assimilations aflfecting the position of the
lips.
194. The k in quite, kwalt is pronounced with lip-
rounding under the influence of the following w. A
labio-dental nasal consonant is sometimes used instead
of m, when followed by f or v, as in comfort, kAmfat.
n sometimes becomes m under the influence of a preceding
labial, e.g. oupm for oup(a)n.
VII. QUANTITY
195. All sounds may be continued during a shorter
or longer period. For practical purposes it is sufficient to
distinguish two or at most three degrees of quantity {long
and short, or long, half-long and short).
QUAXTTTY 53
196. The rules of quantity in standard English are :
(1) i:, a:, o:, u:, a: arc long in stressed syllables
when final or followed by a voiced consonant, e.g. in sea
si:, seed, si:d, far, fa:, halve, ha:v, lose, lu:z, two, tu:.
They are reduced to half-length (1) when followed by a
breathed consonant, e.g. seat, si:t, half, ha:f, loose, lu:s,
(2) when quite unstressed (§ 205), e.g. linseed oil, 'linsi:d-
'oil\ (3) when followed by another vowel, e.g. deist, di:ist.
In the second case the vowels sometimes become quite
short, especially when a breathed consonant follows, as in
economy, i:'konami; authority, oi'Ooriti.
(2) i, e, ae, o, a, u are generally short but become
half-long when stressed and followed by a voiced con-
sonant other than a liquid, compare pit, pit, pig, pig, pin,
pin. 9 (which is always unstressed) and unstressed 1 are
practically always short. Some speakers, however, lengthen
them slightly when final, and when followed by a voiced
consonant in a final syllable, as in manners, maendz,
carry, kseri.
(3) Diphthongs may be long or short. They are
treated like the vowels 1:, a:, etc., becoming short in the
cases where 1:, a:, etc. become half-long. Compare the
words high, hai, hide, haid, in which the diphthong ai is
long, with height, hait, idea, ai'dia, in which it is short.
(4) Consonants are slightly lengthened when final
and preceded by i, e, ae, o, a, or u. Compare seen, si:n
with sin, sin. Liquids are lengthened when followed by
a voiced consonant in the same syllable, e.g. wind, wind,
cp. hint, hint.
^ ' denotes that the following syllable is stressed.
54 PHONETICS
(5) Syllabic consonants are always unstressed, and
like the vowel a are practically always short (see (2)).
197. These rules are only approximate. It is not
difficult to distinguish five or six degrees of quantity if
we wish : thus the i: in siin is clearly intermediate between
the long i: in seize, si:z and the half-long i: in seat, si:t ;
the o: in scald, skoild is shorter than the long o: in saw,
so:, but longer than the half-long o: in halt, h3:lt; the
9 in manners, msenaz is longer than the 9 in callous,
kslas, but is hardly half-long. The rules given are,
however, sufficiently exact for practical purposes. In fact
it is often sufficient to generalise still further by dis-
tinguishing only two degrees of length, and taking as the
general rule tliat in standard English the sounds i:, a:,
o:, u:, a: are long and all other sounds are short.
(Note. It is in consequence of this approximate rule
that we are able to represent the sounds ii, o:, u:, a: by
means of the symbols i, o, u, a followed by the mark :.
: is strictly speaking the symbol of length, and has nothing
to do with the quality of sounds. If the above rule did
not exist, we should be obliged to have separate symbols
to distinguish i: from i, o: fi*om o, etc. ; and even as it is,
it is sometimes necessary to have such separate symbols,
when great accuracy is required; see for instance the
transcriptions in the author's Intonation Curves (Teubner,
Leipzig). Generally speaking, however, the insertion of
the length mark : is sufficient to render confusion im-
possible.)
SYLLABLES 55
VITI. SYLLABLES
198. When two sounds are separated by one or more
sounds less sonorous than either of them, they are said to
belong to different syllables. The relative sonority or
carrying power of sounds depends chiefly on their quality,
and to some extent on the force of the breath with which
they are pronounced. When there is no great variation
in the force of the breath, vowels are more sonorous
than consonants; open vowels are more sonorous than
close vowels; voiced consonants are more sonorous than
breathed consonants; voiced liquid consonants are more
sonorous than other voiced consonants.
199. The most sonorous sound in a syllable is said to
be syllabic. The syllabic sound of a syllable is generally
a vowel, but is occasionally a consonant (as in the second
syllables of people, pi:pl, written, ritn). Syllabic conso-
nants are marked when necessary by , placed under the
consonant symbol. It is however only necessary when a
vowel follows. Thus it must be inserted in glAt^i (the
alternative pronunciation of gluttony, glAtani) to show
that it does not rhyme with chutnee, t/Atni; but the
mark is quite superfluous in pi:pl, because the 1 cannot
be sounded in this position without being syllabic.
200. Syllabic sounds are generally separated by con-
sonants. When two consecutive vowels belong to two
syllables as in create, kri:-eit, there must be either a slight
decrease in the force of the breath between them or an
nsertion of a trace of some consonant or consonantal vowel
(§ 202). In kri:eit there is usually a slight j inserted
between the i: and the e, though it is not sufficient to
56 PHONETICS
mark in a practical phonetic transcription; in gnawer,
no:-a, the division between the syllables is marked rather
by a slight diminution in the force of the breath.
201. When two vowels are not separated either by
a consonantal sound or by a decrease in the force of the
breath, they cannot constitute more than one syllable.
They are then said to form a diphthong.
202. The least sonorous vowel in a diphthong (whether
the sonority is due to vowel-quality or to force of the
breath or to a combination of the two) is said to be
consonantal. Thus in the diphthongs ai, ea, the i and
9 are the consonantal elements.
203. When in a group of three vowels not separated
either by consonantal sounds or decrease in the force of
the breath the second is opener than either of the others,
we have a true triphthong. An example of a true
triphthong is oae (a careless way of pronouncing the
word why, (h)wai).
204. The groups aia, aua are not true triphthongs ;
i and u are less sonorous than a, a and a, and therefore
the a, a and a belong to different syllables (§ 198). When
the second element of these groups is lowered (§§ 126, 137)
they approach nearer to true triphthongs, but they never
become true triphthongs. In their extreme forms they
become diphthongs (aa, aa) or single vowels (a:, a:)
(§§ 126, 137). It is however convenient to call the groups
aia, aua triphthongs, because they are often treated in
poetry as forming only one syllable.
STRESS 67
IX. STRESS
205. The force of the breath with which a syllable is
pronounced is called stress. Stress varies from syllable to
syllable. Syllables which are pronounced mth greater
stress than the neighbouring syllables are said to be
stressed.
20G. It is possible to distinguish many degrees of
stress; if we use the figure 1 to denote the strongest
stress, 2 to denote the second strongest and so on, the
stress of the word opportunity might be marked thus:
2 4 16 3
opstjuiniti. Such accuracy is, however, not necessary
for practical purposes ; it is in fact generally sufficient to
distinguish two degrees only — stressed and unstressed.
Stressed syllables are marked when necessary by ' placed
immediately before them, thus father, 'fa:^a, arrive,
a'raiv, opportunity, opa'tjuiniti, what shall we do?
'(h)wot/alwi:'du:.
207. The same words and sentences are not always
stressed in the same way. Variations are sometimes
necessary for making the meaning clear, and they are
sometimes due to rhythmical considerations. Thus the
word injudicious when simply taken to mean "foolish"
would have the stress on the third syllable, thus he was
very injudicious, hi:waz'veriind5u:'dijas, but when used
in contrast with judicious, the chief stress would be on
the first syllable, the stress on the third being only secon-
dary, e.g. that was very judicious, SaBtwaz'verid5u:'di/as,
answer / should call it very injudicious, 'ai/adkoilitveri-
'ind5u:di/as. Untrained speakers often fail to bring out
contrasts of this kind properly.
58 PHONETICS
208. In '(h)wot/alwi:'du:, (h)wot'/8Blwi:'du:,
'(h)wotJal'wi:du:, the variations of stress actually modify
the meaning of the words.
209. The word unknoim, Announ shows clearly how
rhythm may affect stress. Compare an unknown land,
dn'Announ'laend with quite unknown, 'kwaitAn'noun.
When isolated the word would generally be pronounced
'An'noun, the two syllables having equal stress. Tlie
rhythmical principle underlying these changes is a tendency
to avoid consecutive stressed syllables when possible.
210. When we wish to emphafiize a whole word (not
any special part of it, such as the in- of injudicious), we
usually increase the amount of stress on the syllable
which is normally stressed. Thus when magnificent,
maeg'nifisant is pronounced with great emphasis, the
second syllable receives a very strong stress, although it
is a very unimportant syllable from the point of view
of the meaning. Occasionally an additional stress is put
on some syllable other than that which is normally
stressed, e.g. absolutely when emphasized is sometimes
pronounced 'aBbs3'l(j)u:tli instead of 'aBb8al(j)u:tli.
X. BREATH-GROUPS
211. Pauses occur at frequent intervals in speaking.
They are made (1) for the purpose of taking breath, (2) for
the purpose of making the meaning of the words clearer.
212. Groups of sounds which are pronounced with-
out pause are called breath-groups. The following are
examples of breath-groups: Yes, jes; Good morning,
gud'mo:niT) ; Shall we go out for a walkl, '/aelwiigou-
'autfar&'tvaik ; Shall lue go out for a walk or shall we
imEATU-GROUPS. INTONATION 69
stay at homel, '/sBlwiigou'autfara'woikoiJalwii'steiat-
'houm. The last of these would often be divided into
two breath-groups if spoken slowly, a pause (not neces-
sarily a pause for taking breath) being made after the
word wo:k.
213. Pauses for breath should always be made at
points where pauses are necessary or permissible from
the point of view of meaning. Untrained speakers often
arrange their breath-groups badly, taking breath and
making other pauses in wrong places.
214. The proper divisions between breath-groups are
generally indicated in writing by the punctuation niarks.
In phonetic transcriptions it is often useful to mark the
limits of breath-groups by ||, and | may be used to mark
points where a slight pause may be made but is not essen-
tial. Thus, What shall we do ? Shall we go out for a walk
or shall we stay at home? may be written || '(h)wot/alwi:-
'du: II '/a9lwi:gou'autfara'wo:k | oijalwii'steiat'houm ||
XL INTONATION
215. In speaking, the pitch of the voice, i.e. the pitch
of the musical note produced by the vocal chords, is
constantly changing. These variations in pitch are called
intonation (or inflection). Intonation is thus quite inde-
pendent of stress (§ 205), with which it is sometimes con-
fused by beginners. There is of course no intonation when
breathed sounds are pronounced. The number of these is
however small compared with the voiced sounds, so that
the intonation in any ordinary breath-group may be
regarded as practically continuous.
60 PHONETICS
216. When the pitch of the voice rises we have a
rising intonation ; when it falls we have a falling intona-
tion ; when it remains on one note for an appreciable
time, we have level intonation. Level intonation is rare
in ordinary speaking, but is not uncommon in serious
recitation.
217. The range of intonation is very extensive. Most
people in speaking reach notes much higher and much
lower than they can sing. The range is as a general rule
greater in declamatory style than in conversational style.
In declamatory style it is not unusual for a man with a
voice of ordinary pitch to have a range of intonation of over
two octaves, rising to F /^\. "^ - or even higher, and going
down so low that the voice degenerates into a kind of growl
which can hardly be regarded as a musical sound at all. In
the case of ladies' voices the range of intonation does not
often exceed IJ octaves, the average limits in declamatory
218. The only satisfactory way of representing in-
tonation is by means of a curved line, which rises as the
pitch rises and falls as the pitch falls, placed immediately
above the line of phonetic transcription.
219. Intonation is most important for indicating
shades of meaning. Compare tl?e following:
high pitch
low pitch ^^>w meaning " That is so." ^
je»
style being about D X^ I and G
INTONATION 61
1. p J!w meaning " Of course it is so."
jes
h.p
I. p ^~ „ "Is it really so ? "
jes
ZZ
1. p \^ — „ " That may be so.*
Jes
hp>
I. p ^V> expressmg curiosity.
'(h)wot9ju:'du:iT)
t.p.
1. p. =^ — „ anger.
'(h)w3taju:'du:if)
pleasure.
(h)wota'bju:tafl'dei
h.p.
1. p. -^ used sarcastically.
'(h)wotabju:t9fldei
220. The most important rules of intonetion are:
1. A falling intonation is used at the end of
(1) Complete commands,
h.p.
1. p. ^^ Come here.
'kAm'liia
62
PHONETICS
(2) Complete statements, i.e. statements which
do not imply any continuation or rejoinder.
h.p.
l.p.
wi:v'd5AstkAm'in 'wiivdSAStkAm'in
We have just come in,
(3) Complete questions containing a specific in-
terrogative word or phrase.
h. p . .
l.p.
'(h)wotaju:'du:iT|
(h)wotd'ju:du:iT)
(h)wota'ju:du:iTf) (h)wot'a:ju:'du:iT)
What are you doing ?
(4) The last of two or more alternative questions,
h.p ^
/8Blwi:goufara'wo:klo:rd'raid|o:rd'draiv
Shall we go for a walk, or a ride, or a drive?
If a rising intonation were used on draiv, a further
alternative would be implied.
2. A rising intonation is used at the end of
(1) Unfinished commands, statements and ques-
tions, i.e. where a continuation, rejoinder or answer is
expressed or implied.
h.p ^
'sain€3'peiparan(d/teikitt9'5i:'ofis
Sign the paper, and take it to the office.
(Rising intonation on peipa.)
INTONATIONS
ea
itwaz'fain'jestadibat'wettJadeibi'fo:
U was fine yesterday, but wet the day before.
(Rising intonation on jestadi.)
b. p
'wAn'tu:'eri:To;'faiv
One, two, three, four, five (counting slowly).
(Rising intonations on WAn, tu:, Sri:, fo:.)
See also the example 1 (4).
(2) Complete questions not containing a specific
^ interrogative word or phrase.
h- P . ^
'/aelwiigou'autnau '/selwi:gouaut'nau
Shall we go out now /
(3) Dependent clauses, where the principal
clause follows or is suppressed.
h. p.
1. p.
( h )weiiQ3' wa:ks!£lni j thi:lkAm'baek
When the luork is finished, he will come back.
(Rising intonation on fini/t.)
h.p.
1. p.
and'ifjui'dount
And if you don% — .
221. When not affected by the above rules stressed
"syllables generally have a higher pitch than unstressed.
64 PHONETICS
222. The efteut of a rising intonation is greater if it
is immediately preceded by a falling intonation, and the
effect of a falling intonation is greater if it is immediately
preceded by a rising intonation. Thus
Are you going f
'a:ju:'gouiTj
is more emphatic than
b.p
I. p. ^
'a;Ju:'gouiT)
Compare also
h.p. __
a;ju:'9ouiT)
is more emphatic still
itwaz'sb8dl(j)u:tUim'pos9bl
with ^- P-
ZX
itwdZ'sbs3l(j)u:tliim'posdbl
It was absolutely impossible.
223. Many untrained speakers use a rising intonation
at the end of sentences where a falling intonation should
be used. This may be individual habit or dialectal pecu-
liarity (it is very common in Sc and N). The fault can
only be cured by practising very exaggerated falling
intonations, practising at first if necessary by simply
singing descending scales of notes.
THEORY OF PLOSIVE CONSONANTS 65
XIT. THEORY OF PLOSIVE CONSONANTS
224. To pronounce a complete plosive consonant
(§ 17) two things are essential: (1) Contact must be
made by the articulating organs, (2) The articulating
organs must be subsequently separated. Thus, in pro-
nouncing p the lips must be first closed and then opened.
The explosion of a plosive consonant is formed by the air
as it rushes out at the instant when contact is released ;
the air, however, necessarily continues to escape for an
appreciable time after the actual explosion, thus giving
rise to an independent sound. A plosive consonant there-
fore cannot be properly pronounced without being followed
by another independent sound. This independent sound
may be breathed or voiced.
225. When a voiced plosive consonant, e.g. b, is
followed by a vowel, the vowel itself constitutes the
necessary independent sound. It is possible to pronounce
a breathed plosive, e.g. p, followed by a vowel, in such a
way that the vowel constitutes the additional sound
necessary for the proper pronunciation of the consonant.
This is, however, not usually done in English, a short h
sound being generally inserted before the commencement
of the vowef(§§ 30, 34, 42). Similarly the first part of a
following voiced consonant is generally devocalised (§ 185) ;
it is however possible to pronounce a group such as pi in
such a way that the voice begins at the instant of the
explosion.
226. When we try to pronounce a breathed plosive,
e.g. p, by itself, it is generally followed by a short breathed
sound h; when we try to pronounce a voiced plosive,
e.g. b, by itself, it is generally followed by a short vowel a.
J, 5
66 PHONETICS
227. It is sometimes convenient to represent sounds
of very short duration by symbols in very small type.
Thus the group usually represented by pa: would be
more accurately represented by phai. When we try to
pronounce p and b by themselves we really say pn, bo.
The word praise, preiz would be more accurately repre-
sented by pfreiz.
228. The time during which the articulating organs
are actually in contact may be termed the stop. In the
case of the breathed consonants, e.g. p, nothing whatever
is heard during the stop ; in the case of the voiced con-
sonants, e.g. b, some voice is usually heard during the
stop.
229. In English there are cases in which plosive
consonants are not fully articulated, where in fact, stops
occur without explosions. The most important of these
cases is where a plosive consonant is immediately followed
by another plosive consonant. Thus in the StP of the
word act, aBkt, the tongue does not leave the roof of the
mouth in passing from the k to the t. There is therefore
no explosion of the k, only the stop being pronounced.
He will act too is usually pronounced hi: wilaekttu: , with
no explosion to the k or to the first t (the first t is in fact
only indicated by a silence). Similarly in begged, begd,
there is no explosion to the g.
230. In that time, tSaettaim, red deer, reddid, the
first t and d are not exploded in StP, in fact the only
difference between the tt and dd in these examples and
the t, d in satire, saetaia, red ear, 'red'ia, readier, 'redla,
is that in the former case the stop is very much longer
than in the latter. Similar considerations apply to the
groups pp, bb, kk, gg.
THEORY OF PLOSIVE CONSONANTS 67
231. In apt, sept, ebbed, ebd, the t, d are formed
while the lips are still closed for the p, b. The result is
that no h or a sound is heard when the lips are separated ^.
In ink-pot, iijkpot, big boy, bigboi, the lips are closed for
the p, b during the stop of the k, g. The result is that
no explosion of the k or g is heard. Similar considerations
apply to all other groups of two plosive consonants articu-
lated in different parts of the mouth.
232. The td in that day, tSaetdei, only differs from
the d in faddy, faedi, in having a longer stop, the first
part of which is breathed. In tJaetdei, midday, middei,
the stops are of the same length, but in the former the
first part of the stop is breathed and the second part
voiced, while in the latter the stop is voiced throughout.
The sound of dt in bedtime, bedtaim only differs from
the t in better, beta in having a longer stop, the first part
of which is voiced. In bedtaim, ^aettaim, the stops are
of the same length, but in the former the first part of the
stop is voiced and the second part breathed, while in the
latter the stop is breathed throughout. Similar considera-
tions apply to the groups pb, bp, kg, gk.
233. Pronunciations such as aekhtntu:, begad, tSaetb-
taim, rededia, aep&t, ebed, iTjkupot, bigoboi, tSaetudeij
bedbtaim are heard, but are generally dialectal. Some-
times, however, such b, e sounds are inserted in very careful
speaking when it is advisable to mark very clearly the
beginnings and ends of words. Thus, in reading aloud to
a large audience, aekttu: might be pronounced SBktbtu:.
234. When a plosive is followed by a nasal consonant
^ A noise is sometimes heard as the lips separate : this is howevei*
not formed by an escape of breath, but is due to the moisture on the lips.
5—2
68 PHONETICS
as in that night, tJaetnait, topmost, topmoust, utmosty
Atmoust, Wednesday, wednzdi, the action of the articu-
lating organs is the same as in the case of a plosive
followed by a plosive. Thus no t or o is inserted between
the t and n, p and m, t and m, d and n in the above
examples; pronunciations such as tophmoust are as a
rule dialectal, but are occasionally heard in careful speak-
ing when special distinctness is desired.
235. There is an explosion in the ordinary pronuncia-
tion of these combinations of plosive and nasal. This is
not, however, formed at the point of the mouth where
closure is made, but is due to the lowering of the soft
palate which causes the air to escape suddenly through
the nose.
236. When a voiced plosive consonant is initial, the
stop is often partially devocalised, i.e. the first part of it is
breathed, voice being only added just before the explosion.
When the speaker is speaking softly, there is usually no
voice at all during the stop. The resulting sound differs
from the corresponding breathed plosive in being pro-
nounced with less force of the breath and being followed
immediately by voice, i.e. a vowel or a voiced consonant.
(Breathed plosive consonants are immediately followed by
breath, i.e. h or a breathed consonant, § 225.) In careful
speaking the stop of an initial voiced plosive should be
fully voiced.
237. When a voiced plosive consonant is said to be
final it is really followed by another sound (§§ 224, 226) ^
The sound which is really final is e or n, more often the
1 The pronunciation of the stop alone in final plosives may be some-
times observed in individual cases, but can hardly be considered normal.
i
INITIAL AND FINAL VOICED FRICATIVES 69
latter, especially when the voiced plosive is preceded by
another consonant, thus cab is pronounced kaebe or kaebb,
hold is generally houldh, occasionally (especially in decla-
matory style) houldo.
238. Sometimes voice is not heard during the whole
stop of a final voiced plosive, but only during the first
part of it. The sound then resembles a feebly articulated
breathed plosive. When the consonant in question is
preceded by another consonant it fi-equently happens
that no voice is produced during the stop at all, • i.e.
the consonant is completely devocalised. (Devocalisation
is represented phonetically by ^ under the symbol for
the voiced sound.) Thus in hould the d is sometimes
completely devocalised and becomes a very weak kind of
t (hould). This is still more frequent when there are two
preceding consonants as in cleansed, klenzd. or klenzd.
When great distinctness is desired final voiced plosives
should be fully voiced.
XIII. INITIAL AND FINAL VOICED FRICATIVES
239. When a voiced pure fricative (§ 105), e.g. z, is
initial or final, it is generally not fully voiced. When
initial as in zeal, zi:l, it begins breathed and ends voiced,
and when final, as in ease, i:z, it begins voiced and ends
breathed. When final and preceded by another consonant,
e.g. in heads, hedz, valves, vaelvz, it is often completely
devocalised, becoming a weak kind of s (phonetic symbol
j), these words being more accurately written hedz, vaelvz
or vsBlvz. When great distinctness is desired, initial and
final voiced fricatives should be fully voiced.
PART II
PHONETIC TRANSCRIPTIONS
I. STANDARD PRONUNCIATION i
A. CAREFUL CONVERSATIONAL STYLE
1. Charlotte Bronte
Passage from Jane Eyre, Chap, xxxv
'oil 59 'haus waz 'stil ; far ai biliiv 'o:l iksept 'sindjan
ond mai'self wa 'nau ri'taiad ta 'rest. Sa 'wAn 'ksendl waz
'daiirj 'aut; ?5a 'rum waz 'ful av 'muinlait. mai 'ha:t bi:t
'fa:st and '6ik ; ai 'ha:d its 'Grab. 'sAdnli it 'stud 'stil tu
an iniks'presibP 'fidirj Sat '8rild it 'Gru: and 'pa:st at
'wAns ta mai 'bed and iks'tremitiz. Sa fiilir) waz 'not laik
an i'lektrik 'Jok, bat it waz 'kwait az '/a:p, az 'streinds,
az 'stcLitlir) ; it 'aektid on mai 'sensiz az if Sear 'Atmoust
aek'tiviti hiSa'tu: had bi:n bat 'to;pa, fram (h)wit/ Sei wa
'nau 'sAmand and 'foist tu 'weik. Sei 'rouz iks'pektant; 'ai
and 'ia 'weitid (h)wail Sa 'flej 'kwivad on mai 'bounz.
" '(h)wot (h)av ju: 'ha;d ? '(h)vvot d(a) ju: 'si: ? " a;skt
'sindgan. ai 'so; 'nAGir), bat ai 'haid a 'vois 'sAm(h)wea 'krai
" 'd3ein, 'd3ein, 'd3ein ! " — ^'nAQir) 'mo:.
"'ou 'god ! '(h)wot 'iz it ? " ai 'ga:spt.
ai 'mait (h)av sed, " '(h)wear iz it ? " far it 'did not si:m
in Sa 'rum, no:r in Sa 'haus, no:r in Sa 'ga:dn ; it 'did not
kAm aut av Si 'ea, no: fram Anda Si 'a:G, no: fram ouva'hed.
* As defined in Part 1, § 1. ^ Often pronounced iniks'presobl.
74 PHONETIC TRANSCRIPTIONS
ai (h)8d 'hard it — '(h)w£8, oi '(h)wens\ far 'ev9(r) im'posibl'^
ta 'nou ! and it waz Sa vois av a 'hjuiman 'bi;ir) — a 'noun,
'1a vd, 'welri'membad 'vois — 'Sset av 'edwad 'feafaeks 'rot/ista ;
and it spouk in 'pein and 'wou, 'waildli, 'iarili, 'a;d3antli.
"'ai am 'kAmir)!** ai kraid, "'weit fa mi;! 'ou, ai wil
'kAm!" ai 'flu: ta Sa 'do;, and 'lukt inta Sa 'poesidg ; it
waz 'da;k. ai 'raen 'aut inta Sa 'ga;dn; it waz 'void.
"'(h)wear 'a; ju;?" ai iks'kleimd.
iSa 'hilz bi'jond 'ma;/ 'glen 'sent Si 'cL;nsa 'feintli 'baek,
"'(h) wear 'a; ju;?" ai 'lisnd. Sa 'wind 'said 'lou in Sa
'fa;z; 'o:l waz 'mualand 'lounlinis and 'midnait '1ia/.
2. Edmund Burke
A passage from Thoughts on the Fi^ench Revolution
it iz 'nau 'siksti;n o; 'sevnti;n 'jiaz'* sins ai 'so; Sa 'kwi;n
av 'fra;ns, 'Sen Sa 'do;finis, at vsr'sa;j ; and 'Juali 'neva
'laitid on Sis 'o;b, (h)wit/ Ji; 'ha;dli si;md ta 'tAtJ, a mo;
di'laitful 'vi3an. ai 'so: ha: 'djAst a'bAv Sa ha'raizn,
'dekareitir) and 't/iarir) Si; 'eliveitid 'sfia Ji; 'djAst bi'gsen
ta 'mu:v in, — 'glitarir) laik Sa 'mo:nir) 'sta:, 'ful av 'laif,
and 'splenda, and 'djoi. 'ou ! (h)wot a reva'l(j)u:/n ! and
(h)wot a 'hcL;t mast ai haev ta 'kontempleit wiS'aut i'mou/n
Saet eli'vei/n and Saet 'fo;l ! 'litl did ai 'dri;m (h)wen /i:
'sedid 'taitlz av vena'rei/n ta Souz av ineju;zi'aestik, 'distant,
ri'spektful 'Iav, Sat Ji; Jud 'eva bi: a'blaidgd ta 'kaeri Sa
'/a;p 'centidout ageinst dis'greis kan'si;ld in Saet 'buzam;
'litl did ai 'dri;m Sat ai Jad (h)av 'livd ta 'si; 'sAtJ di'za;staz
fo:lan apon ha;(r) in a 'nei/n av 'gaelant 'men, in a 'nei/n av
1 Or '(h)wcor o: '(li)wens. ^ Qften pronounced im'posabl.
» Or 'jo:z.
STANDARD PRONUNCIATION. STYLE A 75
men av 'ona, and av kosva'liaz. ai 0o:t 'ten 'Oauzond 'so:dz
iHAst hav 'lept fram Sea 'sksebadz tu a'ven(d)3 i:vn a 'luk
Sat 'Oretnd ha; wis 'insAlt.
bat Si; 'eid3 av 't/ivalri iz 'gon. Sast av 'sofistaz,
i;'konamists, and 'kselkjuleitaz, haz sak'si;did ; and Sa 'cjlo;ri
av 'juarap iz iks'tirjgwi/t far 'eva. 'neva, 'neva 'mo; Jal wi:
bi'hould Sget 'd3enaras 'loialti ta 'raerjk and 'seks, Soet 'praud
saVmi/n, Sset 'dignifaid a'biidjans^, Sset saboidi'nei/n av Sa
'ha;t, (h)witj 'kept a'laiv, i;vn in 'sa:vitju:d it'self, Sa 'spirit
av an ig'zo;ltid 'fri;dara. Si: 'Anbo;t 'greis av 'laif, Sa 't/iip
di'fens av'nei/nz, Sa 'na:s av 'mgenli 'sentimant and hi'rouik
'entapraiz, iz 'gon ! it iz 'gon, Sset sensi'biliti av 'prinsipl^
Saet 't/sestiti av 'ona, (h)wit/ 'felt a 'stein laik a 'wu;nd,
(h)wit/ in'spaiad 'kAridg (h)wailst it 'mitigeitid fi'rositi,
(h)wit/ i'noubld (h)wotevar it 'tAt/t, and Anda (ti)wit/ 'vais
it'self 'lo;st 'ha;f its 'i;vil, bai lu;zir) 'o;l its 'grousnis.
3. C. S. Calverley
Contentment
(after the manner of Horace)^
'frend, Sea bi: 'Sei on hu:m 'mishsep
o; 'neva o; 'sou 'reali 'kAmz,
Saet, (h)wen Sei '0ir)k Searof, Sei 'snsep
di'raisiv '6Amz;
send Sea bi; 'Sei hu: 'laitli 'lu;z
Sear 'o;l, jet 'fi;l 'nou 'eikig 'void;
Jud 'o:t a'noi Sam, Sei ri'fju;z
ta bi; a'noid;
1 Or o'blicUons. a Qr 'prinsspl.
3 Reproduced from Calverley's Fly Leaves by kind permission of the
publishers, Messrs George Bell and Sons.
76 PHONETIC TRANSCRIPTIONS
9nd 'fein wud 'ai bi: i:n az 'Si:z!
'laif iz wis 'sAtJ 'o:l 'biar and 'skitlz;
6ei a: 'not 'difiklt ta 'pli:z
abaut Bea 'vitlz;
6a 'trcLut, t5a 'graus, Ci: 'a:li 'pii,
bai 'sAt/, 'if 'Ssa, a: 'fridi 'teikan;
'if 'not, (5ei 'mAn(t)J wiS 'i:kwal 'gli:
Sea 'bit av 'beikan;
and (h)wen Sei 'waeks a litl 'gei
and 't/a:f Sa 'pAblik a;fta 'lAn(t)/an,
if Sea kan'frAntid wis a 'strei
pa'li.'smanz 'trAn(t)Jan,
Sei 'geiz Searset wiS 'CLutstret/t 'neks,
and 'la:fta (h)wit/ 'nou 'Grets kan 'smASa,
and 'tel Sa 'horastrikan 'eks
Sat 'hi;z a'nASa.
in 'snoutaim if Sei 'kro:s^ a 'spot
(h)wear 'Ansas'pektid 'boiz hav 'slid,
Sei 'fo:l not 'daun — ^'Sou Sei wud 'not
'maind if Sei 'did ;
(h)wen Sa 'sprig 'rouzbAd (h)wit/ Sei 'wea
'breiks '/o:t and 'tAmblz fram its 'stem,
'nou '6o:t av biiig 'aeggri 'ea
'do:nz apan 'Sem;
'Sou twaz d/ji'maimaz 'haend Sat 'pleist,
(az 'wel ju: 'wi:n) at 'i:vnigz 'aua,
in Sa 'lAvd 'bAtnhoul Sset 't/eist
and 't/eri/t 'flaua.
1 Or 'kro».
STANDARD PRONUNCIATION. STYLE A 77
end (h)wen ?5ei 'trsevl, if Sei 'faind
Sat Sei hav 'left Sea 'pokit'kAmpas
o: 'mAri o: '0ik 'bu:ts bihaind,
t5ei 'reiz 'nou 'rAmpas,
bat 'plod si'ri:nli 'on wiS'aut;
'nouir) its 'beta tu in'djua
Si: 'i:vil (h)wit/ bijond 'oil 'daut
ju: 'ksenot 'kjua.
(h)wen fa Sset 'a:li 'trein Sea 'leit,
Sei du: not 'meik Sea 'wouz Sa 'tekst
av 'saimanz in Sa 'taimz, bat 'weit
'on fa Sa 'nekst;
and 'djAmp in'said, and 'ounli 'grin
Jud it a'pia Sat 'Sset 'drai 'wseg,
Sa 'ga:d, o'mitid ta 'put 'in
Sea 'kaipitbseg.
4. Sir Walter Scott
Hunting Song
'weikan, 'loidz and 'leidiz 'gei,
on Sa 'mauntin 'domz Sa 'dei;
'o:l Sa 'd3oli 't/eis iz 'hia
wis 'hoik, and 'ho:s, and 'hAntirj'spia !
'haundz a:r in Sea 'kAplz 'jelig,
'ho:ks a: '(h)wislir), 'ho:nz a: 'nelig;
'merili, 'merili 'mirjgl Sei,
'"weikan, 'loidz and 'leidiz 'gei/'
78 PHONETIC TRANSCRIPTIONS
'weikan, 'lo:dz and 'leidiz 'gei,
Sa 'mist haz 'left Sa 'mauntin 'grei;
'sprirjlits in Sa 'do:n a: 'stiimir),
'daiamandz on Sa 'breik a: 'cjli:mir);
and 'foristaz hav 'bizi 'bi:n
ta 'trsek 6a 'bAk in 'Oikit 'grim;
'nan wi: 'kAm ta 't/amt aua 'lei,
"'weikan, 'lo:dz and 'leidiz 'gei."
'weikan, 'loidz and 'leidiz 'gei,
ta Sa 'griniwud 'heist a'wei;
'wi: kan 'Jou ju: (h)wea hi; 'laiz,
'fliit av 'fut and 'tod av 'saiz;
wi: kan 'Jou t5a 'ma:ks hi: 'meid,
(h)wen geinst Si 'ouk hiz 'aentlaz 'freid;
'ju: Jal 'si: him 'bro:t ta 'bei,
"'weikan, 'lo:dz and 'leidiz 'gei/*
'lauda, 'lauda 't/cL:nt Sa 'lei,
'weikan, 'lo:dz and 'leidiz 'gei!
'tel Sam,.'ju:9, and 'ma;0, and 'gli;
'rAn a 'ko:s, az 'wel az 'wi:;
'taim, 'sta:n 'hAntsman! 'hu: kan 'bo:k,
'sto:n(t)/ az 'haund, and 'fli:t az 'ho:k;
'yirjk av 'Sis, and 'raiz wiS 'dei,
'd3entl 'lo:dz and 'leidiz 'gei.
STANDARD PRONUNCIATION. STYLE A 79
5. W. M. Thackeray
A passage from the Essay on Whitebait
ai W8Z 'ri.-sntli 'to;kir) in a veri 'tAtJir) and po(uyetikl
'strein abaut Si: a'bAV 'delikit 'fij ta mai frend 'fu:zl and
sam 'A?5az at 6a 'kUb, and iks'pei/ieitir) apan Si: 'eksalans
av Sa 'dina (h)\vit/ aua 'litl 'frend 'gAtlbari had 'givn as,
(h)wen 'fu:zl, 'lukir) 'raund a'baut him wiS an 'ear av
'traiamf and i'mens 'vvizdam, 'sed, —
"ail 'tel ju: 'wot, wsegstcL:f, 'aim a 'plein 'msen, and
dis'paiz o:l jo;^ 'goimandaizir) and 'kik/o:z. ai 'dount nou
Sa 'difrans bitwiin 'wAn av joir^ ab'said 'meid 'di/iz and
a'nASa; 'giv mi: a 'plein 'kAt av 'mAtn o: 'bi:f. aim o
'plein 'irjglijman, 'ai sem, an(d) 'nou 'gUtn."
'fu:zl, ai sei, '6o:t 'Sis 'spi:t/ a 'teribF 'set 'daun fa 'mi: ;
{end in'di:d 'sektid Ap ta hiz 'prinsiplz*. ju: mei 'si: (h)im
'eni 'dei at 'siks 'sitir) 'daun bifoir a 'greit 'ri:kiT) 'dgoint av
'mi:t ; hiz 'aiz 'kwivarirj, hiz 'feis 'red, and 'hi: 'kAtirj 'greit
'smoukir) 'red 'kolaps ciut av Sa 'bi:f bi'fo: him^ (h)wit/
(h)i: di'vauaz wis koris'pondir) 'kwontitiz av 'ksebidg an(d)
pa'teitouz, and Si: 'A(5a 'greitis 'Uk/uriz av Sa 'kUb'teibl.
'(h)wot ai kam'plein ov 'iz, 'not Sat Sa ma3n Jud in'd3oi
hiz 'greit 'mi:l av 'sti:mir) 'bi:f — 'let (h)im bi 'hsepi ouva
'Saet, az mAtJ az Sa 'bi:f hi: iz di'vauarir) waz in 'laif 'hsepi
Guvar 'oil'keiks o: 'm8er)gl'wa:zl — bat ai 'heit Sa felouz
'bru:tl 'selfkam'pleisnsi, and hiz 'sko:n av 'ASa 'pi:pl hu:
hoev 'difrant 'teists fram 'hiz. a 'maen hu: 'brsegz riga:dir)
himself, Sat (h)wot'eva hi: 'swolouz iz Sa 'seim to 'him, and
* Or jua. - Or jusr.
^ Often pronounced 'terabl. * Or tu iz 'prinsoplz.
* Or bi'fb:riin.
80 PHONETIC TRANSCRIPTIONS
b'at 'hiz 'ko:s 'pselit 'rekegnaiziz 'nou 'difrans bitwiin 'venzn
9n(d) 'taitl, 'pudir), o: 'mAtn'bro:0, aez hiz in'difrant 'd3o;z
'klouz 'ouva Sam, 'brjEgz abaut a 'paisnl di'fekt — tSa 'ret J —
an(d) 'not abaut 8 'vaitju:. it iz^ 'laik a 'msen 'boustir)
tJat (h)i: hsez 'nou 'ia fa 'mjuizik, o: 'nou 'ai fa 'kAla, o: Sat
(h)iz 'nouz 'ksenot 'sent Sa 'difrans bitwiin a 'rouz and a
'ksebidj. ai 'sei, az a 'dgenaral 'ru:l, 'set 'Sset 'mgen 'daun
az a kan'si:tid 'felou hui 'swsegaz abaut 'not 'kearir) fa hiz'
'dina.
'(h)wai '/udnt wi: ksar abaut it ? waz 'i:tir) 'not 'meid
ta bi: a 'plesa tu as ? 'jes, ai sei, a 'deili 'plesa — a 'swi;t
sou'leimen — a 'ple3a fa'milja, jet 'eva 'nju: ; Sa 'seim, and
'jet hau 'difrant ! it iz 'wAn av Sa 'koiziz av doumes'tisiti.
Sa 'ni:t 'dina meiks Sa 'hAzband 'pliizd, Sa 'hauswaif 'haepi ;
Sa 't/ildran konsikwantli a: 'wel bro:t 'Ap, and 'Iav tSea
pa'pa; an(d) ma'ma:. a 'gud 'dina(r) iz 5a 'sen tar av 5a
'sa:kl av 5a 'soujl 'simpa9iz. it 'wo;mz e'kweintans/ip^
inta 'fren(d)/ip ; it mein'teinz 53et 'fren(d)/ip 'kAmfatabli
'Anim'pead ; 'enimiz 'mi:t ouvar it and a: 'rekansaild. 'hau
'meni av 'ju;, dia frendz, haz 53et 'leit 'botl av 'klserat
'wo:md intu a'fek/anit fa'givnis, 'tenda reka'lek/anz av
'ould 'taimz, and 'a:d(a)nt 'glouir) aentisi'peijnz av 'nju: !
5a 'brein iz a tri'mendas 'siikrit. ai bili:v 'sAm 'kimist*
wil 'raiz a'non bu: wil 'nou hau ta 'dokta 5a 'brein sbz
5ei du: 5a 'bodi 'nau, sez 'li:big^ doktaz 6a 'graund. 5ei
wil a'plai 'sa:tn 'medsinz, and pra'dju:s 'krops av 'saitn
'kwolitiz 5at a: 'laiig 'do:mant 'nau fa 'wont av inti'lektjual
'gwa:nou. bat '5is iz a SAbd^ikt fa 'fjuit/a spekju'lei/n —
1 Or it 8. ' Or for Iz.
* Or o'kweintonjjip.
* Or 'kemlst.
» The name is strictly 'liitolf (for f see Part I, § 99).
STANDARD PRONUNCIATION. STYLE A 81
0 pa'renGisis 'grouif) 'aut av 8'nA?5apa'renOisis; '(h) wot ai wud
'8;d2 i'spe/eli 'hi8(r) iz a 'point (h)wit/ 'mAst bi fa'milja wiS
'evri 'paisn a'kAstamd tu 'i:t 'gud 'dinaz — 'neimli, Sa 'noubl
and 'frendli 'kwolitiz Sat (5ei i'lisit. 'hau 'iz it wi: 'kAt sAt/
'dgouks ouva Sam ? 'hau 'iz it wi; bikAm sou ri'ma:kabli
'frendli ? 'hau 'iz it Sat 'sAm av as, in'spaiad bai a 'gud
'dina, haev 'sAdn 'gAsts av 'd^iinjas 'An'noun in Sa 'kwaiat
'An'festiv 'steit? 'saih men meik 'spi:t/iz; 'sAm 'Jeik Sea
'neiba bai Sa 'haend, and in'vait him, o: Sam'selvz, ta 'dain ;
'SAm 'sir) pra'did3asli ; mai frend 'sseladin, far instans, 'gouz
'houm, hi: sez, wiS Sa moust 'bjuitafl 'ha:maniz 'rirjirj in
(h)iz 'iaz; and 'ai, fa 'mai pa:t, wil teik 'eni 'givn 'tju;n,
an(d) 'meik veari'ei/nz apon it far 'eni 'givn 'piariad av
'auaz, 'greitli, nou daut, ta Sa di'lait av 'oil 'hiaraz. 'Si:z
ar 'ounli 'temparari inspi'rei/nz^ 'givn as bai Sa 'djoli
'd3i:njas, bat 'a: Sei ta bi; dis'paizd on 'Saet akaunt ? 'nou.
'gud 'dinaz (h)av bi;n Sa 'greitist 'viiiklz av bi'nevalans
sins 'maen bi'gaen tu 'i;t.
8 'teist fa 'gud 'livir), Sen, iz 'preizwa:Si in moda'rei/n —
laik 'o:l Si: 'ASa 'kwolitiz and in'daumants av 'maen. 'if a
msen wa ta ni'glekt (h)iz 'faemili o: hiz^ 'biznis on akaunt
av (h)iz 'Iav fa Sa 'fidl o; Sa 'fain 'a:ts, hi: wud kamit
'd3Ast Sa 'kraim Sat Sa 'dina'sensjualist^ iz 'gilti ov; bAt
tu in'd3oi 'waizli iz a 'maeksim av (h)wit/'nou maen ni:d bi:
a'/eimd. bat 'if ju: 'kaenot 'i:t a 'dinar av 'ha:bz az 'wel az
a 'sto:ld 'oks, 'Sen ju ar an An'fo:t/anit 'maen; jo:* 'Iav fo
'gud 'dinaz haz 'pa:st Sa 'houlsam 'baundari, and di'd3ena-
reitid inta 'gUtani^
* Or insps'reijnz. * Or oar Iz.
> Or dinasenJuoUst. * Or Jua.
» Or gUtni (see Part I, § 199).
82 PHONETIC TRANSCRIPTIONS
6. William Wordsworth
ai 'wondad 'lounli 8z a 'klaud
Cat 'flouts on 'hai oa^ 'veilz and 'hilz,
(h)wen 'o:l at 'wAns ai so: a 'kraud,
a 'houst av 'gouldan 'dsofadilz;
bi'said Sa 'leik, bi'ni.-e Sa 'tri:z,
'flAtrir) and 'dainsir) in Sa 'bri;z.
kan'tinjuas az Sa 'sta:z Sat 'Jain
and 'twirjkl on tSa 'milki 'wei,
(5ei 'stretjt in 'nevai-'endir) 'lain
alor) ?5a 'maid^in av a 'bei;
'ten '6auz(a)nd 'so: ai at a 'fjla:ns,
'to:sir)^ Sea 'hedz in 'spraitli 'da:ns.
Sa 'weivz bi'said Sam 'da:nst, bat 'Sei
'aut'did Sa 'spa;:klir) 'weivz in 'gli: ;
9 'pouet^ 'kud not bat bi 'gci
in sAtJ a 'd3okand 'kAmpani;
ai 'geizd — and 'geizd — bat 'litl '0o:t
(h)wot 'welG Sa '/ou ta 'mi: had 'bro:L
far 'o:ft* (h)wen on mai 'kautj ai 'lai
in 'veikant o:r in 'pensiv 'mu:d,
Cei 'flsej apan Soet 'inwad 'ai,
(h)wit/ iz Sa 'blis av 'solitju:d;
and 'Sen mai 'halt wiS 'plega 'filz,
end 'da:nsiz wiS Sa 'dsefadilz.
1 Or 0:9, or o:. « Or tosiij (see Part I, § 146).
» Or poult. * Or dft (see Part I, § 146).
II. STANDAKD PRONUNCIATION
B. RAPID CONVERSATIONAL STYLE
7. Charles Dickens
A passage from the Pickwick Papers (Chap. 7)
(5a 'streindja, 'miinwaiU, (h)ad bi:n 'iitir), 'drir)kir), an
'toikirj, wiS'aut se'sei/n. at 'evri 'gud 'strouk (h)i: iks'prest
(h)iz sjBtis'faek/n and a'pruiyl av Sa 'pleia(r) in a moiist
kondi'sendir) an(d) 'paetranaizir) 'msena, wit/ 'kudnt 'feil tu
av bi:n 'haili 'grsetifaiir) ta Sa 'pa,:ti kan'sa:nd; wail at'evri
'baed a'tem(p)t at a 'ksetj, and 'evri 'feilja ta 'stop t5a 'bo;l,
hi; 'lo:n(t)/t (h)iz 'pa:snl dis'ple5a(r) at Sa 'hed av Sa
di'voutid indi'vidjual in 'sAtJ dinAnsi'ei/nz sez "'a:, 'a: ! —
'stjuipid " — " 'nau, 'bAtafirjgaz " — " 'mAf " — " 'hAmbAg " — an
'sou h:Q — idgsekju'leijnz wit/ 'si:md tu is'tsebli/ (h)im in
Si epinjan av 'oil a'raund, az a moust 'eksalant and
Andi'naiabl 'dgAdg av Sa 'houl 'a:t an 'mistari av Sa 'noubl
'geim av 'krikit.
"'kaepitl 'geim — 'wel 'pleid — ^'sAm strouks '8edm(a)rabl,"
sed Sa streind3a, az 'bouS 'saidz 'kraudid inta Sa 'tent, at
6a kan'kluign av ?5a 'geim.
"ju: v 'pleid it, sa?" inkwaiad mista 'wo;dl, hu: ad
bi:n 'mAt/ a'mju:zd bai hiz la'kwsesiti.
* Or ini:a'wail (in this particular case).
6—2
84 PHONETIC TRANSCRIPTIONS
"'pleid it! '0ir)k ai 'haev — ^'6auzn(d)z av taimz — ^'not
'hie — ^'west 'indiz — ik'saitir) 'Oir) — ^'hot 'we:k — ^'veri."
"it 'mAs(t) bi rciiSar a 'wo;m pa'sjuit in 'sAtJ a
'klaimitV' aV^aivd mista 'pikwik.
"'wo:m — ^'red'hot — ^'skoifc/irj — 'glouir). 'pleid 8 'maet/
'wAns — 'sirjgl 'wikit — ^'frend Sa 'kainl — sa 'tomas 'bleizou —
'hu: /(a)d get Sa 'greitist 'nAmbar av'rAnz. — ^'wati Sa 'to:s —
'fa ;st 'inigz — 'sevn a'klok 'ei 'em — 'siks 'neitivz ta luk 'aut
— ^'went 'in ; 'kept in — ^'hiit in'tens — 'neitivz 'o:l 'feintid —
'teikn a'wei — 'frej 'ha:f'dAzn 'oidad — 'feintid 'oilsou —
'bleizou 'boulig — sa'po.'tid bai 'tu; 'neitivz — ^'kudnt 'boul
mi: 'aut — ^'feintid 'tu: — ^'kliad a'wei Sa 'ka:nl — 'wudnt giv
'in — 'fei9fl a'tendant — ^'kwaegkou 'saemba — ^'la:st maen 'left
— 'sAn 'sou 'hot, 'bset in 'blistaz — 'bo:l 'sko:t/t 'braun —
'faiv hAndrad n 'sevnti 'rAnz — 'rcL:Sar ig'zo:stid — ^'kwagkou
'mAstad 'Ap 'la:st ri'meinir) 'streg6 — 'bould mi: 'aut — ^'hsed
a 'ba:0 n 'went 'aut ta 'dina."
"an(d) 'wot bikeim av 'wotsizneim, sa," inkwaiad an
'oul(d) 'dgentlman.
"'bleizou?"
"'nou — Si 'ASa dgentlman."
" 'kwsegkou 'ssemba ? "
"'jes, sa."
"'pua 'kwaegkou — 'neva ri'kAvad it — 'bould 'on, on
'mai akaunt — ^'bould 'o:f, on iz 'oun — 'daid, sa." 'hia Sa
'streindga 'berid (h)iz 'kauntinans in a 'braun 'djAg, bat
'weSa ta 'haid (h)iz i'moujn o:(r) im'baib its kan'tents, wi:
'kaenot dis'tirjktli a'fa.m. wi: 'ounli 'nou Sat (h)i: 'po:zd
'sAdnli, 'dm: a 'lor) an 'di:p 'bre0, an(d) 'lukt '8eg(k)/asli 'on, az
^ This sentence might well be read more slowly than the rest and in
declamatory style, thus : — " it 'xnAst W: rarSar e 'wo:in posjirt in 'sAtJ
'-- - It."
STANDARD PRONUNCIATION. STVLE B 86
'tu; av t59 'prinsapl 'membaz av Sa 'dirjli 'del 'klAb e'prout/t
mista 'pikwik, an(d) 'sed —
" wiar a'baut ta pa/teik av a 'plein 'dina(r) at (5a 'blu:
'laian, sa; wi: 'houp 'ju; an(d) jo: 'frendz (wi)l 'dgoin as."
"av 'ko:s," sed mista 'woidl, "a'aiAr) aua 'frendz wi;
in'klu.-d mista " and (h)i; lukt t(aywo:dz^ Sa 'streindga.
" 'd3ir)gl/' sed Sset 'vaisatail 'djentlman, 'teikirj Sa 'hint
at 'wAns. " 'dgirjgl — 'aelfrid 'd3ir)gl iskwaia(r), av 'nou 'ho;l,
'nouwea."
" ai /I bi 'veri 'hsepi, aim 'J^a," sed mista 'pikwik.
"'sou Jl 'ai/' sed mistar 'selfrid 'dsirjgl, 'dro:ir) 'wAn
'a:m eru; mista 'pikwiks, and a'nASa Gru: mista 'woidlz,
aez (h)i: 'wispad konfi'den/ali in Si: 'iar av Sa 'fo;ma
djentlman : —
"'devlij 'gud 'dina — ^'kould, bat 'kaepitl — ^'piipt inta Sa
'T^um Sis 'moinirj — ^TcLulz (a)n 'paiz, and 'o:l 'Sast so;t av
8iT)— 'pleznt 'felouz 'Si:z — ^'wel bi'heivd, 'tu: — ^'veri."
8. George Eliot
A passage from the Mill on the Floss
(Standard Edition, Vol. I, pp. 226, 227)
' "'ou, 'ai 'sei, 'maegi," sed 'tom at 'la:st, 'liftir) 'Ap Sa
'stgend, " wi: mas(t) 'ki:p 'kwaiat 'hia, ju: nou. if wi: 'breik
eniOir), 'misiz 'stelirj 1 'meik as 'krai pe'keivai."
"'wot s 'Saet?" sed 'msegi.
" 'ou, it s Sa 'laetin far a 'gud 'skouldir)," sed 'torn, 'not
wiSaut 'sAm 'praid in (h)iz 'nolidj.
"i3 Ji: a 'kro;s wuman?" sed 'maegi.
"'ai b(i)'li:v ju:!" sed 'tom, wiS en im'fotik 'nod.
1 Or 'to:dx.
86 PHONETIC TRANSCRIPTIONS
. . ^
"ai Qiv/k 'o:l 'wimin -^'kro:sa^ San 'men," sed 'msegi.
"'amt 'gleg z a 'greit di:l 'kro:sa^ San 'Arjkl gleg, an 'mASa
'skouldz mi; 'mo; San 'fa:Sa dAz."
"'wel, 'ju: Z bi a 'wuman 'sAm dei," sed 'torn, "sou 'ju:
ni;dnt to;k."
" bat 'ai Jl bi a 'klevd wuman," sed 'msegi, wis 9 'to;s'.
" 'ou, ai 'dea'sei, and a 'naisti kan'si;tid '8ir). 'evribodi 1
'heit ju;."
"bat ju; 'o;tnt ta 'heit mi, tom; it 1 bi 'veri 'wikid
ov ju;, far ai /I 'bi; jo; 'sista."
"'jes, bat 'if ju ar a 'na;sti disa'griabl '9ig, ai 'faBl
heit ju;."
"'ou bat, tom, ju; 'wount! ai '/a;nt bi disagriabl. ai
Jl bi 'veri 'gud t(a) ju; — and ai Jl bi gud tu 'evribodi. ju;
'wount heit mi 'riali, 'wil ju;, tom?"
"ou, 'boSa ! 'neva 'maind! 'kAm, its 'taim fa mi; ta
'la;n mai 'lesnz. 'si: 'hia ! wot ai v got ta 'du;," sed 'torn,
'dro:ir) 'msegi't(a)wo:dz' (h)im an(d)'/ouir) ha:(r) iz '0iarem,
wail Ji; 'pu/t (h)a: 'hea bihaind (h)a;r 'iaz, an(d) pri'pead
(h)a:self ta 'pru;v (h)a; keipa'biliti av 'helpir) (h)im in
'juiklid. /i; bi'gsen ta 'ri:d wiS 'ful 'konfidaus in (h)a;r
'oun 'pauaz, bat 'prezntli, bikAmir) 'kwait bi'wildad, ha:
'feis 'flA/t wis iri'tei/n. it waz 'kwait Ana'voidabl — fi:
mas(t) kan'fes (h)a:r in'kompitansi, 9n(d) fi: waz 'not 'fond
av hju:mili'ei/n. ^^^^
" it s 'nonsns ! " Ji s^d^-" an(d) 'veri 'Agli 'stAf— -'noubadi
ni;d 'wont ta meik it 'CLut."
"'a:, 'Sea nciu, mis 'maegi!" sed 'tom, 'droig Sa 'buk
a'wei, an(d) 'waegig (h)iz 'hed set (h)a;, " ju: 'si; ju d 'not sou
'klevar az ju; 'do:t ju: wa:." ^
1 Or 'kroBo. » Or 'toa. » Or 'to:dx.
STANDARD PRONUNCIATION. STYLE B
87
" 'ou," sed 'maifji, 'pautir), " ai 'dea'sei ai kad 'meik it
'aiit, if ai d 'la;nt wot 'gouz bi'fo:, az 'ju; haBv."
"bat '5aet s wot ju: 'djAst 'kudnt, mis 'wizdam," sed
'torn. "f(a)r its 'o:l (5a 'ha:da wen ju: 'nou wot 'gouz
bi'fo:; fa 'Sen ju: v got ta 'sei 'wot defi'ni/n '0ri: iz,.an(d)
'wot 'aeksiom 'faiv iz. bat 'get a'loT) wi5 ju 'nau ; ai mas(t)
'gou 'on wis 'Sis. 'hiaz Sa 'laetin 'grsema. 'si: wot ju: kan
'meik av 'Soet.'*
9. E. F. Benson
A passage from Dodo (Chap. 4)*
With intonation curves*
P V
at'Sis'moumant | a'/ril'vois'ko:ld'doudouframtJa'droir)rum. ||
/ p
'doudou'doudou " it'kraid.
Sa'm3en'bro:tmi'tu:'tepid'pout/t'egz
1 Reproduced by kind permission of Mr Benson and the publishers,
Messrs Methuen.
^ See Part I, pp. 59 — 64. p, /, etc. are here used with their usual
musical values to indicate the average loudness of the groups. For U
and I see Part I, § 214.
88
PHONETIC TRANSCEIPTIONS
/
'<iu;senmisAm0ir)'els. jl 'izt5(e)8SAt/96ir)aza'grild'boun ? " 1|
P P ^
'5i:zn'ma:kswa'spi:dilifoloud'Ap | baiSia'piaransav'mis'steinz |
p p p
9t{59'dainir)rum'do:. || in'wAn'haend J /i'heldtJadis'paizd'egz, ||
P P
int5i'ASa | a'kwaiarav'mju:zikpeip9. ||
P
bi'haind(h)9:folouda'futman | ' wi5(h)a;'brekfas(t)trei,
P p
iniks'kjuizabl'ignarans | ozta'wotw8zri'kwaiadov(h)im
STANDARD PRONUNCIATION. STYLE B 89
mf p
'*'diadoudou'7iwent'on, |
mf
"ju/nouweuaimk9m'pouzir)a'sinifani
Vif
/v
ai'woiitsAmeir)'mo:rik'saitir)t59nau:'pout/t'egz.
mf
'roista'brokstnai'noul'teikmai'said. ||
nf rnf
ju:'kudnt'i;t'pout/t'egzata'bo:l | — 'kudju: ? [(
mf w/
^imaiVdu:veri'welfara'fju:nrdl'raa;tJ | o:r3nok'ta;n,
90 PHONETIC TRANSCRIPTIONS
mf mf
batSei'woruntdu.'fera'simfani, | is'pe/lifeSa'skeatsou.
/
o'br3endion'soude9nda'gril(i'boun
/
(i)zwotwAii'nali'woiitsfer9'ske9tsou,
mf
ounli'58etedbi'k\vaitautav?id'kwestJ(^9)n."
'i:did'steinzto;ktina'lauddi'te:mind'vois,
/ V
ond'emfasaiz(^(h)a:'points | wi5litl'dfE/izn'flAri/iz
STANDARD PRONUNCIATION. STYLE B 91
dvSa'di/ev'pout/t'egz. || at'Sis'moumaDt j
mf mf
^wAnavSem'flu.-ontetJa'flo: | endiks'ploudid
b9titson'il'wind(58tblouz'noub8dienigud,
P
ondot'enireit'disri'liivdSo'futmenfromiz'steitavindi'sisn
hizi'mKdjet'mi/nwaz'klialitari'muivit. ||
mf mf
'doudou'tiru:(h)9:self'J3aekin(h)a;'t/6d | wiea'pirlav'laifta- |l
PHONETIC TRANSCRIPTIONS
'gou'on'gou'oD'7»'kraid. | "jud'tui'splendid. ||
/
'tebswotjuraitSe'prestouon." |[
ai'ka:nt'wei8te'nA5d'moumdnt"sed'i:di6
" aimin5a'mJdl8v5amoustin'tra:nsir)mou'ti;f, |
mf
wi t/iz'wa ikirj'au t'bj u : taflL
'dju;'mainmai'smoukir)in5a'droir)rum ? {{
STANDARD PRONUNCIATION. STYLE B 93
P P
aim'o:fli'sori, | betitmeiks'oilSa'difranstamai'waik.
^/
mf
'beinalitl'insensSear'aiftewddz. || 'dursenmie'boun'doudou.* ||
mf
'kAmand'hiamipleiSa'sksotsouleitai-'on.
m/ / /
7T
itsSa'best'wirjaiv'eva'dAn, || 'ou, | 'baiSa'wei, |
ai'teli(jra:fttahee'trAf(e)nta'kArat9'morou-
'hiizmaikon'dAktaju'nou. || juikan'putim'ApinSa'vilidj |
94 PHONETIC TRANSCRIPTIONS
w/ . mf
o;5a'koulhouliijuiaik. || hiiz'kwait'hsepi
mf mf
if(h)i:'getsi'nAf'bia. || hiizmai'd^aimankan'dAktaju'nou. ||
mf mf
ai'meid'himin'taiali. || ai'tuk(h)imta58prin'ses6iA?J8'dei
mf mf
wenaiwazat'eiks, | ondwi'oilhsed'biatageSa |
mf mf
inSava'rsendaavSa'bou'siit. || ju;lbia'mju;zdwi3(h)im.
mf p mf
'ou'rcL;Sa"sed'doudou ; | " 'Saetlbi'oil'rait. ||
STANDARD PRONUNCIATION. STYLE B 95
i mf rnf
hi:kii'sli:pinSe'haus. || 'wil(h)i:kAm'8:litamorou ? ||
/ /
\ /A
'lets'si:
ta'morouz'SAndi.
mf
'iidiG, I aiv'gotnai'dia.
wiilhseva'dielitl'saivisinSa'haus —
m/
wi/kdintgouta't/ait/ifit'snouz— \\ 9nd'ju;/l'pleijo:'maes,
mf
and'hea'wotsizneim/lkan'dAkt, |
mf mf
3n(d)'b9:tian'gra:nti8n(dyju:9n(dyailsiT). || 'wountitbi'lAvli ? ||
\
96
,7*/
PHONETIC TRANSCRIPTIONS
mf
"ju:en(dyaijsetj'o:l'5aet5isa;ft8'nu:n. || 'teligraiftd'trAfla |
3:wot'evariz'neim'iz. | takAinbaiSi'eit'twenti. ||
mf
een(h)i:lbi'hiabai'twelv, |
nf
3nid)wi:lh8evSa'sa;visata'kwo:t8'pa:st."
/ IP mf
"doudouSaetlbi'grsend"sed'i:dit*. || " ai'kaint'weit'nau.
mf mf
gu(d)'bai. || 'hAri'Apmai'brekfost — |
STANDARD PRONUNCIATION. STYLE B 97
aim'o;fli'/a:p'set." 'iidie'went'baektatJa'droirjrum,
'wislirjinopa'tikjelali'/ril'maena.
III. STANDARD PRONUNCIA.TION
C. DECLAMATORY STYLE
10. Lord Byron
A passage from Childe Harold
(Canto IV, stanzas 177 — 179)
'on ! C&t t58 'dezat wa: mai 'dvvelirjpleis,
wis 'wAn 'fea 'spirit fo mai 'minista,
6aet ai mait 'o:l fo'get Sa 'hju:man 'reis,
send, 'heitir) 'nou wAn, 'Iav bAt 'ounli 'ha:!
ji: 'eliments ! — in hu:z m'noublir) 'sta:(r)
ai 'fill maiself ig'zo:ltid — ^'kaen ji; not
ae'koid mi; 'sAtJ a 'biiirj ? du: ai 'a:(r)
in 'di;mir) 'sAtJ in'hsebit 'meni a 'spot?
6ou 'wii5 Sem tu k5n'va:s ksen 'reali bi; aoa* 'lot.
6ear iz a 'ple3a(r) in Sa 'pa:6lis 'wudz,
tJear iz a 'r8ept/Jua(r) on Sa 'lounli 'Jo: (a),
Sear iz so'saieti hwea 'nAn in'tru;dz,
bai Sa 'di;p 'si;, aend 'mjii;zik in its 'ro;(a);
ai 'Iav not 'maen Sa 'les, bAt 'neit/Jua 'mo:(a),
from 'Si:z aoar 'intavju;z, in 'hwit/ ai 'sti;l
from 'o;l ai 'mei 'bi;, o; 'haev 'bi;n bi'fo;(a),
tu 'mirjcjl wiS 6a 'ju:niva;s, aend 'fi:l
'hwot ai kttn 'near iks'pres, jet 'kaenot 'o;l kon'siil.
1 For ao9 see Part I, § 138.
STANDARD PRONUNCIATION. STYLE C 99
'roul 'on, Sail 'di;p afend *'daik 'blu: 'ou/an — 'roul !
'ten 'Gauzand 'flirts 'swiip ouva Si: in 'vein;
'msen 'ma:ks Si; 'a:9 wiS 'ru;in — hiz kon'troul
'stops wis Sa '/o:(a); — Apon Sa 'wo:t(a)ri 'plein
Sa 'reks a;r 'o:l 'Sai 'di:d, 'no: dA0 ri'mein
a 'Jaedou ov 'msenz 'rsBvidg, 'seiv hiz 'oun,
'hvven, for a 'moument, laik a 'drop ov 'rein,
hi: 'sifjks intu Sai 'dep9s wiS 'bAblir) 'cjroiin,
wiS'aut d 'cjreiv, 'An'neld, 'An'kofind, aend 'An'noun.
11. W. E. Gladstone
Peroration of Mr Gladstone's speech on the second
reading of the Reform Bill of 1866^
'mei ai 'sei tu 'onorabl 'd3entlmen 'opozit, sez 'sAm ov
Sem haev a'drest a'dvais tu djentlmen on 'Sis 'said ov Sa
'haus, "'wil ju: not kon'sida bi'fo:(a) ju: im'baik in Sis
'nju: krui'seid, 'hweSa Sa ri'zAlts ov Si: 'ASaz in hwitj ju:
hffiv in'geid3d haev bi:n sou saetis'fsektori ? " 'greit 'baetlz
ju: haev 'fo:t, aend 'fo;t Sem 'maenfuli. Sa 'baetl ov mein-
'teinirj 'sivil disa'bilitiz on akaunt ov ri'lid3as bi'li:f, Sa
baetl ov ri'zistir) Sa 'fa:st ri'foim aekt, Sa baetl ov pro'tek/an,
'oil 'Siiz 'greit 'baetlz haev bi:n 'fo:t bai Sa 'greit 'pa:ti Saet
ai 'si: 'opozit ; aend aez tu 'sAm ov Sem ai a'dmit mai 'oun
'/ea(r) ov Sa risponsi'biliti. bAt 'haev Sea ri'zAlts bi:n 'sAtJ
oez Saet ju: Jud bi: dis'pouzd tu ri'nju: Si:z a'taeks a'gein?
'sa:tenli 'Souz hu: 'sit on 'Sis said haev 'nou 'ri:zan o: 'taitl
tu 'faind 'forltl Si: i'fekt ov jua^ 'ko:(a)s haez bi:n tu 'giv
1 The pronunciation actually used by Mr Gladstone differed in many
respects from that given here. It was rather similar to that given in
no. 20.
2 Or '«»lt. » Or jo:(9).
7—2
100 PHONETIC TRANSCRIPTIONS
6em fb 'faiv aut ov 'siks, o; fo 'siks CLut ov 'sevan 'jiaz^ (58
'kondakt send 'msenid3ment ov 'pAblik e'feaz. Si: ifekt
haez bi:n tu 'loua, tu ri'djuis, send kon'traekt jua^ 'd3Ast
'influens in Sa 'kAntri, fend tu 8'brid3 jua^ '/ea(r) in Si:
sedgainis'treifan ov Sa 'gAvanment. it iz 'gud fo Sa 'pAblik
'intrist^ Saet ju: Jud bi* 'stror); bAt 'if ju: a: tu bi* 'stror),
ju: kaen 'ounli 'bi: sou bai 'Jouir), aez 'wel aez Sa 'kaindnis
aend Sa 'pa:sanal dgenfrositi hwit/ ai sem 'Jua ju: 'fi:l
to:(a)dz" Sa 'piipl, a 'pAblik 'trAst aend 'konfidens 'in Sem.
'hwot ai 'sei 'nau k&n 'ha:dli bi: 'sed wiG sbn 'iivil 'raoutiv.
'bAt, sa:, wi: a:r a'seild ; 'Sis 'bil iz in a steit ov 'kraisis
gend ov 'peril, send 6a 'gAvanment a'lor) 'wiS it. wi: 'staend
o: 'foil wis it aez haez bi:n di'klead bai mai 'noubl 'frend.
wi: 'staend wis it 'nau ; wi: 'mei 'fo:l wiS it a 'Jo:t 'taim
'hens, aend 'if wi: 'du:, wi: Jael 'raiz wiS it hiai"'a:fta. ai
Jael 'not a'tempt tu 'me39 wiS pri'si3an Sa 'foisiz Saet a: tu
bi: a'reid in Sa 'kAmir) 'strAgl. pa'hacps Sa 'greit di'vi3an
ov tu'nait iz 'not Sa 'la;st Saet mAst 'teik 'pleis in Sa 'strAgl.
ju: mei 'posibli sak'si:d aet 'sAm 'point ov Sa 'kontest. ju:
mei 'draiv as from CLoa 'si:ts. ju: mei 'beri Sa 'bil Saet wi:
haev intro'dju:st, bAt for its 'epita:f wi: wil 'rait apon its
'greivstoun 'Sis 'lain, wiS 'sa:ten 'konfidens in its fulfil-
ment : —
" ekso:ri'eari 'aelikwis 'nostris 'eks 'osibas 'Alto:'."
ju: 'kaenot 'fait ageinst Sa 'fju:t/Jua. 'taim iz on 'aoa 'said.
Sa 'greit 'sou/al 'foisiz hwitj 'mu:v 'on in Ssa 'mait send
1 Or jo:z. 2 Or jo:{0). ' Or 'interest.
4 Or bi:. " Or tu'wo-dz.
6 In the modern reformed pronunciation of Latin this line would be :—
eksori'aore 'alikwls 'no8tri:s 'eks 'osilmB 'ultoar.
Some might stress the wqrds more rhythmically thus :—
'ek83rl'aar(e) ali'kwis notftriia eks 'osibus 'ultoir.
STANDARD PRONUNCIATION. STYLE C 101
'm8ed3isti, send hwit/ 69 'tju:mAlt ov 'aoa di'beits dAz not
for a 'moument im'piid 0; dis'ta:b — 'Souz 'greit 'sou/al
'foisiz a;r o'geinst ju:; Sei a; 'maijald on 'aoa 'said, aend
Sa 'baena hwit/ wi: 'nau 'kaeri, Sou po'hgeps at 'sAm
'moument it mei 'dru:p ouvar aoo 'sirjkirj 'hedz, jet it
'sum 9'gein wil 'flout in 5i: 'ai ov 'hevon, aend it wil bi:
'bo:n bai 6a 'farm 'haendz ov Sa ju:'naitid 'pi:pl ov Sa '0ri:
'kirjdamz, pa'haeps 'not tu an 'iizi, bAt tu a 'saiten aend tu
a 'not 'distant 'viktori.
12. John Keats
Sonnet to Sleep
'ou 'so:fb^ im'ba:ma(r) ov Sa 'stil 'mid'nait,
'/Atir) wif5 'keaful 'firjgaz aend bi'nain,
aoa 'glu:mpli:zd 'aiz, im'bauad from 5a 'lait,
in'/eidid in fo'getfulnis di'vain;
'ou '8u:Sist 'sliip! if 'sou it 'pli:z 6i:, 'klouz,
in 'midst ov 'Sis Sain 'him, mai 'wiliij 'aiz,
o: 'weit Si: 'ei'men, 'ea Sai 'popi 'Orouz
a'raund mai 'bed its 'IaHt) 't/seritiz;
'Sen 'seiv mi:, o: Sa 'pa:sid 'dei wil 'Jain
apon mai 'pilou, 'bri:dir) 'meni 'wouz, —
'seiv mi: from 'kjuarias 'kon fans. Saet 'stil 'lo:dz
its 'strer)9 fo 'da:knis, 'bAiouig laik a 'moul;
'ta:n Sa 'ki: 'deftli in Si: 'oilid 'wo:dz,
aend 'si:l Sa 'hA/id 'ka:skit ov mai 'soul.
1 Or '■oft.
102, phonetic transcriptions
13. John Milton
At a Solemn Music
'blest 'pear ov 'saearmz^ 'pledsiz ov 'hevnz 'dsoi,
'sfiaboin ha/mounias 'sistaz, 'vols aend 'va:s,
'wed jua'^ di'vain 'saundz, aend 'mikst 'paoar^ im'ploi,
'ded eirjz wiS 'inbriitSd 'sens 'eibl tu 'pias;
5 aend tu aoa 'haireizd 'faentasi pri'zent
Saet 'Andis'taibid 'sor) ov 'pjua kon'sent,
'ei 'sATj bifo:(a) Sa 'ssefaeakAlad 'Oroun
tu 'him Saet 'sits Sear'on,
wi(5 'seintli '/aut send 'solam 'dguibilii;
lo 'hwea 6a 'brait 'serafim in 'bainirj 'rou
6ea 'laud Ap'liftid 'eindgel'trAmpits 'blou,
aend 5a t/e'ru:bik 'houst in '0auzand 'kwaeaz
'tAt/ 6ear i'mo;t(a)l 'ha;ps ov 'goulden 'waeez,
wis '6ouz 'dsAst 'spirits 6aet 'wea vik'to:rjas 'paimz,
15 'himz di'vaut aend 'houli 'saimz
'sirjir) eva'laistirjli ;
Caet 'wi: on 'aiQ, wiS 'Andis'koidirj 'vois,
mei 'raitli 'ainsa Saet mi'loudjas 'noiz;
aez 'wAns wi: 'did, til 'dispro'po:/and 'sin
20 'd3a;d ageinst 'neit/^uaz 't/aim, send wis 'ha;/ 'din
'brouk Sa fea 'mju:zik Saet 'o:l 'kri;t/^uaz 'meid
tu 'Sea 'greit 'lo:d, hu;z 'Iav Sea 'mou/an 'sweid
in 'pa:fikt daia'peisan, 'hwailst Sei 'stud
in 'fa:st o'biidjens, aend Sea 'steit ov 'gud.
25 'ou, mei wi: 'su:n agein ri'nju: Saet 'sot),
aend 'ki:p in 'tju:n wiS 'hevn, til 'god ea 'lor)
tu hiz si'lestjal 'konso:t as ju:'nait,
tu 'liv wis 'him, aend 'sir) in 'endlis 'mo:n ov 'lait!
1 For ac», ao« see Part I, §§ 127, 138. ^ Or jo:(»).
standard pronunciation. style c 103
14. William Shakespeare
A passage from Julius Caesar, Act ill, Scene 2
(A phonetic transcription of the original 16th century pronuncia-
tion of this passage will be found in Vietor, Skakespear^s
Pronunciation, Vol. ii, p. 131.)
'SBntoni, 'frendz, 'roumanz, 'kAntrimen, 'lend mi;
juar^ 'iaz;
ai 'kAm tu 'beri 'siiza*, 'not tu 'preiz him.
5i: 'iivil Cast 'men 'du; 'livz 'aifba Sem;
6a 'gud iz 'o:ft^ in'tairid wis Sea 'bounz;
'sou let it bi: wis 'si:za. Sa 'noubl 'bruitas
ha;9 'tould ju: 'si;za woz sem'bi/as*;
'if it 'wa:^ sou, it woz a 'griivas 'foilt^,
aend 'griivasli hse9 'siiza 'ainsad it.
'hia, Anda 'li:v ov 'bruitas aend Sa 'rest —
fo 'bruitas iz aen 'onorabl maen;
'sou ai Sei 'oil; 'oil 'onorabl men —
'kAm 'ai tu 'spiik in 'siizaz'^ 'fjumaral.
'hi: woz mai 'frend, 'feiOful send 'djAst tu 'mi:;
bAt 'bruitas 'sez hi: woz sem'bi/as*;
aend 'bru:tas iz aen 'onorabl maen,
hi: haeO 'bro:t 'meni 'kseptivz 'houm tu 'roum,
hu:z 'raensamz did Sa 'dsenaral 'kofaz 'fil;
1 Or jo:(a)r.
2 Some might use the vowel a (Part I, § 176) instead of a in the word
Caesar(^s) : thiis, '8i:zu,(z).
3 Or 'oft.
^ The pronunciation sem'bijios is occasionally heard in this particular
case, the second i being introduced for the sake of the metre; such a
pronunciation is however not necessary.
» Or 'wE». « Or 'folt.
104 PHONETIC TRANSCRIPTIONS
did '5is in 'si.'za si:m aem'bi/as^ ?
'hwen Sset S9 'pua haev 'kraid, 'si.'za hae0 'wept;
sem'bi/an /ud bi' meid ov 'stama 'stAf;
jet 'bru:tas 'sez hi: woz aem'bi/as^;
aend 'bruitas iz aen 'onorabl maen.
ju; 'oil did 'si: 6aet on 5a 'l(j)u:pakael
ai '6rais pri'zentid him a 'kirjli 'kraun,
hwitj 'hi: did '0rais ri'fjuiz. 'woz 'Sis aem'bi/an?
jet 'bru:tas 'sez hi: woz aem'bi/as*;
aend, 'Jua, hi: iz aen 'onorabl maen.
ai 'spi:k 'not tu 'dis'pru:v hwot 'bru:tas 'spouk,
bAt 'hiar ai 'sem, tu 'spi:k 'hwot ai du: 'nou.
ju: 'o:l did 'Iav him 'wAns, 'not wiSaut 'ko:z;
'hwot 'ko:z wi6'houldz^ ju: Sen, tu 'mo:(a)n fo him ?
'ou 'dgAdgment! Sau (i:t 'fled tu 'bruiti/ 'bi:sts,
aend 'men haev 'lo:st* Sea 'ri;zan. 'bea wis mi: ;
mai 'ha:t iz in Sa 'kofin 'Sea wiS 'siiza,
Bend ai mAst 'po:z, til it 'kAm 'baek tu mi:.
1 See note 4 on previous page. 2 Or bl:.
» Or wlS'botildz. * Or 'lost.
15. Alfred Lord Tennyson
Lyrics from The Princess
With intonation curves*
/
Sa'8plendo'fo:lzon'ka:8l'wo:lz |
^ See Part I, pp. 59 — 64. p, /, etc. are here used with their usual
musical values to indicate the average loudness of the groups. For II
and 1 see Part I, § 214.
STANDARD PRONUNCIATION. STYLE 0 105
/
aend'snoui'SAmita I 'ouldin'storri ;
/
Sa'lorj'lait'/eiksakroisSd'leiks, ||
aBnd59'waild'k3et8r8ekt'li;psin'glo.Ti
/ / s s
^- "\
'blou I 'bjuigl, II 'blou, || 'settJe'waild'ekouz'flaiir), ||
/ mf mp mp p pp
r^
'blou I 'bju:gl, || 'a;ns9> j 'ekouz, 1| 'daiir) | 'daiir) | 'daiiTj, |[
p p p
'ou'haik f 'ou'hia! || hau'Oinsend'klia ||
1 If no break is made between this group and tbe next, r should be
inserted, thus: 'ainsor'ekouz.
L06 PHONETIC TRANSCRIPTIONS
V P P
send'eina | 'kliara | 'faiCa'gouirj I ||
P P
'ou'swiitaend'fa; | from'klifaend'ska; li
P P
Sa'homzov'elflaend | 'feintli'blouirj ! 1|
mf p
"^
'blou II letAs'hiatJa'pa.-pl'glenzri'plailr) : ||
mp p p PP P P PP
^\
'blou I 'bjuigl (1 'a:nsa» | 'ekouz || 'daiir) | 'daiii) | 'daiiT). ||
mp mp
'ou'Iav I Cei'daiin'jon'rit/'skai ||
> See note on previous page.
STANDARD PRONUNCIATION. STYLE C 107
P P P
tJei'feinton'hil | o:'fi:ld | o/riva |1
mf
aodr'ekouz'roulfraiu'soultu'soul [
/
/
aend'groufor'eva* | aendfoi^eva |I
/ / /
A
^
'blou I 'bju;gl || 'blou || 'setSd'waild'ekouz'flaiirj ||
mp
mp p P PP
send'a:ns3^ | 'ekouz || 'a;iisa || 'daiir) | 'daiir) | 'daiiij. [|
> See note od p. 105.
IV. PRONUNCIATION OF PARTICULAR
SPEAKERS
16. Joseph Addison
A passage from Sir Roger de Goverley's country residence
and friends
Pronunciation of Q. Noel- Arm field, Esq. (London) »
ai hav ab'zaivd in 'sevrl 9v mai 'peipaz, Sat mai 'frond
^ sa 'rodja, amidst 'o:l hiz 'gud 'kwolitiz iz 'sAm9ir) av a
/ 'hjumarist, an Sat hiz 'vaitjuz az 'wel az impa'fek/nz, ar az
2 it wa: 'tind3d bai a 'sa:tn eks'trsevagans, hwit/ 'meiks Sam
pa'tikjulali 'hiz, an dis'tirjgwi/iz Sam from 'Souz av 'ASa
/ 'men. 'Sis 'ka:st av 'maind, az it iz 'djenrali 'veri 'inoesnt
^ in it'self, 'sou it 'rendaz hiz konva'sei/n 'haili 9'gri:abl, an
'mora di'laitfl San Sa 'seim di'gri; av 'sens an 'va:tju wud
a'pia in Sea 'koman and 'oidnri 'kAlaz. az ai waz 'woikirj
wi9 him 'laist 'nait, hij 'askt mi 'hau ai 'laikt Sa 'gud
'msen, hu;ra ai av 'dsAst 'nau 'men/nd : an wiS'aut 'steir)
; fa mai 'a;nsa, 'tould mi Sat hi waz a'freid av biiT) in'sAltid
wis 'laetin an 'griik at hiz 'oun 'teibl: fa 'hwitj 'ri;zn hi
/ di'zaiad a pa'tikjala 'frend av hiz at Si juni'vaisiti ta 'faind
1 See notes on pp. 109, 110.
PRONUNCIATION OF PARTICULAR SPEAKERS 109
im 'aut 9 'klo:d5iman 'raiSar ev 'plein 'sens 5n 'mAt/ 'leinir), $
9v 9 'gud 'aespekt, a 'klia 'vois, a 'sou/abl 'tempa, 'send, 'if
'posibl, 9 'maen t59t Anda'stud 9 'litl 9v bcek'gaemn. " mai
'frend," sez sa 'rod3a, "'faund mi 'aut 'Sis dgentlmn, 'hu,
bi'saidz Si en'dauman+^^s ri'kwaiad 9v him 'iz, Sei 'tel mi, a
'gud 'tikolg, So i 'dAznt 'Jou it. ai hgv 'givn im S9 'pa:snid3 /
av Sa 'pserij; an bikoiz ai 'nou hiz 'vaelju, haev 'setld Apon I
him a 'gud a'njuiti fa 'laif. 'if hij aut'livz mi, hi f\ 'faind
Sot hi waz 'haiar in mai es'tiim San pa'hseps hi 'Oirjks hij 1
iz. hi az 'nau 'bi:n wiS mi '9a;ti 'jaiz and Sou i 'dAznt 'nou J
ai hav teikn 'noutis av it, haz 'nevar in 'o;l 'Saet 'taim /
'a:skt 'eni0ir) av mi fr im'self. So ij iz 'evri 'dei sa'lisitir) mi
fo 'sAm9ir) in bi'ha:f av 'wau ar 'ASar av mai 'tenants, 'hiz /
po'ri/naz. Sar az 'not bim a 'b;sju;t in Sa 'paerij sins hi az 3
'livd am AT) Sam; if 'eni dis'pjuit a'raiziz, Sei a'plai Sam- /
selvz ta 'him fa Sa di'si3n : if Sei du 'not sekwij'es in hiz
'd3Ad3mant, hwitj ai Girjk 'neva 'hsepnd abAv 'wAns a 'twais
at 'moust, Sei a'pid ta 'mi:j. at hiz 'fa:st 'setlirj wis mi, 0~^ 1
ai 'meid im a 'preznt av 'o:l Sa 'gud 'sa;mnz hwitJ av bim 3
'printid in 'irjfjlij, and 'ounli 'bcgd av him, Sat 'evri 'sAnde
hi wud pra'nauns 'wau av Sam in Sa 'pulpit. a'ko;dir)li hi ^
az di'd3estid Sam intu 'sAtJ a 'siariz, Sat Se 'folo wau a'uASa
'nset/rli, an 'meik a kan'tinj u:d 'sistim av 'prsektikl di'viniti." /
Notes on the pronunciation of 0. Noel-Armjield, Esq.
Mr Noel-Armfield's father spoke Southern English, his
mother came from Yorkshire but acquired the Southern
English pronunciation. Mr Noel-Armfield spent many
years of his youth in Yorkshire, but this did not greatly
affect his pronunciation. He studied at London Univer-
sity and at the University of Lille.
110
PHONETIC TRANSCRIPTIONS
The following are the chief points in which his pro-
nunciation differs from StP as defined in Part I, §§ 1, 2.
(1) e is used in the first syllable of extravagance,
endowments and the second syllable of Sunday.
(2) i: is used in agreeable.
(3) G is used in tuith when followed by a breathed
consonant.
(4) OB (= e with lip-rounding added) is used in the
second syllable of innocent.
Note also that
(5) u is used in the third syllable of particularly
but 9 in particular.
(6) I, the vowel intermediate between i and e, is
used in the terminations -ed, -es, -age etc.
Mr Noel-Armfield has also kindly given me the follow-
ing particulars regarding his pronunciation which do not
appear from the phonetic text.
(7) r after p, b, f, v, 9, 8 is rolled, not fricative.
(8) The o: in bikoiz is intermediate between the
usual o: and o.
(9) a: varies slightly in quality according as it
represents ir in the spelling or not. In the former case
it tends towards a lengthened a (which may be written
a:). Thus httrt (halt) is distinct from shir^t (/ait, tending
towards /Ait).
PHONUNCIATION OF PARTICULAR SPEAKERS 111
17. Fuhrken-Jespersen-Rodhe
Anecdote taken from Fuhrken's Transcription of
Jespersen and Rodhe's EngeUk Ldsebok^
Pronunciation of Q. E. Fuhrken, Esq., M.A., Ph.D. (London) 2
?58 'teligraif iks'pleind
tu iks'plein 'simpli Sa 'waikirj 9v Sa 'wAndras 'teligraif
iz a 'pAzl fa t5a fi'losafa^; an nou 'wAnda 'simpl 'fouks 'kAm
ta 'griif ouva Sa 'ta:sk. tSa 'folouirj iz Si:* 'ekspla'nei/n
'cjivn tu iz 'felou bai an i'tseljan 'peznt.
"'dount ju;* si:* Souz 'poulz n 'vvaiaz Cat 'rAn a'lorj
bi'said 69 'reilwei?'*
" ai 'nou Sset iz Sa 'teligra:f ; bat 'hau^ daz it 'wa:k ? "
"'nA9irj mo: 'simpl; ju:* av 'ounli ta 'tAtJ 'wau 'end av
5a 'waia, an 'klik ! — Si:* 'ASar end 'raits it 'daun 'd3A8t Sa
'seim az a 'pen."
" 'stil, ai 'dount kwait 'si: hau its 'dAn."
' Reproduced by kind permission of Dr Fuhrken and Dr Rodhe.
2 See notes on p. 112.
* The variations in the quality of the vowel 0 (Part I, § 172) are
indicated in Dr Fuhrken's transcriptions by distinguishing two varieties
which he writes a and 9, s denoting the opener variety. The distinction
has been reproduced above, Dr Fuhrken's symbol o being altered to 6,
because ^ is used in the present book with a different meaning (Part I,
§ 71).
* Dr Fuhrken uses the symbols i, u for the sounds represented in
this book by i, u, and he uses I, u to represent i:, u: in cases where,
owing to want of stress, the sounds are very short (Part I, § 196, 1 (2)).
The words marked ^ on this page and * on the next are the cases in
which he indicates in this way that the vowel sound is short.
^ Dr Fuhrken uses an to represent the diphthong here written an
(see Part I, §§ 135, 136).
112 PHONETIC TRANSCRIPTIONS
^mi:^ 'trai ta meik it 'plein. 'haev ju:^ a 'dog ? "
"'wot daz ill 'du: if ju:» 'pin/ iz 'teil ? "
'"ba:k, tabii^'/ua."
"'wel Sen, sa'pouzir) joa 'dog wa 'lorj inAf ta 'ri:t/ in
'bodi fram 'florans 'hia ta tJa 'ksepitl."
":wel?" .KK . . .
"it iz 'klia Sen Sat if ju:^ 'pi^^z 'teil in 'florans hi:*
wil 'ba:k in 'roum. 'Sea, frend, Saets ig'zsektli hcLu Si;*
i'lektrik 'teligra:f wa;ks."
Notes on the pronunciation of Dr Fuhrken
Dr Fuhrken was educated in Enghmd. He is now
lecturer on English at the University of Gothenburg.
He speaks typical educated Southern English.
Note the insertion of a in joa. Dr Fuhrken's o sound
in this word is intermediate in quality between o and o:.
18. Oliver Goldsmith
A passage from Beau Tihhs at Vauxhall
Pronunciation of Dr E. R. Edwards (London)
ai waz 'gouirj tu 'sekand (h)iz ri'ma:ks, wen wi wa 'koild
tu a konsal'tei/an bai 'mista 'tibz an Sa 'rest av Sa 'kAmpani,
tu 'nou in 'wot 'msena wi wa tu 'lei 'aut Si 'iivnirj tu Sa
'greitist ad'vaintidj. 'misiz tibz woz fa 'ki:pir) Sa djen'tiil
'work av Sa 'ga:dn, 'wea, Ji ab'za:vd. Sea waz 'oilwiz Sa veri
'best 'kAmpani; Sa 'widou on Sa 'kontrari, hu 'keim bat
'wAns a 'si:zn W02 fa si'kjuarir) a 'gud 'stsendirj-pleis tu 'si: Sa
^ See note 4 on previous page.
J
PRONUNCIATION OF PARTICULAR SPEAKERS 113
'wo:taw8:ks, wit/ Ji a'/uod as Avud bi'cjin in 'les San on
'aue(r) at 'faiSast; 9 dis'pju:t 6eefo; bi'gaen, and 'aez it waz
'msenid3d bitwi;n 'tuw av 'veri 'opazit 'kaeriktaz, it 'Oretnd
tu grou 'mo: 'bita(r) at 'evri ri'plai. 'misiz 'tibz 'vvAndad
hau pi;pl kud pri'tend tu 'nou 6a pa'lait 'wa;ld, hu ad
risiivd 'o:l Sea 'ruidimants av 'bri:dir) bi'haind a 'kaunta;
tu wit/ Si 'ASa ri'plaid, Sat Sou ^sAm piipl 'saet bi'haind
'kauntaz, jst Sei kud 'sit at Sa 'lied av Sear 'oun 'teiblz
'tuw, an 'ka:v '0rij 'gud 'di/iz av 'hot 'mi;t wen'eva Sei
'0o:t 'propa; — wit/ waz 'mo: San 'sAm pi:pl kud 'sei fa
Sam'selvz, Sat 'ha:dli njuw a 'rsebit i;i 'Anjanz fram a 'gri:n
'gu:s an 'guzbriz.
it s 'ha:d tu 'sei 'wea Sis mait av 'endid, had not Sa
'hAzband, hu 'probabli 'njuw Si impetju'ositi av (h)iz 'waifs
dispa'zi/an, pra'pouzd tu 'end Sa dis'pju:t bai a'd3a:nir) tu
a 'boks, an 'trai if Sea waz 'eniyir) tu bi 'ha3d fa 'sApa Sat
waz sa'po:tabl.
Notes on the pronunciation of Dr Ediuards
Dr Edwards spent the first twelve years of his life in
Japan, but since that time he has lived chiefly in London.
Most of his education was received in the South of
England.
The pronunciation is typical educated Southern
English, and does not call for much comment. Note that
(1) the vowel in when, less, etc. is not identical
with the first element of the diphthong ei, but is the
opener sound e ; it is however not quite so open as the e
in the diphthong ea,
(2) i: and u: are slightly diphthongized.
114 phonetic transcriptions
19. Thomas Huxley
Apassage hom Discourses Biological and Geological (p.224)»
Pronunciation of H. D. Ellis, Esq., M.A, (London)
'wot iz Sa 'poipas ov 'praimari inta'lektjual edju/kei/en ?
ai 'sepri'hend Sat its 'fa:st 'obd3ekt iz ta 'trein 6i 'JArj in Si
'ju;s av 'Souz 'tuilz wsa'wi0 'men eks'traekt 'noledj from Si;
'eva'/iftir) sak'se/an ov fa'nomina wit/ 'pa:s ba'fo: Ser 'aiz ;
send Sat its 'sekand obdsekt iz tu: in'foim Sam ov Sa 'fAn-
da'mentl 'lo:z wit/ av bin 'faund bai eks'piirians ta 'gAvan
Sa 'ko:s av 'Girjz, sou Sat Sei mei 'not bi taind 'aut inta Sa
'wa:ld 'neiked, da'fenslas, send a 'prei tu Si; a'vonts Sei mait
kan'troul.
9 'boi iz 'to;t tu 'ri:d hiz 'oun and 'aSo 'laer)gwad3ez in
'o;da Sat hi; mei hasv 'aekses tu 'infinitli 'waida 'stoiaz av
'noleds Saen kud 'eva bi; 'oupnd ta him bai 'oiral 'intako;s
wis hiz 'felou'men; hi; la;nz tu 'rait, Sat hiz 'mi;nz ev
kamju;ni'kei/an wiS Sa 'rest av msen'kaind, mei bi in-
'definitli en'la;d3d, send Sat hi; mei ri'ko;d and 'sto;r 'Ap
Sa 'noled3 hi; a'kwaiaz. hi; iz 'to:t ela'mentari mseQa-
'msetiks, Sset hi; mei 'Anda'stsend 'o;l Souz ra'lei/anz ov
'nAmba send 'fo;m, Apan 'wit/ Sa trsenz'aek/anz av 'men,
a'sou/ieitid in 'komplikeitid so'saiatiz, cl; 'bilt, send Sat
hi; mei hsev 'sAm 'prsektis in da'dAktiv 'ri;znir).
'o;l Si:z opa'rei/anz av 'ri;dir), 'raitir) send 'saifarirj a;r
inta'lektjual 'tu;lz, hu;z 'ju;s '/ud, bafo;r 'o:l 0ir)z bi 'la;nd
send 'la;nd '6Arali; 'sou Sat Si 'ju;9 mei bi; e'neibld tu
'meik hiz 'laif Sset wit/ it 'o;t ta bi;, a kan'tinjual 'prougres
in 'la;nir) send in 'wizdam.
Notes on the pronunciation of Mr Ellis
The parents of Mr Ellis were both from Devonshire.
He was educated in the South of England, and has lived
^ Ileproduced by kind permission of the publishers, Messrs Macmillan.
PRONUNCIATION OF PARTICULAR SPEAKERS 115
in London for many years. The peculiarity of pronuncia-
tion which is generally most characteristic of the speech
of Devonshire people, viz. the inversion of the tip of
the tongue in pronouncing vowels which are followed
by r + consonant letter or r final (Part I, § 71), is not
sufficiently marked in Mr Ellis' pronunciation to require
the use of the symbols o, o etc. in the transcription.
The following are the chief points in which Mr Ellis'
pronunciation differs from StP as defined in Part I, §§ 1, 2.
(1) o is used in weak of, from etc.
(2) Weak i of StP is sometimes replaced by a (as in
dd'fenslas), and sometimes by e as in 'obdgekt, eks'traekt.
(3) The form tSi and not tJa is used in "Si jatj
«i ju:s, «i ju:e.
(4) i: is used in the second syllable of experience.
(5) 9 is inserted after the o: in stores.
(6) and is generally aend.
20. R. J. Lloyd
A passage from the Daily Mail, 22nd Oct. 1897,
as transcribed in Lloyd's Northern English^
Pronuuciation of R. J. Lloyd, Esq., M.A., D.Litt. (Liverpool) ^
'insekts in 'lapland
'eniwan hu ho;ps tu me:k ae 'kamfatabl 'dsaini in
'lapland Jod 'nsva me:k Sae mis'teik ov 9'raivir) Se i/kwipt
^ Reproduced by kind permission of the publishers, Messrs Teubuer
of Leipzig. Some of the symbols used by Dr Lloyd are not quite the
same as those used in this book ; the corresponding symbols according to
the notqjiion used here have of course been substituted, the values
attached to Dr Lloyd's symbols being gathered from the descriptions
given in the earlier part of his book. One or two obvious misprints
have been corrected. Stress marks have also been added ; they are only
given here and there in the original,
* See notes on p. 117.
8—2
116 PHONETIC TRANSCRIPTIONS
£ez sen '?:dinari 'tuirist. its fe kantri ^"tet ae'baundz in
mos'kiitoz 8n(d) 'noits, send 'if Saz ae 'flai 'moa pa'sistaent
?5an a'naSa its as 'no:t. ae 'no:t iz ae 'smoil 'kriitja wie 6i
'obstinasi ov ae 'handraed mas'kiitoz, and Sae 'pe:/n:s^ ov
'ten 'djoibz. ae mas'kiito 'heraldz iz 'o:n fe'proitj wi0 ae
'menaesir) 'baz:^. hi 'hovaz a'raund, aend if Si(j) in'tsnded
'viktim iz 'kwik, ^iid 'pest kan bi 'kild, aend 'i:zili kild ; So:
ov 'ko;as, if Sae kriitjaz sb'tak in bae'taljanz, Sae 'ho:l 'namba
'ka:nt^ bi 'slo:tad, aend 'viktari mast go: tu Sa 'meni. Sae
'no:t on Si(j) aSa hand, iz 'saila?nt aend ^'peira'ntli* 'ha:mla?s.
hi; ae'raivz anob'tru:sivli. hi 'stroilz as'baut ae bit, az if hi
wa 'not in Sae 'liist bit 'harjgri, bat 'o:nli ae litl 'pleznitli*
irj'kwizitiv. 'hwot 'ha:m kod sat/ ae 'smo:l 0ir) 'du: tu ju
'6ik 'nited 'stokirjz ? bat ?aB 'bi:k ov Sae no:t iz 'lor), aend
havir) 't/o:zn:^ (h)iz 'roindivu:, Si 'oinar ov Sat bi:k pro'siidz
tu 'baro wiS it, wiS ae ri'zalt c^ifets oilta'geSa sa'praizir), aend
'sa:taenli 'moist 'pe:infl:^ Sae 'lap him'self 'steiinz (h)iz
'fe;s wis ae mikstjar ov 'ta:r aen(d) 'griis, hwitj Sae kri:tjaz
'do:nt 'laik. mo:'ro:var its ae 'fakt Saet Sae mas'ki:to 8en(d)
'npit 'domt ae'se.'il Sae 'ne:tivz aez Se;i du 'streiindjaz. ae
'mask ov 'Sis 'steiin, send ae 'harjkat/if, 'ple;st in'said Sae
'kap aend 'left tu 'hag 'daun bi'haind, cl Sae 'ne;tiv pri'ko;/n:\
bat Sae 'tuirist Gigks ov "'igglaend, 'ho;m aend 'bju:ti/' send
'probabli 'daznt 'relij dis'gaizig (h)iz kam'plek/n: intu 'Sat
ov ae mju'lato. so; hi 'me:ks (h)im'self 'mizarabl bai 'trai(j)ig
tu 'we:r* ae 've;il, samSig laik ae 'mi;tse:f, from hwit/ 'o;l
Sae 'wa;ld luks laik 'milkaen(d)'wo:ta, tijnd hi 'briiSz wi9 ae
'safoke;tig 'fiilig, aez if hi wa on Sae 'point ov 't/o:kig 9
'fe:intig, o duiig samGig 'iikwoli an'manli.
^ n: denotes a lengthened n. ^ z: denotes a lengthened z.
3 The original gives ka:nt, but this appears to be a misprint, judging
by the remarks on the sounds a and a: given in the previous part of
Pr Lloyd's book.
* t: denotes a lengthened c. ' L denotes a lengthened 1.
PRONUNCIATION OF PARTICULAR SPEAKERS 117
Notes on the pronunciation of Dr Lloyd
The late Dr Lloyd was bom and brought up in Liver-
pool and spent most of his life there. His degrees were
obtained at the University of London. He was a Fellow
of the Royal Society of Edinburgh, and Honorary Reader
in Phonetics at the University College, Liverpool.
The following are the chief points in which his pronun-
ciation differs from StP as defined in Part I, §§ 1, 2 : —
(1) The half-open 6 (Part I, § 118) is used in left,
pleasant, etc.
(2) The presence of the letter r in the spelling
when not followed by a vowel, is indicated by inversion
of the tip of the tongue during the pronunciation of the
preceding vowel (Part I, § 71), as in d5a:ni, ko:as, no:t.
(3) The fully open a is used in Lapland, etc. -
(4) .Weak vowels e, ae, d, o are used as in the
declamatory style of Standard Southern English, though
not always in the same cases.
(5) o: and e: or e:i are used where StP has ou, ei.
Pure e: is used when a breathed consonant follows, and
e:i in other cases.
(6) a is used in stressed syllables in haijgri, rizalt,
etc.
(7) i: is used in the first syllable of equipped,
(8) j is used in kriitja, mikstjar.
(9) 0 is used in with.
(10) Tj is used in inquisitive.
Note also that the r sound is generally rolled but
sometimes becomes fricative (Part I, § 95) when preceded
by a consonant.
118 phonetic transcriptions
21. Thomas B. Macaulay
A passage from the History of England
Pronunciation of R. P. Houghton Blorb, Esq., B.A. (Lancashire)
it wud 'not bi 'difiklt tu kom'poiz 9 Igem'pum or
paeni'dgirik on 'aiSo ev '5i:z ri'naund 'fsekjnz. fo 'no:
msen 'not 'Atoli 'destitjut ov 'djAdjmnt sen 'ksendua wil
di'nai Sset Cor o 'mem 'di;p 'ste;nz on 6o 'fe:m ov So 'pa:ti
tu 'MitJ i bi'loTjz, o Saet So 'paiti tu AitJ i iz o'po:zd me:
'djAstli 'bo:st ov 'msni i'lAstrJAS 'ne:mz, ov 'mem hi'roik
'sek/nz sen ov 'msni 'gre:t 'so:visiz 'rendad_to tJo 'ste:t. So
'tru:e 'iz Sset So 'bo:9 pa:tiz hov 'ofri(^rJAsli/o:d, 'iijglond
kud hov 'speod 'naiSo, 'if, in hor instP^uJnz^ 'fri:dom ond
'o:do, Si sed'vsentidsiz o'raizir) from ino've:/n ond Si sed'vsen-
tidgiz oraizir) from pris'krip/n, haev bi:n kom'baind tu on
eks'tsnt 'elsAveo An'noin, Mi me: e'tribjut Sis 'hsepi pikju-
li'seriti tu So 'strsnjuAs 'konflikts end ol'to:nst 'viktonz ov
'tu: 'raivl kon'fedorisiz ov 'ste:tsmn.
Notes on the pronunciation of Mr Blore
Mr Blore's parents were from Lancashire. He was
educated in Lancashire and graduated at London Uni-
versity.
The following are the chief points in which his pro-
nunciation differs from StP as defined in Part I, §§ 1, 2 : —
(1) o: and e: are used where StP has ou, ei.
(2) Syllabic consonants are very frequent.
(3) o is used in the first syllable of compose, conflict
(verb), in the second syllable of innovation, in unstressed
for, from etc.
(4) StP ia is replaced by ja or JA.
(5) 8B is used in the second syllable of advantage.
I»RONUNCIATION OF PARTICULAR SPEAKERS 119
(6) U3 is used in the second syllable of candour.
(7) lA (Part I, § 81) is used in which, where etc.;
also in we. (The distinction made by Mr Blore is that m
is used before front vowels and w before back vowels.)
(8) u is used in the ending -ute etc.
(9) e is used in the last syllable of alternate.
(10) A is sometimes used for StP a as in the last
syllables of illustrious, strenuous.
The following points should also be noted, which do
not appear from the transcription : —
(11) o: and e: are often slightly diphthongised ; they
are not very tense.
(12) r is the rolled consonant (Part I, § 68), but is
not very strongly rolled.
(13) 6 sometimes tends towards e.
22. Thomas B, Macaulay
A passage from the History of England (on Laud)
Pronunciation of B. Lockhart, Esq. (Scotland)
tSa si'viarast 'pAni/mont wit/ 5a 'tu; 'hauziz kad av
in'fliktid wud av bi:n ta 'set im at 'libati an 'send im tu
'oksfad. '5e:a hi mait av 'steid, 'toitjad bai hiz 'oun
daia'bolikl 'tempa, 'hAijgrir) fa 'pjuritanz ta 'pilari an
'mserjgl, 'pleigirj t5a kseva'lioz, fa 'wont av 'sAmbadi 'els -ta
pleig, wis iz 'piivi/nis and seb'saiditi, pa'foimir) gri'meisiz
and 'sentiks in Sa ka3'9i:drol, kan'tinjuir) Gaet irj'komparabl
'daiari, wit/ wi 'neva 'si: wiSaut fa'getir) 6a 'vaisiz av iz
'ha:t in 5a imbe'siliti av iz 'intilekt, mai'njuitir) 'daun hiz
'driimz, 'kauntir) (5a 'drops av 'bUd wit/ 'fel fram iz 'nouz,
'wot/irj 3a dai'rek/n av Sa 'soilt, an 'lisnir) fa tJa 'nout av tSa
120 PHONETIC TRANSCRIPTIONS
'skri:t/ aulz. kan'temtjuas 'mo:si waz Sa 'ounli 'vend38ns
wit/ it bi'keim tJa 'pa:bmant ta 'teik on SAtJ a ri'dikjalas
ould 'bigat.
Notes on the pronunciation of Mr Loclchart
Mr Lockhart is of Scottish parentage. He was edu-
cated in Scotland and on the Continent. He has lived
for many years in the South of England.
The following are the chief points in which his pro-
nunciation differs from StP as defined in Part I, §§ 1, 2 : —
(1) The inverted vowels a, o:, etc. are used (Part I,
§71).
(2) j is used in toitjad.
(3) No 9 is inserted after the u in pjuritdnz.
(4) ae is used in the first syllable of absurdity.
(5) Tj is used in incomparable.
(6) ai is used in the first syllable of direction,
(7) 9 is used in the before vowels.
23. John Ruskin
A passage from Modem Painters
Pronunciation of J. H. Fudge, Esq., M.A. (London)
'gaeSar a 'sirjgl 'bleid av 'gra:s, and eg'zaemin far a minit,
'kwaiatli, its 'noero 'so:ad-/eipt 'strip ov 'flu:tid 'grim.
'na9ir) aez it 'si:mz 'Sea, av 'noutabl 'gudnas o 'bjuti. a
'veri litl 'strer)9, and a 'veri litl 'toilnas, and a 'fju: 'delikat
'lor) 'lainz 'mi;tir) in a 'point, 'not a 'paifikt point 'naiSa,
bAt 'bUnt and 'An'fini/t, bai 'nou mi:nz a 'kreditabl or
se'paerantli 'mAtJ 'kead fo cg'zaimpl av 'neit/az 'wa:kman/ip,
'meid aez it 'si:mz 'onli ta bi 'trodn on tu'dei, send ta'moro
tu bi 'kaist intu 5i 'avn ; send a 'litl 'peil and 'holou 'sto:k,
'fi;bl and 'flaeksid, 'liidirj 'daun tu tJa 'dal 'braun 'faibaz
av 'ruits. an 'jet, '0ir)k av it 'wel jend 'd^Adj hweSar ev
PRONUNCIATION OF PARTICULAR SPEAKER.. 121
'oil Sa 'goid^JAs 'flauaz Sat 'bi;m in 'sAmar 'ea, and av 'o:l
'stror) and 'gudli 'tri:z, 'pleznt tu 5i 'aiz o 'gud fa 'fu:d —
'steitli 'pa:m and 'pain, 'stror) 'aej and 'ouk, 'sentid 'sitron,
'baidnd 'vain — ^Sea bij 'eni bai 'maen sou 'di:pli 'lAvd, bai
'god sou 'haili 'greist sez 5aet 'nsero 'point av 'fi:bl 'grim.
Notes on the pronunciation of Mr Fudge
Mr Fudge's parents were from Dorsetshire. He was
born and educated in Hampshire and at Bristol, and took
his M.A. degree at the University of London.
The following are the chief points in which his pro-
nunciation differs from StP as defined in Parti, §§ 1, 2: —
(1) e is used in the first syllable of exam^jle,
examine.
(2) The inverted vowels a, o etc. are used (Part I,
§71).
(3) 9 is used in the last syllable of goodness,
delicate, etc.
(4) The vowel in sword is diphthongised.
The following points should also be noted, which do
not appear from the transcription : —
(5) r is always fricative and tends towards the
inverted consonant x (Part I, § 96).
(6) The a in ai is identical with that in au,
namely a vowel intermediate between the sounds a and
a as defined in Part I, §§ 123, 129.
(7) All the vowels are rather laxer than in Stan-
dard Pronunciation with the exception of o: and o which
often tend towards o:.
, (8) The u sounds tend towards the mixed vowel ii
(Parti, §153).
(9) The inversion in the vowels a, o, etc. (Part 1,
§ 71) tends to disappear when speaking carefully.
122 PHONETIC TRANSCRIPTIONS
24. Sir Walter Scott
A passage from Old Mortality
Pronunciation of Miss B. Robson, M.A. (Edinburgh)
'i:vnir) 'lo;ard eraund 'mortn az hi; ad'vainst Ap Sa 'nsero
'del A\it/ mAst hav 'wAns bi;n a 'wuid, bat waz 'nau 9 ra'vim
di'vestid af 'tri:z, An'les A\er q 'fju: fram tJer inaek'sesibl
sitju'ei/n on 5i 'edg af pri'sipitAS 'baerjks, or 'klirjir) amAij 'roks
and '9u;d3 'stomz da'faid 5i in'veign af 'men and af 'kaetl
Idik Sa 'sksetard 'traibz af a 'korjkard 'kAntri, 'drivn ta te;k
'refju.'dj in Sa 'bseran 'strer)9 af its 'mauntnz. '5i:z 'tu:,
'we.'stad and di'keid, si;md raiSar tu: eg'zist Saen ta 'fUriJ, •
and 'oinli 'sairvd tu: 'indikeit 'A\ofc t5a 'laenske:p mast 'wAns
hav 'bi:n. bat Sa 'stri:m 'bro:ld 'daun amAr) (5am in 'o:l its
'fre/nas and vi'vsesiti, givir) Sa 'laif and 3eni'me:/n A\it/ a {
'mauntn 'rivjurlat a'lo:n kten kon'fer on Sa 'be:rast^ and
mo:st 'saevidj 'si:nz, and AvitJ Si in'hgebitants af SAtJ a
'kAntri 'mis Men 'ge:zir) i:vn apon Sa 'trserjkwil 'waindir) af
a m8e'd3estik 'stri:m 6ru; 'ple:nz af fsr'tiliti, and basaid
'paelisaz af 'splendar. Sa 'traek af ?Ja 'ro:d 'folo:d ?5a 'ko:rs
af Sa 'bru:k A\it/ waz 'nau 'vizibl, and 'nau 'oinli ta bi
dis'tirjgwi/t bai its 'bro:lir) 'ha:rd amAr) Sa 'sto:nz, or in Ca
'klefts af Sa 'roks, Sat o'ke:3anali inta'rAptad its 'ko:rs.
"'ma:rmarar Sat Sau 'a:rt," sed 'mortn, in Si en'Guiziazm
af hiz 'reveri, "'Aiai 't/e:f \vi(0) Sa 'roks Sat 'stop Sai 'ko:rs
far a 'mo:mant? Ser iz a 'si: ta ri'si:v Si: in its 'bu:zam; end
Ser iz an i:'terniti far 'msen A\en hiz 'fretfl and 'he:sti 'ko:rs
9ru: Sa 've:l af 'taim Jal bi 'si:st and 'o:var. 'A\ot 'Sai 'peti
'fju:mir) iz ta Sa 'di:p and 'va:st 'biloz af 8 '/o:rlas 'o:/n, a:r
'aur 'ke:rz, 'ho:ps, 'fi:rz, 'djoiz, and 'soroz, ta Si 'obd3akts
A\it/ mAst 'okju:pai as Bru: Si: 'o:fl and 'baundlas sAk'se/n
af'eidjoz."
> c: denotes a lengthened c.
PRONUNCIATION OF PARTICULAR SPEAKERS 123
Notes on the pronunciation of Miss Robson
Miss Robson is of Scottish parentage and was educated
in Edinburgh. She is Lecturer on Phonetics to the Edin-
burgh Provincial Committee for the Training of Teachers.
The following are the chief points in which her pro-
nunciation differs from StP as defined in Part I, §§ 1, 2 : —
(1) e:, o: are used where StP has ei, ou.
(2) e is used in confer, fertility, eternity.
(3) M., the breathed consonant corresponding to
the voiced w, is used in which, where, etc.
(4) 9, the breathed consonant corresponding to the
voiced j (Part I, § 99), is used in huge (cuidj).
(5) The tense u: is used where Southern English
has the lax u, as in wood, bosom, etc.
(6) fisusedino/(af).
(7) 9 is frequently used where Southern English
has unstressed i, e.g. in freshness (frejnas), wasted
(weistad). e is however used in exist (egzist).
(8) The second syllable of mountains contains no
vowel.
(9) Strong vowels are used in the first syllables of
succession, occasionally.
(10) The r sound is used even where no vowel follows.
Note also the following points which do not appear
from the transcription : —
(11) Differences of quantity are not so great as in
Southern English.
(12) Tlje r sound is always rolled.
124 phonetic transcriptions
25. Robert Louis Stevenson
A passage from Treasure Island (Chap. 13)
Pronunciation of J. Sinclair, Esq., M.A. (Glasgow)
Si e'piiarans ov 6i 'ailand hwen ai 'ke;im on 'dek nekst
'mo.'rnir) woz 'oiltageSa 'tje:md3d. oil'Sou tSa 'bri:z hsed
'nau 'Atarli 'feiild, wi had me:id a 'greiit did ov 'we:i
djuriT) Sa 'nait, send we:r 'nau 'laiir) bi'ka:md abaut 'haf
a 'mail tu Sa 'sau6 'i:st ov ?5a 'loiu 'i;stsrn 'ko:ust. 'gre:i
kAlard 'wudz kAvard a 'lcLrd3 'part ov Sa 'sArfis. 'Sis 'i:vn
'tint woz in'diid 'broiukan 'Ap bai 'stri:ks ov 'jelom 'ssend-
bre:ik in 5a 'lo:uar 'laendz, and bai 'mem 'to:l 'tri:z ov
t5a 'pain fa3raili, 'aut'topir) 6i 'ASarz — ^'sAm 'sirjgli, 'sAm in
'kUmps; bAt Sa 'd3ensrol 'kAlarir) waz 'junifo:m and 'saed.
Sa 'hilz rasn Ap 'kli:ar a'bAv Sa ved3i'te:i/n in 'spaiarz ov
'neikid 'rok. 'o:l we;r 'stre:in3li '/e:ipt and 5a 'spaiglais
hwit/ woz bai '6ri or 'for 'hAndrid 'fi:t 5d 'todest on 5i
'ailand waz 'laikwaiz 5a 'stre:in3est in konficyu'red/n, 'rAnir)
'Ap '/i:ar from odmast 'evri 'said and 'Sen 'sAdnli 'kAt 'of at
5a 'top laik a 'pedistoel tu 'put a 'staetju on.
Notes on the pronunciation of Mr Sinclair
Mr Sinclair was born and educated in Glasgow. His
father was a Scotsman and his mother from the North
of England. He has lived for many years in England.
The following are the chief points in which his pronun-
ciation differs from StP as defined in Part I, §§ 1, 2 : —
(1) i: is used in clear etc.
(2) Words such as of, and etc. are frequently
pronounced with strong vowels even when unstressed.
Similarly in the second syllable of easier ti.
PRONUNCIATION OF PARTICULAR SPEAKERS 125
(3) r is pronounced even where no vowel follows
(except in the word oiltagelSa).
(4) Tense e: and o: are used in the diphthongs
e:i, o:u.
(5) No 9 is inserted in words like where, the first
syllable of dmnng, etc.
(6) A is used in the first syllable of surface.
(7) e is used in the last syllable of tallest, strangest.
(8) o is used in off.
^The following points should also be noted, which do
not appear from the transcription : —
(9) The sound i: is very tense indeed.
(10) The sound ae tends towards a.
(11) There is a tendency to omit r when final or
followed by a consonant, when speaking carefully.
(12) There is a marked tendency to insert ? (Part I,
§ 47) at the beginning of words which generally begin
with a vowel, e.g. to say woz Po:ltdget$a instead of woz
oiltagetSa.
V. LONDON DIALECT
26. W. Pett Ridge
A passage from London Only^
"'Aiv 'fgeund am!" sed (h)iz 'Isenleidi ig'zAltantli, az
(h)i; 'stAmbld inta. Sa 'nserou, 'dimli 'laitid 'psesidj. /i:
'fcaind 'Ap Sa litl 'oil'lsemp 'stsendir) on Sa 'braekit, and Si
'oil'laemp, a'noid, bigoen ta 'smouk 'ijuariasli. "'aIv 'faeund
am, mista 'meriweSa, n 'glsd 'naf a! 'em ta a bein a 'sam
'sa:vis tm ja." /i; waz a vai'vei/as ould 'leidi in 9 'bi:did
'kaep wis a 'laivli 'nolid^ av Si a'feaz av 'ASa 'piipl, and
'd3Ast 'nau 'kimli 'intristid^ in Sa 'nju; 'okjupant av ha:
'bed'sitirjrum. " nd 3a 'masn 'eer)k mi, koz Aim 'aunli 'tiii
'pleizd ta brir) 'frenz n 'rePtivz' ta'geSa."
"'nsBu wot /a 'keklin abseat, mam ?" hi: 'a:skt pa'laitli.
"'a:," riplaid Si 'ould 'leidi 't/iafuli, "jo:P 'siUn 'nau.
wi '/A:nt bi 'lor) 'noeu. it P bi az 'gud az a 'plai ta 'sei 'jiii
'fiii 'meit." /i: 'wept and 'rAbd ha:r 'aiz. "'peipP ma 'sai
wot Sa 'kik, bat Se:az 'nafirjk in 'o:P Sis 'wAid 'wa:Pd ta bi
kam'pe:ad ta 'fiii 'lavin 'A:ts."
^ This piece is reproduced by the kind permission of Mr Pett Kidge.
The descriptive parts are transcribed in Standard Pronunciation and the
dialogue in one of the many forms of uneducated London Pronunciation.
2 Or 'intoresUd.
3 1* denotes a variety of 1 sound in which the main part of the tongue
is in the position of the vowel o. See Part I, §§ 61, G3.
LONDON DIALECT 127
"'let mi 'ev mAi 'sapa," hi: 'sed 'pei/ntli, "n 'Sen 'leiv
mi 'bei. Ai 'wont to ev q 'smauk n 9 '<3ir)k."
"'jiti 'waun 'dm mat/ 'dirjkin," rima:kt Sa 'laenleidi
'nouirjli, " wen jar 'i;a 5a 'niiiz Ai v 'got fo: ja. ja 'sed 3a
'naim waz 'meriweSa, 'didnt /a ? "
" Ai 'daunt di'nAi it."
. "nd 3a 'sed 33 d got 'frcnz ni:ar 'i;a — ja d fa'got 5i
a'dres."
" Ai mAit a 'let 'fo:P a 'ke3P ri'mAik," sed 'bel 'keafuli,
az (h)i: 'held Sa 'hsendl av (h)iz 'do:, "o:wa 'staitmant ta
'Set 'fekt. wot'cvar aI 'sed 'aI P 'stik fiii."
^ "'Ai 'niii 'Set," riplaid Si 'ould 'Isenleidi. "'Ai 'aup Ai
kn 'teP a 'd3enlmn fram a 'mi:a 'koman pa:sn. 'sam peipP
'luk 'dgeun on 'sailaz n 'sat/Uik, bat 'Aim 'not 'wan a 'Set
so:t. ez 'Ai 'o:fn 'sai, 'weia d 'auPd 'hirjland bei wiS'aeut
am!"
" 'ari 'ap wa Set 'sapa," sed mista 'bel.
" Jl Ai 'lai fa 'fiii, mista 'meriweSa ? " aiskt Si 'ould
'leidi.
" 'ko:s not ! Ai m 'aunli 'wan."
"batSa'laidei?"
"'wot'laidei?"
"'wAi," Ji sed, "'jo:wa 'wAif!" 'mista 'bel 'puld Sa
'hoendl fram Sa 'do:(r) and 'stud 'lukirj set (h)a: 'blserjkli.
Sa 'Isenleidi geiv a 'd3est/ar av 'selfri'pruivl. "Set s 'mei
'o:l 'auva. Ai fa'get wot Ai 'ev 'sed n Ai fa'get wot Ai 'evnt
sed. wot Ai 'o:t t 0 tauPd 3a bi'fo:wa 'bla:tn it 'seut kik
'Set woz Sat Ai v dis'kavad 3a 'wAif, 'misas 'meriweSa, in
'grandei 'streit ; Sat Jei z 'simpli auvo'd3oid ta 'i:ar ov ja,
n Ai v 'A:st a ta 'kam 'i:a Sis 'eivnin."
"'Sen," sed mista 'bel 'solamli, and 'Jeikirj Sa 'wait
'do:hsendl in Si 'ould 'leidiz 'feis, "'jm 'djes 'lisn ta 'meL
128 PHONETIC TRANSCRIPTIONS
'jiii V 'Aist 9 ta 'kam 'i;o ; ja kn 'd^es 'dpli weP 'Aist 9 to
•gau a'wai egain. a! m 'not 'gain ta 'sei a."
"'weP, 'weP, 'weV" sed Si a'meizd 'Isenleidi, "'i;a z a
priti 'seud3a'diu ! n Ji 'toikt 'sau 'fek/nt a'bseat /a 'fiii, n
/i 'sez, ' 'au ' Ji sez, * aI 'diii 'sau 'log ta 'luk on mi 'sweit
wanz 'fais again.* Ai ed Sa 'leist 'drop a 'spirits wiS a, n
wi 'drsgk 'joiwa 'gud 'ePO."
"'veri 'kAind ov ja," sed mista 'bel 'dogidli, "bat '6et
'daunt 'fekt 'mAi p'zi/n. 'wen Ji 'kamz, 'jiii get 'rid av a,
n in 'fiut/a 'daug 'gau 'potrin a'boeut n 'miksn jasePf 'ap
in 'mAi a'feiaz, koz Ai 'waunt 'ev it. 'sei ? Ai got 'plenti ta
'wari abaeat," sedid mista 'bel 'fiasli — "'mo:wa Sn 'jiii '6igk
foiwa; n Ai 'daun 'wont 'nau hinta'fi:rin 'auP 'ket— "
" 'wen j a 'kwAit 'dan 'jiiizn 'hggwidj," inta'rAptid Si
'ould 'leidi, 'braidlig, "'prsps ja P 'kAinli 'put 'bsk Set
'do:warendP weia ja 'fseund it. 'letn jiU mAi 'grseun'floiwa
'frant fr a 'poiPtri 'foiwarn'siks a 'weik 'daunt n'tAitP ja ta
'wo:k a'baeut wiS 'bits av it in jar 'snz. sa 'Se:a, nseu!"
Ji: 'went to:dz^ Sa 'kit/in, sa'lilakwaizig. "'hinta'fi:rin
auP 'ket ndeid I *Ai I' 'lam im ! "
^ Or towo:dz.
APPENDIX
ORDINARY SPELLING OF ALL THE PIECES
TRANSCRIBED IN PART II
1. C. Bronte
Passage from Jane Eyre
All the house was still ; for I believe all, except St John and
myself, were now retired to rest. The one candle was dying out ;
the room was full of moonlight. My heart beat fast and thick;
I heard its throb. Suddenly it stood still to an inexpressible
feeling that thrilled it through, and passed at once to my head
and extremities. The feeling was not like an electric shock, but
it was quite as sharp, as strange, as startling ; it acted on my senses
as if their utmost activity hitherto had been but torpor, from which
they were now summoned and forced to wake. They rose expectant ;
eye and ear waited while the flesh quivered on my bones.
" What have you heard ? What do you see ? " asked St John.
I saw nothing, but I heard a voice somewhere cry —
" Jane ! Jane ! Jane ! " — nothing more.
"0 God ! what is it ?" I gasped.
I might have said, "Where is it?" for it did not seem in the
room, nor in the house, nor in the garden ; it did not come out of
the air, nor from under the earth, nor from overhead. I had heard
it — where, or whence, for ever impossible to know 1 And it was the
voice of a human being — a known, loved, well-remembered voice —
that of Edward Fairfax Rochester ; and it spoke in pain and woe,
wildly, eerily, urgently.
"I am coming !" I cried. "Wait for me ! Oh, I will come !"
I flew to the door and looked into the passage ; it was dark. I ran
out into the garden ; it was void.
" Where are you 1 " I exclaimed.
The hills beyond Marsh Glen sent the answer faintly back,
"Where are you?" I listened. The wind sighed low in the firs;
all was moorland loneliness and midnight hush.
J. 9
130 appendix
2. Burke
Passage from Thoughts on the FrevrJi Revolution
It is now sixteen or seventeen years since I saw the queen of
France, then the Dauphiness, at Versailles ; and surely never lighted
on this orb, which she hardly seemed to touch, a more delightful
vision, I saw her just above the horizon, decorating and cheering
the elevated sphere she just began to move in, — glittering like the
morning star, full of life, and splendour, and joy. Oh 1 what a
revolution ! and what a heart must I have to contemplate without
emotion that elevation and that fall 1 Little did I dream when she
added titles of veneration to those of enthusiastic, distant, respectful
love, that she should ever be obliged to carry the sharp antidote
against disgrace concealed in that bosom ; little did I dream that
I should have lived to see such disasters fallen upon her in a nation
of gallant men, in a nation of men of honour and of cavaliers.
I thought ten thousand swords must have leaped from their scab-
bards to avenge even a look that threatened her with insult.
But the age of chivalry is gone. That of sophisters, economists
and calculators, has succeeded ; and the glory of Europe is extin-
guished for ever. Never, never more shall we behold that generous
loyalty to rank and sex, that proud submission, that dignified
obedience, that subordination of the heart, which kept alive, even
in servitude itself, the spirit of an exalted freedom. The unbought
grace of life, the cheap defence of nations, the nurse of manly
sentiment and heroic enterprise, is gone! It is gone, that sensi-
bility of principle, that chastity of honour, which felt a stain like
a wound, which inspired courage whilst it mitigated ferocity, which
ennobled whatever it touched, and under which vice itself lost half
its evil, by losing all its grossness.
3. Calverley
Contentment
(After the Manner of Horace) *
Friend, there be they on whom mishap
Or never or so rarely comes.
That, when they think thereof, they snap
Derisive thumbs ;
* Reproduced from Calverley's Fly Leaves by kind permission of the
publishers, Messrs George Bell and Sons.
ORDINARY SPELLING OF PIECES TRANSCRIJJED 131
And there be they who lightly lose
Their all, yet feel no aching void ;
Should aught annoy them, they refuse
To be annoy'd ;
And fain would I be e'en as these !
Life is with such all beer and skittles;
They are not difficult to please
About their victuals ;
The trout, the grouse, the early pea,
By such, if there, are freely taken ;
If not, they munch with equal glee
Their bit of bacon ;
Aad when they wax a little gay
And chaff the public after luncheon,
If they're confronted with a stray
Policeman's truncheon,
Tliey gaze thereat with outstretch'd necks.
And laughter which no threats can smother,
And tell the horror-stricken X
That he's another.
In snowtime if they cross a spot
Where unsuspected boys have slid.
They fall not down — though they would not
Mind if they did ;
"When the spring rosebud which they wear
Breaks short and tumbles from its stem,
, No thought of being angry e'er
Dawns upon them ;
Though 'twas Jemima's hand that placed,
(As well you ween) at evening's hour,
In the loved button-hole that chaste
And cherish'd flower.
And when they travel, if they find
That they have left their pocket-compass
Or Murray or thick boots behind.
They raise no rumpus,
9—2
132 APPENDIX
But plod serenely on without ;
Knowing it's better to endure
The evil which beyond all doubt
You cannot cure.
When for that early train they're late,
They do not make their woes the text
Of sermons in the TinieSy but wait
On for the next ;
And jump inside, and only grin
Should it appear that that dry wag,
The guard, omitted to put in
Their carpet-bag.
4. Scott
Hunting Song
Waken, lords and ladies gay.
On the mountain dawns the day;
All the jolly chase is here
With hawk, and horse, and hunting-spear I
Hounds are in their couples yelling.
Hawks are whistUng, horns are knelling;
Merrily, merrily mingle they,
"Waken, lords and ladies gay."
Waken, lords and ladies gay,
The mist has left the mountain grey;
Springlets in the dawn are steaming.
Diamonds on the brake are gleaming;
And foresters have busy been
To track the buck in thicket green ;
Now we come to chant our lay,
"Waken, lords and ladies gay."
Waken, lords and ladies gay.
To the greenwood haste away;
We can show you where he lies, ^
Fleet of foot and tall of size ; ' ^
sc
ORDINARY SPELLING OF PIECES TRANSCRIBED 133
"We can show the marks he made,
When 'gainst the oak his antlers frayed ;
You shall see him brought to bay,
"Waken, lords and ladies gay."
Louder, louder chant the lay.
Waken, lords and ladies gay!
Tell them, youth, and mirth, and glee
Run a course, as well as wo ;
Time, stern huntsman ! who pan baulk,
Staunch as hound, and fleet as hawk;
Think of this, and rise with day.
Gentle lords and ladies gay.
5. Thackeray
Passage from the Essay on Whitebait
I was recently talking in a very touching and poetical strain
about the above delicate fish to my friend Foozle and some others
at the club, and expatiating upon the excellence of the dinner
which our little friend Guttlebury had given us, when Foozle,
looking round about him with an air of triumph and immense
wisdom, said, —
" I'll tell you what, Wagstaff, I'm a plain man, and despise all
your gormandizing and kickshaws. I don't know the difierence
between one of your absurd made dishes and another ; give me a
plain cut of mutton or beef. I'm a plain Englishman, I am, and no
glutton."
Foozle, I say, thought this speech a terrible set-down for me ;
and indeed ^cted up to his principles. You may see him any day
at six sitting down before a great reeking joint of meat ; his eyes
quivering, his face red, and he cutting great smoking red collops
out of the beef before him, which he devours with corresponding
quantities of cabbage and potatoes, and the other gratis luxuries of
the club-table.
What I complain of is, not that the man should enjoy his great
meal of steaming beef— let him be happy over that as much as the
beef he is devouring was in life happy over oil-cakes or mangel-
wurzel — but I hate the fellow's brutal self-complacency, and his
scorn of other people who have different tastes from his. A man
134 APPENDIX
who brags regarding himself, that whatever he swallows is the
same to him, and that his coarse palate recognizes no difference
between venison and turtle, pudding, or mutton-broth, as his
indifferent jaws close over them, brags about a personal defect —
the wretch — and not about a virtue. It is like a man boasting
that he has no ear for music, or no eye for colour, or that his nose
cannot scent the difference between a rose and a cabbage. I say,
as a general rule, set that man down as a conceited fellow who
swaggers about not caring for his dinner.
Why shouldn't wo care about it ? Was eating not made to be a
pleasure to us? Yes, I say, a daily pleasure — a sweet solamen —
a pleasure familiar, yet ever new ; the same, and yet how different !
It is one of the causes of domesticity. The neat dinner makes the
husband pleased, the housewife happy; the children consequently
are well brought up, and love their papa and mamma. A good
dinner is the centre of the circle of the social sympathies. It warms
acquaintanceship into friendship ; it maintains that friendship
comfortably unimpaired ; enemies meet over it and are reconciled.
How many of you, dear friends, has that late bottle of claret
warmed into affectionate forgiveness, tender recollections of old
times, and ardent glowing anticipations of new ! The brain is a
tremendous secret. I believe some chemist will arise anon who
will know how to doctor the brain as they do the body now, as
Liebig doctors the ground. They will apply certain medicines, and
produce crops of certain qualities that are lying dormant now for
want of intellectual guano. But this is a subject for future specu-
lation— a parenthesis growing out of another parenthesis ; what
I would urge especially here is a point which must be familiar with
every person accustomed to eat good dinners — namely, the noble
and friendly qualities that they elicit. How is it we cut such jokes
over them ? How is it wo become so remarkably friendly ? How
is it that some of us, insjured by a good dinner, have sudden gusts
of genius unknown in the quiet unfestive state ? Some men make
speeches ; some shake their neighbour by the hand, and invite him
or themselves to dine ; some sing prodigiously ; my friend Saladin,
for instance, goes home, he says, with the most beautiful harmonies
ringing in his ears ; and I, for my part, will take any given tune,
and make variations upon it for any given period of hours, greatly,
no doubt, to the delight of all hearers. These are only temporary
inspirations given us by the jolly genius, but arc they to be despised
ORDINARY SPELLING OF PIECES TRANSCRIBED 135
on that account ? No. Good dinners have been the greatest vehicles
of benevolence since man began to eat.
A taste for good living, then, is praiseworthy in moderation —
like all the other qualities and endowments of man. If a man were
to neglect his family or his business on account of his love for the
fiddle or the fine arts, he would commit just the crime that the
dinner-sensualist is guilty of ; but to enjoy wisely is a maxim of
which no man need be ashamed. But if you cannot eat a dinner of
herbs as well as a stalled ox, then you are an unfortunate man ;
your love for good dinners has passed the wholesome boundary, and
degenerated into gluttony.
6. Wordsworth
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host of golden dafibdils ;
Ijcside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay ;
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Outdid the sparkling waves in glee ;
A ^oet could not but be gay
In such a jocund company;
I gazed — and gazed — but little thought
What wealth the show to me had brought.
For oft when on my couch I lie
In vacant or in pensive mood.
They flash upon that inward eye
AVhich is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the dafibdils.
136 appendix
7. Dickens
Passage from the Pickwick Papers
The stranger, meanwhile, had been eating, drinking, and talking,
without cessation. At every good stroke he expressed his satis-
faction and approval of the player in a most condescending and
patronising manner, which could not fail to have been highly
gratifying to the party concerned ; while at every bad attempt at
a catch, and every failure to stop the ball, he launched his personal
displeasure at the head of the devoted individual in such denuncia-
tions as "Ah, ah! — stupid" — "Now, butter-fingers" — "Muflf" —
" Humbug " — and so forth — ejaculations which seemed to establish
him in the opinion of all around, as a most excellent and undeniable
judge of the whole art and mystery of the noble game of cricket.
" Capital game — well played — some strokes admirable," said the
stranger, as both sides crowded into the tent, at the conclusion of
the game.
" You have played it, sir ? " inquired Mr Wardle, who had been
much amused by his loquacity.
" Played it ! Think I have — thousands of times — not here —
West Indies— exciting thing — hot work — very."
" It must be rather a warm pursuit in such a climate," observed
Mr Pickwick.
" Warm ! — red hot — scorching — glowing. Played a match once —
single wicket — friend the Colonel— Sir Thomas Blazo — who should
get the greatest number of nms. — Won the toss — first innings —
seven o'clock a.m. — six natives to look out — went in ; kept in —
heat intense — natives all fainted — taken away — fresh half-dozen
ordered — fainted also — Blazo bowling — supported by two natives —
couldn't bowl me out— fainted too — cleared away the Colonel —
wouldn't give in — faithful attendant — Quanko Samba — last man
left — sun so hot, bat in blisters — ball scorched brown — five hundred
and seventy runs — rather exhausted — Quanko mustered up last
remaining strength — bowled me out — had a bath, and went out to
dinner."
"And what became of what's-his-name, sir?" inquired an old
gentleman.
"Blazo?"
" No — the other gentleman."
ORDINARY SPELLING OF PIECES TRANSCRIBED 137
"Quanko Samba?"
"Yes, sir."
" Poor Quanko — never recovered it — bowled on, on my account —
bowled off, on his own — died, sir." Here the stranger buried his
countenance in a brown jug, but whether to hide his emotion or
imbibe its contents, we cannot distinctly affirm. We only know
that he paused suddenly, drew a long and deep breath, and looked
anxiously on, as two of the principal members of the Dingley Dell
club approached Mr Pickwick, and said —
" We are about to partake of a plain dinner at the Blue Lion,
sir ; we hope you and your friends will join us."
" Of course," said Mr Wardle, " among our friends we include
Mr " and he looked towards the stranger.
" Jingle," said that versatile gentleman, taking the hint at once.
" Jingle — Alfred Jingle, Esq. of No Hall, Nowhere."
" 1 shall be very happy, I am sure," said Mr Pickwick.
"So shall I," said Mr Alfred Jingle, drawing one arm through
Mr Pickwick's, and another through Mr Wardle's, as he whispered
confidentially in the ear of the former gentleman : —
" Devilish good dinner — cold, but capital — peeped into the room
this morning— fowls and pies, and all that sort of thing— pleasant
fellows these — well behaved, too — very."
8. George Eliot
Passage from the Mill on the Floss
"Oh, I say, Maggie," said Tom at last, lifting up the stand,
"we must keep quiet here, you know. If we break anything,
IVIrs Stelling '11 make us cry peccavi."
"What's that?" said Maggie.
" Oh, it's the Latin for a good scjolding," said Tom, not without
some pride in his knowledge.
" Is she a cross woman?" said Maggie.
" I believe you ! " said Tom, with an emphatic nod.
" I think all women are crosser than men," said Maggie. "Aunt
Glegg's a great deal crosser than Uncle Glegg, and mother scolds
me more than father does."
" Well, you'll be a woman some day," said Tom, " so i/ou needn't
talk."
138 APPENDIX
" But I shall be a clever woman," said Maggie, with a toss.
" Oh, I daresay, and a nasty conceited thing. Everybody '11 hate
you."
"But you oughtn't to hate me, Tom ; it'll be very wicked of you,
for I shall be your sister."
"Yes, but if you're a nasty disagreeable thing, I ihall hate you."
" Oh but, Tom, you won't ! I shan't be disagreeable. I shall
be very good to you — and I shall be good to everybody. You won't
hate me really, will you, Tom % "
" Oh, bother ! never mind 1 Come, it's time for me to learn my
lessons. See here ! what I've got to do," said Tom, drawing Maggie
towards him and showing her his theorem, while she pushed her
hair behind her ears, and prepared herself to prove her capability
of helping him in Euclid. She began to read with full confidence
in her own powers, but presently, becoming quite bewildered, her
face flushed with irritation. It was unavoidable — she must confess
her incompetency, and she was not fond of humiliation.
" It's nonsense ! " she said, * and very ugly stuft'— nobody need
want to make it out."
"Ah, there now. Miss Maggie!" said Tom, drawing the book
away, and wagging his head at her, " you see you're not so clever as
you thought you were."
" Oh," said Maggie, pouting, " I daresay I could make it out, if
I'd learned what goes before, as you have."
" But that's what you just couldn't, Miss Wisdom," said Tom.
" For it's all the harder when you know what goes before ; for then
you've got to say what definition 3 is, and what axiom V. is. But
get along with you now ; I must go on with this. Here's the Latin
Grammar. See what you can make of that."
9. E. F. Benson
Passage from Bodo^
At this moment a shrill voice called Dodo from the drawing-room.
"Dodo, Dodo," it cried, "the man brought me two tepid poached
eggs ! Do send me something else. Is there such a thing as a
grilled bone ? "
' Eeproduced by kind permission of Mr Beusou and his publishers,
Jlessrs Methuen,
ORDINARY SPELLING OF PIECES TRANSCRIBED 130
These remarks were speedily followed up by the appearance of
Miss Staines at the dining-room door. In one hand she held the
despised eggs, in the other a quire of music paper. Behind her
followed a footman with her breakfast-tray, in excusable ignorance
as to what was required of him.
"Dear Dodo," she went on, "you know when I'm composing a
symphony I want something more exciting than two poached eggs.
Mr Broxton, I know, will take my side. You couldn't eat poached
eggs at a ball — could you 1 They might do very well for a funeral
march or a nocturne, but they won't do for a symphony, especially
for the scherzo. A brandy-and-soda and a grilled bone is what one
really wants for a scherzo, only that would be quite out of the
question."
Edith Staines talked in a loud, determined voice, and emphasized
her points with little dashes and flourishes of the (iish of poached
eggs. At this moment one of them flew on to the floor and
exploded. But it is an ill wind that blows nobody any good, and
at any rate this relieved the footman from his state of indecision.
His immediate mission was clearly to remove it.
Dodo threw herself back in her chair with a peal of laughter.
"Go on, go on," she cried, "you are too splendid. Tell us what
70U write the presto on."
"I can't waste another moment," said Edith. "I'm in the
middle of the most entrancing motif, which is working out beauti-
fully. Do you mind my smoking in the drawing-room ? I am
awfully sorry, but it makes all the difference to my work. Burn a
little incense there afterwards. Do send me a bone, Dodo. Come
ai\d hear me play the scherzo later on. It's the best thing I've
ever done. Oh, by the way, I telegraphed to Herr Truffcn to come
to-morrow — he's my conductor, you know. You can put him up in
the village or the coal-hole, if you like. He's quite happy if he gets
enough beer. He's my German conductor, you know. I made him
entirely. I took him to the Princess the other day when I was at
Aix, and we all had beer together in the verandah of the Beau Site.
You'll be amused with him."
" Oh, rather," said Dodo ; " that will be all right. He can sleep
in the house. Will he come early to-morrow ? Let's see — to-morrow's
Sunday. Edith, I've got an idea. We'll have a dear little service
in the house — we can't go to church if it snows — and you shall play
your mass, and Herr What's-his-name shall conduct, and Bertie,
140 APPENDIX
and Grantie, and you and I will sing. Won't it be lovely ? You
and I will settle all that this afternoon. Telegraph to Truffler, or
whatever his name is, to come by the eight-twenty. Then he'll be
here by twelve, and we'll have the service at a quarter past."
"Dodo, that will be grand," said Edith. "I can'c wait now.
Goodbye. Hurry up my breakfast — I'm awfully sharp-set."
Edith went back to the drawing-room, whistling in a particularly
shrill manner.
10. Byron
Passage from Ghilde Harold
Oh! that the desert were my dwelling-place,
With one fair Spirit for my minister,
That I might all forget the human race.
And, hating no one, love but only her!
Ye Elements ! — in whose ennobling stir
I feel myself exalted — Can ye not
Accord me such a being? Do I err
In deeming such inhabit many a spot?
Though with them to converse can rarely be our lot.
There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society where none intrudes.
By the deep Sea, and music in its roar;
I love not man the less, but Nature more,
From these our interviews, in which I steal
From all I may be, or have been before.
To mingle with the Universe, and feel
What I can ne'er express, yet cannot all conceal
Rnll on, thou deep and dark blue Ocean— roll 1
Ten thousand fleets sweep over thee in vain ;
Man marks the earth with ruin — his control
Stops with the shore; — upon the watery plain
The wrecks are all thy deed, nor doth remain
A shadow of man's ravage, save his own.
When, for a moment, like a drop of rain.
He sinks into thy depths with bubbling groan,
Without a grave, unknelled, uncoffined, and unknown.
ordinary spelling of pieces transcribed 141
11. Gladstone
Peroration of the Speech on the Second Reading
of the Reform Bill of 1866
May I say to honourable gentlemen opposite, as some of theui
have addressed advice to gentlemen on this side of the House,
"Will you not consider before you embark in this new crusade
whether the results of the others in which you have engaged have
been so satisfactory 1 " Great battles you have fought, and fought
them manfully. The battle of maintaining civil disabilities on
account of religious belief, the battle of resisting the first Reform
Act, the battle of Protection, all these great battles have been
fought by the great party that I see opposite ; and as to some of
them I admit my own share of the responsibility. But have their
results been such as that you should be disposed to renew these
attacks again ? Certainly those who sit on this side have no reason
or title to find fault. The effect of your course has been to give
them for five out of six, or for six out of seven years, the conduct
and management of public affairs. The effect has been to lower, to
reduce, and contract your just influence in the country, and to
abridge your share in the administration of the Government. It
is good for the public interest that you should be strong ; but if
you are to be strong, you can only be so by showing, as well as the
kindness and the personal generosity which I am sure you feel
towards the people, a public trust and confidence in them. What
I say now can hardly be said with an evil motive.
But, sir, we are assailed ; this Bill is in a state of crisis and of
peril, and the Government along with it. We stand or fall with
it as has been declared by my noble friend. We stand with it now ;
we may fall with it a short time hence, and if we do we shall rise
with it hereafter. I shall not attempt to measure with precision the
forces that are to be arrayed in the coming struggle. Perhaps the
great division of to-night is not the last that must take place in the
struggle. You may possibly succeed at some point of the contest.
You may drive us from our seats. You may bury the Bill that we
have introduced, but for its epitaph we will write upon its grave-
stone this line, with certain confidence in its fulfilment : —
"Exoriare aliquis nostris ex ossibus ultor."
You cannot fight against the future. Time is on our side. The
great social forces which move on in their might and majesty, and
142 APPENDIX
which the tumult of our debates does not for a raoment impede or
disturb— those great social forces are against you ; they are mar-
shalled on our side, and the banner which we now carry, though
perhaps at some moment it may droop over our sinking heads, yet
it soon again will float in the eye of heaven, and it will be borne by
the firm hands of the united people of the three Kingdoms, perhaps
not to an easy, but to a certain and to a not distant victory.
12. Keats
To Sleep
O soft embalmer of the still midnight.
Shutting with careful fingers and benign,
Our gloom-pleased eyes, embowered from the light,
Enshaded in forgetfulness divine ;
O soothest Sleep ! if so it please thee, close.
In midst of this thine hymn, my willing eyes,
Or wait the amen, ere thy poppy throws
Around my bed its lulling charities ;
Then save me, or the passed day will shine
Upon my pillow, breeding many woes, —
Save me from curious conscience, that still lords
Its strength for darkness, burrowing like a mole;
Turn the key deftly in the oiled wards,
And seal the hushed casket of my souL
13. Milton
At a Solemn Music
Blest pair of Sirens, pledges of Heaven's joy,
Sphere-born harmonious sisters. Voice and Verse,
Wed your divine sounds, and mixed power employ.
Dead things with inbreathed sense able to pierce;
And to our high-raised phantasy present
That undisturbed song of pure concent.
Aye sung before the sapphire-coloured throne
To Him that sits thereon,
AVith saintly shout and solemn jubilee ;
AVhere the bright Seraphim in burning row
Their loud uplifted angel-trumpets blow.
ORDINARY SPELLING OF PIECES TRANSCRIBED 143
And the Chenibic host in thousand quires
Touch their immortal harps of golden wires,
With those just Spirits that wear victorious palms,
Hymns devout and holy psalms
Singing everlastingly ;
That wo on Earth, with undiscording voice,
May rightly answer that melodious noise ;
As once we did, till disproportioned sin
Jarred ag;vinst nature's chime, and with harsh din
Broke the fair music that all creatures made
To their great Lord, whose love their motion swayed
In perfect diapason, whilst they stood
In first obedience, and their state of good.
0, may we soon again renew that song,
And keep in tune with Heaven, till God ere long
To his celestial consort us unite.
To live with Him, and sing in endless morn of light !
14. Shakespeare
Passage from Julius Caesar
Ant. Friends, Romans, countrymen, lend me your ears ;
I come to bury Caesar, not to praise him.
The evil that men do lives after them ;
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutua
Hath told you Caesar was ambitious ;
If it were so, it was a grievous fault.
And grievously hath Caesar answer'd it
Here, under leave of Brutus and the rest —
For Brutus is an honourable man ;
So are they all, all honourable men —
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me ;
But Brutus says he was ambitious ;
And Brutus is an honourable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill ;
Did this in Caesar seem ambitious?
144 APPENDIX
When that the poor have cried, Caesar hath wept;
Ambition should be made of sterner stuff;
Yet Brutus says he was ambitious ;
And Brutus is an honourable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse ; was this ambition ?
Yet Brutus says he was ambitious ;
And, sure, he is an honourable man.
I speak not to disprove what Brutus spoke,
But here I am, to speak what I do know.
You all did love him once, not without cause;
What cause withholds you then, to mourn for himf
0 judgement 1 thou art fled to brutish beasts,
And men have lost their reason. Bear with me;
My heart is in the coffin there with Caesar,
And I must pause, till it come back to me.
15. Tennyson
Lyrics from The Princess
The splendour falls on castle walls
And snowy summits old in story;
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle ; answer, echoes, dying, dying, dying.
0 hark, 0 hear ! how thin and clear.
And thinner, clearer, farther going 1
0 sweet and far from clifi' and scar
The horns of Elfland faintly blowing !
Blow, let us hear the pm-ple glens replying:
Blow, bugle ; answer, echoes, dying, dying, dying.
0 love, they die in yon rich sky.
They faint on hill or field or river;
Oar echoes roll from soul to soul.
And grow for ever and for ever.
Blow, bugle, blow, set the wild echoes flying.
And answer, echoes, answer, dying, dying, dying.
ordinary spelling of pieces transcribed 145
16. Addison
Passage from Sir Roger de Coverleys country residence
and friends
I have observed in several of my papers, that my friend Sir
Roger, amidst all his good qualities, is something of a humorist,
and that his virtues, as well as imperfections, are as it were tinged
by a certain extravagance, which makes them particularly his, and
distinguishes them from those of other men. This cast of mind, as
it is generally very innocent in itself, so it renders his conversation
highly agreeable, and more delightful than the same degree of sense
and virtue would appear in their common and ordinary colours.
As I was walking with him last night, he asked me how I liked the
good man whom I have just now mentioned ; and without staying
for my answer, told me that he was afraid of being insulted with
Latin and Greek at his own table ; for which reason he desired a
particular friend of his at the university to find him out a clergyman
rather of plain sense than much learning, of a good aspect, a clear
voice, a sociable temper, and, if possible, a man that understood a
little of backgammon. " My friend," says Sir Roger, " found me
out this gentleman, who, besides the endowments required of him,
is, they tell me, a good scholar, though he does not show it. I have
given him the parsonage of the parish; and because I know his
value, have settled upon him a good annuity for life. If he outlives
me, he shall find, that he was higher in my esteem than perhaps he
thinks he is. He has now been with me thirty years and though
he does not know I have taken notice of it, has never in all that
time a.sked anything of me for himself, though he is every day
soliciting me for something in behalf of one or other of my tenants,
his parishioners. There has not been a lawsuit in the parish since
he has lived among them ; if any dispute arises, they apply them-
selves to him for the decision ; if they do not acquiesce in his
judgment, which I think never happened above once or twice at
most, they appeal to me. At his first settling with me, I made him
a present of all the good sermons which have been printed in
English, and only begged of him, that every Sunday he would
pronounce one of them in the pulpit. Accordingly he has digested
them into such a series, that they follow one another naturally, and
make a continued system of practical divinity."
J. 10
146 APPENDIX
17. Fuhrken-Jespersen-Eodhe
Anecdote from Engelsk LcLsebok
The telegraph explained
To explain simply the working of the wondrous telegraph is a
puzzle for the philosopher ; and no wonder simple folks come to
grief over the task. The following is the explanation given to his
fellow by an Italian peasant.
" Don't you see those poles and wires that run along beside the
railway?"
" I know that is the telegraph ; but how does it work ?"
" Nothing more simple ; you have only to touch one end of the
wire, and click — the other end writes it down just the same as a
pen."
" Still, I don't quite see how it's done."
" Let me try to make it plain. Have you a dog ?"
"Yes."
" What does he do if you pinch his tail ? "
" Bark, to be sure."
"Well then, supposing your dog were long enough to reach in
body from Florence here to the capital."
"Well?"
** It is clear then that if you pinch his tail in Florence ho will
bark in Rome. There, friend, that's exactly how the electric tele-
graph works."
18. Goldsmith
Passage from Beau Tibhs at Vauschall
I was going to second his remarks, when we were called to a
consultation by Mr Tibbs and the rest of the company, to know in
what manner we were to lay out the evening to the greatest ad-
vantage. Mrs Tibbs was for keeping the genteel walk of the garden,
where, she observed, there was always the very best company ; the
widow, on the contrary, who came but once a season, was for securing
a good standing-place to see the waterworks, which she assured us
would begin in less than an hour at furthest ; a dispute therefore
began, and as it was managed between two of very opposite cha-
racters, it threatened to grow more bitter at every reply. Mrs Tibbs
ORDINARY SPELLING OF PIECES TRANSCRIBED 147
wondered how people could pretend to know the polite world, who
had received all their rudiments of breeding behind a counter ; to
which the other replied, that though some people sat behind counters,
yet they could sit at the head of their own tables too, and carve
three good dishes of hot raeat whenever they thought proper ; — which
was more than some people could say for themselves, that hardly
knew a rabbit and onions from a green goose and gooseberries.
It is hard to say where this might have ended, had not the
husband, who probably knew the impetuosity of his wife's dis-
position, proposed to end the dispute by adjourning to a box, and
try if there was anything to be had for supper that was supportable.
19. Huxley
Passage from Discourses Biological and Geological (p. 224)^
What is the purpose of primary intellectual education ? I appre-
hend that its first object is to train the young in the use of those
tools wherewith men extract knowledge from the ever-shifting
succession of phenomena which pass before their eyes ; and that
its second object is to inform them of the fundamental laws which
have been found by experience to govern the course of things, so
that they may not be turned out into the world naked, defenceless,
and a prey to the events they might control.
A boy is taught to read his own and other languages, in order
that he may have access to infinitely wider stores of knowledge
than could ever be opened to him by oral intercourse with his
fellow men ; he learns to write, that his means of communication
with the rest of mankind may be indefinitely enlarged, and that he
may record and store up the knowledge he acquires. He is taught
elementary mathematics, that he may understand all those relations
of number and form, upon which the transactions of men, associated
in complicated societies, are built, and that he may have some
practice in deductive reasoning.
All these operations of reading, writing, and ciphering are
intellectual tools, whose use should, before all things, be learned,
and learned thoroughly; so that the youth may be enabled to
make his life that which it ought to be, a continual progress in
learning and in wisdom.
^ Reproduced by kind permission of the publishers, Messrs Macraillan.
148 APPENDIX
20. Lloyd
A passage from the Daily Mail, 22nd Oct. 1897
as transcribed in Lloyd's Northern English
Insects in Lapland
Anyone who hopes to make a comfortable journey in Lapland
should never make the mistake of arriving there equipped as an
ordinary tourist. It is a country that abounds in mosquitoes and
knorts, and if there is a fly more persistent than another it is a
knort, A knort is a small creature with the obstinacy of a hundred
mosquitoes and the patience of ten Jobs. A mosquito heralds his
own approach with a menacing buzz. He hovers around, and if
the intended victim is quick, the pest can be killed, and easily
killed ; though of course, if the creatures attack in battalions, the
whole number cannot be slaughtered, and victory must go to the
many. The knort, on the other hand, is silent and apparently
harmless. He arrives unobtrusively. He strolls about a bit, as if
he were not in the least bit hungry, but only a little pleasantly
inquisitive. What harm could such a small thing do to your thick
knitted stockings ?
But the beak of the knort is long, and having chosen his
rendezvous, the owner of that beak proceeds to burrow with it,
with a result that is altogether surprising, and certainly most
painful. The Lapp himself stains his face with a mixture of tar
and grease, which the creatures do not like. Moreover it is a
fact that the mosquito and knort do not assail the natives as
they do strangers. A mask of this stain, and a handkerchief,
placed inside the cap and left to hang down behind, are the native
precaution. But the tourist thinks of "England, home and beauty,"
and probably does not relish disguising his complexion into that of
a mulatto. So he makes himself miserable by trying to wear a veil,
something like a meat-safe, from which all the world looks like
milk-and-water, and he breathes with a suffocating feeling, as if ho
were on the point of choking or fainting, or doing something equally
unmanly.
ORDINARY SPELLING OF PIECES TKANSCIUBED 149
21. Macaulay
Passage fiom the History of England
It would uot be difficult to compose a lampoon or panegyric
on either of these renowned factions. For no man not utterly
destitute of judgment and candour will deny that there are many
deep stains on the fame of the party to which he belongs, or that
the party to which he is opposed may justly boast of many illustrious
names, of many heroic actions and of many great services rendered
to the state. The truth is that though both parties have often
seriously erred, England could have spared neither ; if in her in-
stitutions, freedom and order, the advantages arising from innovation
and the advantages arising from prescription have been combined to
an extent elsewhere unknown, we may attribute this happy pecu-
liarity to the strenuous conflicts and alternate victories of two rival
confederacies of statesmen.
22. Macaulay
Passage from the History of England (on Laud)
The severest punishment which the two Houses could have
inflicted on him would have been to set him at liberty and send
him to Oxford. There he might have stayed, tortured by his own
diabolical temper, hungering for puritans to pillory and mangle,
plaguing the cavaliers, for want of somebody else to plague, with
his peevishness and absurdity, performing grimaces and antics in
the cathedral, continuing that incomparable diary, which we never
see without forgetting the vices of his heart in the imbecility of his
intellect, minuting down his dreams, counting the drops of blood
which fell from his nose, watchiug the direction of the salt, and
listening for the note of the screech-owls. Contemptuous mercy
was the only vengeance which it became the Parliament to take on
such a ridiculous old bigot.
10—3
150 APPENDIX
23. RUSKIN
Passage from Modern Painters
Gather a single blade of grass, and examine for a minute, quietly,
its narrow sword-shaped strip of fluted green. Nothing as it seems
there, of notable goodness or beauty. A very little strength, and a
very little tallness, and a few delicate long lines meeting in a point,
not a perfect point neither, but blunt and unfinished, by no means
a creditable or apparently much cared for example of nature's
workmanship, made as it seems only to be trodden on to-day,
and to-morrow to be cast into the oven; and a little pale and
hollow stalk, feeble and flaccid, leading down to the dull brown
fibres of roots. And yet, think of it well, and judge whether of
all the gorgeous flowers that beam in summer air, and of all strong
and goodly trees, pleasant to the eyes or good for food — stately
palm and pine, strong ash and oak, scented citron, burdened vine—
there be any by man so deeply loved, by God so highly graced as
that narrow point of feeble green.
24. Scott
A passage from Old Mortality
Evening lowered around Morton as he advanced up the narrow
dell which must have once been a wood, but was now a ravine
divested of trees, unless where a few from their inaccessible situation
on the edge of precipitous banks, or clinging among rocks and huge
stones, defied the invasion of men and of cattle, like the scattered
tribes of a conquered country, driven to take refuge in the barren
strength of its mountains. These too, wasted and decayed, seemed
rather to exist than to flourish, and only served to indicate what
the landscape must once have been. But the stream brawled down
among them in all its freshness and vivacity, giving the life and
animation which a mountain rivulet alone can confer on the barest
and most savage scenes, and which the inhabitants of such a country
miss when gazing even upon the tranquil winding of a majestic
stream through plains of fertility, and beside palaces of splendour.
ORDINARY SPELLING OF PIECES TRANSCRIBED 151
The track of the road followed the course of the brook, which was
now visible, and now only to be distinguished by its brawling heard
among the stones, or in the clefts of the rocks, that occasionally
interrupted its course.
"Murmurer that thou art," said Morton, in the enthusiasm of
his reverie, "why chafe with the rocks that stop thy course for
a moment ? There is a sea to receive thee in its bosom ; and there
is an eternity for man when his fretful and hasty course through
the vale of time shall be ceased and over. What thy petty fuming
is to the deep and vast billows of a shoreless ocean, are our cares,
hopes, fears, joys, and sorrows, to the objects which must occupy
us through the awful and boundless succession of ages."
25. Stevenson
Passage from Treasure Island
The appearance of the island when I came on deck next morning
was altogether changed. Although the breeze had now utterly
failed, we had made a great deal of way during the night, and were
now lying becalmed about half a mile to the south-east of the low
eastern coast. Grey-coloured woods covered a large part of the
surface. This even tint was indeed broken up by streaks of yellow
sandbreak in the lower lands, and by many tall trees of the pine
family, out-topping the others — some singly, some in clumps ; but
the general colouring was uniform and sad. The hills ran up clear
above the vegetation in spires of naked rock. All were strangely
shaped, and the Spy-glass, which was by three or four hundred
feet the tallest on the island, was likewise the strangest in con-
figuration, running up sheer from almost every side, and then
suddenly cut oft" at the top like a pedestal to put a statue on.
26. W. Pett Ridge
A passage from London Only (pp. 9 — 12)^
" I've found 'em ! " said his landlady exultantly, as he stumbled
into the narrow, dimly lighted passage. She turned up the little
oil-lamp standing on the bracket, and the oil-lamp, annoyed, began
1 Reproduced by kind permission of Mr Pett Ridge.
152 APPENDIX
to smoke furiously. " I've found 'em, Mr Merrywcathcr, and gl.id
enough I am to 'ave been of some service to you." She was a
vivacious old lady in a beaded cap with a lively knowledge of the
affairs of other people, and just now keenly interested in the new
occupant of her bed-sitting-room. "And you mustn't thank me,
because I'm only too pleased to bring friends and rel'tives together."
"iVbw what are you cacklin' about, ma'am ?" he asked politely.
"Ah," replied the old lady cheerfully, "you'll soon know. We
shan't be long now. It'll be as good as a play to see you two meet."
She wept and rubbed her eyes. " People may say what they like,
but there's nothing in all this wide world to be compared to two
loyin' 'earts."
" Let me 'ave my supper," he said patiently, " and then leave me
be. I want to 'ave a smoke and a think."
" Fou won't do much thinking," remarked the landlady know-
ingly, " when you 'ear the news I've got for you. You said your
name was Mcrryweather, didn't you ? "
"I don't deny it."
"And you said you'd got friends near 'ere — you'd forgot the
address."
" I might have let fall a casual remark," said Bell carefully, as
he held the handle of his door, " or statement to that eflfect. What-
ever I said I'll stick to."
" I knew that," replied the old landlady. " I 'ope I can tell a
gentleman from a mere common person. Some people look down
on sailors and such-like, but I'm not one of that sort. As I often
say, where would Old England be without 'em ! "
" 'Urry up with that supper," said Mr Bell.
" Shall I lay for two, Mr Mcrryweather ? " asked the old lady.
" Course not ! I'm only one."
"But the lady?"
"What lady?"
" Why," she said, " your wife ! " Mr Bell pulled the handle from
the door and stood looking at her blankly. The landlady gave a
gesture of self-reproval. "That's me all over. I forget what I
'ave said and I forget what I 'aven't said. What I ought to have
told you before blurting it out like that was that I've discovered
your wife, Mrs Mcrryweather, in Grundy Street ; that she's simply
overjoyed to 'car of you, and I've asked her to come 'ere this
ORDINARY SPELLING OP PIECES TRANSCRIBED 153
"Then," said Mr Bell solemnly, and shaking the white door-
handle in the old lady's face, "you jest listen to me. You've asked
her to come 'ere ; you can jest jolly well ask her to go away again.
I'm not going to see her."
" Well, well, welly" said the amazed landlady, " 'ere's a pretty
how-d'ye-do ! And she talked so affectionate about you, too, and
she says, * Oh ! ' she says, ' I do so long to look on my sweet one's
face again.' I had the least drop of spirits with her, and we drank
your good 'ealth."
"Very kind of you," said Mr Bell doggedly, "but that don't
aifect my position. When she comes, you get rid of her, and, in
future, don't go potterin' about and mixing yourself up in my affairs,
because I won't have it. See? I've got plenty to worry about,"
added Mr Bell fiercely — "more than you think for; and I don't
want no interforin' old cat — "
" When you've quite done using language," interrupted the old
lady, bridling, "p'raps you'll kindly put back that door-'andle where
you found it. Letting you my ground-floor front for a paltry four-
and-six a- week don't entitle you to walk about with bits of it in
your 'ands. So there, now ! " She went towards the kitchen,
soliloquising. " Interferin' old cat indeed ! Vll learn him ! "
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