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I 

THE 

PHONARTHRON. 


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2 


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OR, 

NATURAL  SYSTEM   OF  THE  SOUNDS  OF  SPEECH; 

A   TEST   OF   PRONUNCIATION    FOR    ALL    LANGUAGES: 
ALSO, 

THE  PHONARITHMON,  AND  THE  PHONODION. 


TO  WHICH  IS  ADDED, 

A  PRACTICAL  APPLICATION  OF  THE  PHONARTHRON 
TO  ENGLISH  AND   FRENCH  PRONUNCIATION;  AND  TO   THE   READING  OF  HEBREW,  &.c. 


REV.  WILLIAM-HENRY  HENSLOWE,   M.A. 

PERPETUAL   CURATE   OF   WORMEGAY,    NEAR   LYNN,    NORFOLK  ; 

FORMERLY  OF  JESUS  COLLEGE,   CAMBRIDGE; 

AND  AUTHOR  OF  SERMONS  ADDRESSED  TO  THE  ROYAL  REGIMENT  OF  ARTILLERY, 

IN  THE  BARRACK  CHAPEL  AT  WOOLWICH. 


"  All  difficulties  are  but  easy  when  they  are  known." — Shakspeare,  Measure  for  Measure,  Act  iv.  Sc.  ii. 

"  Arbitrary  and  antic  variety  is  not  the  thing  we  admire,  but  variety  obeying  arule,  conducing  to  an  effect , 
and  commensurate  with  exigencies  infinitely  diversified." — Paley,  Natural  Theology,  Chap.  ix. 

"  The  whole  earth  was  of  one  language  and  of  one  speech." — Moses,  Genesis,  Chap.  xi. 


LONDON: 

PUBLISHED  BY  J.  G.  F.  &  J.  RIYINGTON, 

ST.  Paul's  church  yard,  and  waterlog  place,  pall  mall. 

1840. 


^^A 

^  M 


LONDON : 

OILBRKT    *«    RIVINGTON,    PRINTERS* 

ST.    JOHN'S    SQUARE. 


TO    HER    ROYAL    HIGHNESS 


THE 


PRINCESS  SOPHIA-MATILDA  OF  GLOUCESTER, 


THIS  INVENTION  IS  INSCRIBED, 


BY 


HER    ROYAL    HIGHNESS  S 


GRATEFUL 


AND 


DUTIFULLY    ATTACHED    GODSON, 


THE  AUTHOR. 


A  2 


1 


Pat.  Otto*  Liib. 
▲»rll  1914. 


ADVERTISEMENT, 


THE      ENSUING      THEORY      CALLED 

PHONARTHRON, 


WAS     FIRST 


Imagined 
Completed 
Prepared  for  Press 
Revised 
Published 


A.  D.  1821. 

A.D.  1827. 

A.D.  1829. 

A.D.  1838. 

A.D.  1840. 


=:In  the  years  1821,  1822,  this  invention  was  encouraged  by  the  com- 
mendation of  the  author's  preceptor  at  that  time,  the  Rev.  Henry 
Gauntlett,  Vicar  of  Olney,  in  Buckinghamshire.  In  the  years  1826, 
1827,  it  was  further  approved  by  the  Rev.  Samuel  Lee,  Professor  of 
Arabic  in  the  University  of  Cambridge,  who  kindly  suggested  that  it 
might  be  printed  by  the  University  press.  In  the  years  1829  and  1840 
it  was  accordingly  twice  tendered  to  some  influential  members  of  that 
body  for  that  purpose,  but  they  declined.  The  patronage  of  a  distin- 
guished Prelate  was  also  solicited  in  1829,  w^ho,  however,  severely 
reprehended  the  author's  temerity,  and  subsequently  became  extremely 
hostile  to  him.  These  and  other  c^zscouragements,  added  to  an  extreme 
diffidence  occasioned  by  them,  have  thus  long  retarded  a  publication, 
which,  it  is  still  imagined,  icill  he  useful  to  the  world.  A  conviction  of 
this  fact,  and  a  sense  of  that  personal  accountability  for  time  and  talent, 
which  is  imposed  upon  every  human  being,  must  now  plead  the  author's 
excuse  to  all  those  who  disapprove  his  undertaking.  The  paucity  of 
subscribers'  names,  in  comparison  with  the  number  of  applications  made, 
is  an  additional  check  :  nevertheless,  after  the  lapse  of  so  many  years, 
he  has  determined  to  persevere. 


VI  ADVERTISEMENT. 

The  following  extracts  of  correspondence  on  the  subject  will  show 
the  opinions  of  a  few  : — 

1.  From  a  senior  and  successful  relation.     "  14th  February,  1840. 

"  My  dear  William-Henry,— You  have  ever  found  me  plain  spoken, 
and  have  occasionally,  I  believe,  thought  me  too  much  so.  I  cannot 
help  thinking  you  very  unwise  to  try  your  hand  in  the  projected  work 
after  the  losses  and  disappointments  you  have  experienced.  I  cannot 
understand  what  you  propose  to  yourself.  If  I  had  seen  the  advertise- 
ment '  without  your  name,  I  should  have  laughed  at  it,  and  fancied  it 
was  some  quackery  or  rhodomontade ;  but,  as  I  am  sure  you  are  in 
earnest,  I  can  only  suppose  that  you  are  under  some  error  of  judgment 
respecting  the  utility  of  a  work,  which,  if  it  means  any  thing,  would 
require  the  thoughts  and  extensive  experience  of  great  learning  and 
ability.  Do  then,  think  twice  before  you  leap.  I  can  assure  you  that 
I  have  far  too  many  uses  for  a  stray  guinea,  to  throw  it  away  upon 
a  work,  which,  I  feel  confident,  will  not  be  of  the  slightest  use  to 
myself,  or  any  of  my  children," 

2.  From  a  member  of  St.  John's  College. 

"  Cambridge,  Thursday,  Feb.  13,  1840. 
"  My  dear  Henslowe, — Certainly  I  will  subscribe  for  your  work, 
being  anxious  to  get  a  notion  of  how  you  will  treat  a  subject  which  I 
apprehend  to  be  one  of  the  most  extreme  difficulty,^' 

3.  From  a  member  of  Downing  College. 

"  Cambridge,  Thursday,  Feb.  13,  1840. 
"  My  dear  Sir, — I  am  very  happy  to  insert  my  name  on  the  list  of 
subscribers  to  your  new  work.     Its  subject  is  one  of  those  common 
and  open  to  all,  on  which  men  are  in  general  satisfied  with  their  own 

^  Not  "  advertisement,"  but  prospectus. 


ADVERTISEMENT.  Vll 

vague  notions  and  experiences,  and  are   not  inclined  to  philosophize 
themselves,  but  to  be  hypercritical  of  those  who  make  the  attempt." 

4.  From  a  Bishop.     "25th  March,  1840. 

"  Reverend  Sir, — My  rule  is  not  to  subscribe  to  publications ;  for  the 
solicitations  to  a  Bishop  are  endless;  but  your  design  is  original  and 
important,  and  I  beg  leave  to  give  my  name  as  a  subscriber." 

5.  From  a  Lady.     "5th  March,  1840. 

"  P.  S.  As  an  Elocutionist  and  French  Translatress,  I  must  con- 
trive  to  see  the  Phonarthron,   which,  I  imagine,    must  prove  of  the 

highest  utility  to  all  linguists." 

6.  From  a  correspondent  of  the  author's  mother. 

"  Cossey,  Norwich,  3rd  October,  1829. 
"  My  dear  Madam, — 1  am  much  obliged  by  your  sending  me  the 
prospectus  of  your  son's  projected  work.  It  is  upon  a  subject  of 
the  utmost  importance  to  Rhetorical  science  ;  and  if  he  achieve  any- 
thing approaching  to  fixing  a  standard,  by  which  the  inappreciable 
sounds  of  speech  can  be  examined,  he  will  have  done  an  immense 
service  to  every  species  of  Oratory.  I  beg  him  to  place  my  name  upon 
the  list  of  subscribers." 

7.  From  another.     "  London,  6th  July,  1 840. 

"  Dear  Madam, — I  beg  to  be  permitted  to  add  my  name  to  your 
son's  list  of  subscribers.  I  am  glad  he  has  made  up  his  mind  to  publish 
by  subscription,  as  the  safest  way  for  his  pocket;  for  his  subject, 
though  highly  ingenious,  might  not  interest  the  many,  who  are  too 
fond  of  light  reading,  such  as  novels,  or  worse  trash  still  provided  by 
Boz  and  Co." 


VIU  ADVERTISEMENT. 

8.  From  another,  lately  M.  P.     "  London,  20th  May,  1840. 
"  When  your  son  was  in  town,  I  begged  him  to  put  my  name  down 

as  a  subscriber  to  his  book.  I  wish  I  could  procure  him  as  many  sub- 
scribers as  may  be  required  to  make  it  a  source  of  profit." 

9.  From  another. 

"Much  Hadham,  near  Ware,  Herts.  2nd  Aug.  1840. 
"  Madam, — I  shall  be  glad  if  you  will  order  your  son's  work,  called 
the  Phonarthron,  to  be  sent  to  me  when  published.  It  is  on  a  subject 
(the  Philosophy  of  Language),  which  has  long  been  a  favourite  pursuit 
of  my  own  leisure.  Should  Mr.  Henslowe's  invention  answer  his  ex- 
pectations, it  would  no  doubt  tend  to  banish  some  of  that  empiricism, 
which  has  more  or  less  clogged  every  science,  and  none  perhaps  more 
than  the  science  of  language." 

=:The  following  is  extracted  from  a  little  Pamphlet,  entitled  "  Phone- 
graphy,  or  Writing  of  Sounds."  V.  D.  S.  London.  Effingham  Wilson, 
1839. 

"  The  Greek  language  is  now  no  more,  and  its  letters  are  almost 
forgotten.  The  Roman  letters,  adopted  by  most  European  nations  to 
write  their  languages,  might  have  suited  the  Latins  two  thousand  years 
ago ;  but  with  regard  to  our  own  present  sounds  ^,  they  are  so  deficient 
and  ill-contrived,  that  no  human  brain  can  account  for  their  numerous 
and  contradictory  acceptation  ;  not  only  amongst  various  nations  who 
have  adopted  them,  but  in  the  same  language,  and  even  in  the  same 
word  (as  so  happily  exemplified  in  those  fascinating  spelling-books, 
with  which  we  open  the  understanding  of  our  children).  So  far  is  the 
writing  of  sounds  gone  from  its  primitive  simplicity." 

zrThe  Phonarthron  may  be  considered  as  setting  forth  an  Uni- 

»  Not  "sounds,"  but  letters. — W.  H.  H. 


ADVERTISEMENT. 


IX 


VERSAL  Alphabet,  because  it  is  available  for  all  the  purposes  of  an 
Universal  Alphabet :  but  it  is  also  much  more  than  this  ;  it  exhibits 

I.  The  natural  totality,  or  definite  number  of  the  simple  sounds  of 
speech,  never  before  defined. 

II.  The  natural  arrangement,  precise  order,  system,  or  relation  co- 
existing between  the  sounds  of  speech. 

III.  The  natural  rules,  laws,  or  causes,  whereby  they  multiply  and 
vary. 

IV.  The  practical  utility  of  a  knowledge  of  these  particulars,  with 
reference  to  the  pronunciation  and  orthography  of  every  language. 

V.  The  like  utility  with  reference  to  the  Phonodion  (i.  e.  Song- 
Sound),  or  the  Elements  of  Music. 

VI.  And  finally — the  like  utility,  with  reference  to  the  Phon- 
ARiTHMON  (i.  e.  Arithmetical  Nomenclature),  or  the  Universal  Names 
of  Numbers. 


\J          — 

\^          — 

\y          — 

w           — 

v^           — 

1 

f 

f 

f 

f 

Go 

forth. 

my 

Book! 

Go 

•pliatli, 

mi 

Bud 

The  friend - 

ly 

Fo     - 

D^^ 

phrend- 

li 

Phf^r 

dry 

rot 

— 

drai 

rr^-t 

.— 

And, 

though  a 

pre     - 

'And 

5  dho 

a 

prez   - 

Thou   shalt 

be 

scru   - 

Dhau  shdlt 

hi 

scru    ' 

un 

-  born  ! 

In 

-  br^n  ! 

If      Eng  -  land     hail  thee  not, 

'Iph     'Iti    -  gland  hil       dhi  ntrt, 

reign-er       will      save  thee  from 

u  vil        sibh  dhi  phrrrm 


en 


sent  Age      thy       au 
ent    Edzh     dhai     a 


thor  scorn, 

thd'  scn-n, 

ti  -  niz'd     by       Be  -     ings      yet 

ti  -  naizd    bai       Bi  -     ir]Z  jet 


Go  forth,  my  Book ! — if  England  hail  thee  not. 
The  friendly  Foreigner  will  save  thee  from  dry  rot 
And  though  a  present  Age  thy  author  scorn. 
Thou  shalt  be  scrutinized  by  Beings  yet  unborn  ! 


I^cnslotoe. 


INDEX   OF   CONTENTS. 


THE    PHONARTHRON,    OR    NATURAL    SYSTEM    OF    THE    SOUNDS    OF 

SPEECH. 

PAGE 

The  Phonarthron  Symbol,  &c. 1 

Explanation  of  the  Phonarthron  Symbol,  &c 3 

The  Phonarthron  Tablet  in  the  Alphabetic  Character .— 7 

Explanation  of  the  Phonarthron  Tablet 9 

The  Anglicised  Latin  Terms,  used  in  the  Tablet,  explained  by  their  derivations  .  1 3 
Examples  and  Explanations  of  all  the  (Seventy-two)  particular  Speech-sounds,  in 

Four  Tables 15 

Application  of  the  Phonarthron  Test  to  the  Hebrew,  Greek,  and  Latin  Alphabets  24 
Notions  and  Definitions  relating  to  the  Sounds  of  Speech   25 

THE    PHONARITHMON,    OR    UNIVERSAL    NAMES    OF    NUMBERS. 

The  Phonarithmon,  or  Universal  Names  of  Numbers    , 33 

An  Imaginary  Analysis  of  the  Numeral  Figures    35 

THE    PHONODION,    OR    ELEMENTS    OF    MUSIC. 

Advertisement 39 

The  Music-Coil,  &c 41 

On  the  Names  of  the  Musical  Tones 43 

On  Music,  Melody,  and  Harmony 45 

On  the  Notation  of  Music 49 

The  Phonorlion  New  Method  of  Notation,  &c 50 

The  Phonodion  Piano-Forte,  and  the  common  Piano-Forte  Keyboards,  compared  51 
The  Phonodion  New  Method  of  Notation,  and  the  common  or  present  method, 

compared 53 

The  Royal  Anthem  in  the  Phonodion,  and  in  the  common,  style  of  Music,  com- 
pared   54 

A  Melody  for  the  Phonodion-Harmonicon 66 


THE 

PHONARTHRON 


SYMBOL, &c 


PHOA//IRTHRON  OR  SPEECHSOUAfD 


— 

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n 

/#r 

O 

▼ 

^ 

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£SS£A/r/AL 


SUBST/IAfrML 


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3 

iw 

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rv 

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PULMONAL 


JTiM^e.  JEyt^TU^TV  SfTTiJbolzc  Ch/:tTajCders  r^7-&3en/:^  (Ae  et^Tueen.  d^.m^7z6cuy  sonrtd^ 
of  cspe^cTv,  wTcuJi-  cu^e  also  d.C(Si^ruU%^  'by  ih^  TTvore  Jhrrvcluir  arbi^oTy  charac^rs 

rH£    LATfN    ALPM/IB£r/C    CM/IRACTER. 


A 

1 

n 

C 

R 

o 

1 

L 

u 

71 

N 

M 

C 

T 

P 

J 

S 

V 

A 

1 

n 

E 

R 

o 

I 

L 

u 

THE  /TAL/C  ALPNABET/C  CHARACTER. 


A 

0 

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£ 

B 

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I. 

Cr 

r% 

jr 

M 

c 

T 

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S 

V 

27i^  ^LpTuz^et  'd&fjn^  de/LCz^rLt  vn.  tn^rts,  letters,  ar  cTtajrcccders,  ^r  d^i^^e^  of  t^.^ 


IL 


EXPLANATION   OF   THE   PHONARTHRON,    SYMBOL, 

&c. 


izThe  word  "  Phonarthron"  is  a  compound  derivative  of  the  two  Greek 
words  ^wvri  and  ApOpov. 

^(ovri  signifies  in  Latin — vox,  sonus,  verbum,  dictum ;  and  in  Eng- 
lish— a  voice,  sound,  noise,  a  word,  an  utterance. 

ApOpov  signifies  in  Latin — artus,  articulus,  articulus  vocis ;  and  in 
English — a  limb  or  joint,  an  article,  a  speech-utterance :  whence  the 
verb  Ap9po(t)i  which  signifies,  in  Latin,  fingo,  formo,  articulo;  and,  in 
English,  to  fix  or  fit,  to  shape,  to  articulate. 

By  the  word  "  Phonarthron,"  therefore,  is  to  be  understood  "  speech- 
sound  ;"  that  is,  generally^  the  doctrine  or  knowledge  of  the  rudiments 
of  articulate  speech ;  and,  specifically,  the  definite  system  of  the  sounds 
of  speech,  as  represented  summarily  by  the  Symbol  and  symbolic  cha- 
racters, and  largely  by  the  Phonarthron  Tablet,  hereafter  following. 

Note.  That  the  Symbol  of  Nine  (or  Eighteen)  is  a  summary  of  the 
tablet  of  seventy-two  (or  9x2x2x2  =  72) ;  and  that  the  tablet  is 
an  expansion,  or  explication  of  the  symbol. 

rzThe  Phonarthron  "  Symbol"  contains  the  nine  geometric  elements  of 
form,  shape,  or  figure ;  namely, 


4  EXPLANATION    OF    THE    PHONARTHRON,    SYMBOL,    8iC. 

(1.)  The  three  general  varieties  of  the  angle,  which  are  usually 
distinguished  as  obtuse,  right,  and  acute  angles. 

(2.)  The  three  general  varieties  of  a  straight  line  progression, 
which  are  rectilinear,  curvilinear,  and  angular.     And, 

(3.)  The  three  general  varieties  of  the  curve,  which  are  all  together 
illustrated  and  combined  in  the  superficies  of  a  solid  oval,  or  figure  of 
an  egg. 

Kow  these  nine  elements  of  form,  shape,  or  figure,  of  material  bodies, 
represent  severally  the  nine  elementary  formations  and  articulations  of 
the  organs  of  human  speech  : 

(1.)  The  three  varieties  of  the  angle  represent  three  corresponding 
formations  and  articulations  of  the  palate. 

(2.)  The  three  varieties  of  a  straight  line  progression  represent 
three  corresponding  formations  and  articulations  of  the  tongue.    And, 

(3.)  The  three  varieties  of  the  curve  represent  three  corresponding 
formations  and  articulations  proper  to  the  lip.  So  that  the  angle, 
the  straight  line,  and  the  curve,  represent  respectively  those  three 
organs  of  speech,  the  palate,  the  tongue,  and  the  lip  ;  and  the 
angular,  linear,  and  curvilinear  varieties  of  form,  shape,  or  figure, 
represent  respectively  the  palatal,  lingual,  and  labial  varieties  of  the 
elementary  sounds  of  speech.  It  is  also  to  be  noted,  that  these 
elements  of  form  (or  the  symbolic  characters)  represent  the  elements 
of  speech,  not  arbitrarily,  but  imitatively,  or  by  analogy ;  being  that, 
the  elements  of  speech  are  effected  or  performed  by  the  organs  of  speech 
previously  assuming  or  performing  the  elementary  shapes,  in  order  to 
produce  the  sounds, 

=  The  sound  of  bodies  is  an  intimation  of  their  essence;  which  essence 
comprises  both  a  surface  and  a  substance  ^ :  so  that,  if  any  material  body 
(or  bodies)  be  struck,  there  ensues  a  double  result  in  sound ;  namely, 

1  "The  earth  was  without  form,  and  void"  [See  Moses,  Gen.  ch.  i.  ver.  2]  :  that  is,  had 


EXPLANATION    OF    THE    PHONARTHRON,    SYMBOL,    &C.  5 

tliat  of  the  external  superficial  contact,  and  that  of  the  internal  sub- 
stantial vibration. 

The  case  is  parallel  in  human  speech  ',  which  is  a  faculty  in  man 
imitative  of  the  outward  originals  in  nature  concerning  which  he  dis- 
courses; so  that  the  nine  elementary  characters  in  the  Phonarthron 
Symbol  represent  at  once  this  twofold  fact  of  52«Z>stantial  and  super?[c\d\ 
sound;  and  so,  that  there  are,  in  reality,  eighteen  distinct  original 
utterances ;  to  wit,  nine  and  nine  of  either  kind,  which  therefore  are 
accordingly  distinguished  by  their  respective  denominations,  and  by 
their  respective  characters  beneath  the  Symbol,  the  comprehensive 
Symbol  of  Nine. 

The  sounds  of  speech  which  correspond,  or  compare,  with  the  super- 

Jicial  contact  of  bodies,  are  those  which  originate  in  the  mouth,  and 

are  thence  called  orals  ;  and  the  sounds  of  speech  which  correspond, 

or  compare,  with  the  substantial  vibration  of  bodies,  originate  in  the 

LUNGS,  and  are  therefore  called  pulm5nals  \ 

neither  shapeful  surface,  nor  material  substance,  until  the  generating  Spirit  of  the  Deity 
brooded  his  mighty  project  of  creation  in  the  stillness  and  darkness  of  nothing. 

1  "  A  consonant  cannot  be  sounded  without  a  vowel." — See  the  Eton  Latin  Grammar, 
page  1. 


B  2 


m. 


THE      PHONARTHRON    TABLET 


PULMOAfALS. 


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PULMO/VALS 


OPALS. 


Vei^i  -TabrwTzals 

0nZtil?rjj>7iaZj 

TldJnJO?^  -  Orcds 

Vert  -  OraLs. 

TaZ. 

ZtTV. 

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FaZ. 

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SO/VALS 


yOCALS.                                1 

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' 

A. a. 
I.  i: 

7t.  r 
Z.I 

O.  o 

iz.  ^ 

A.€L 
I.T 

J.  d- 
Jt.r 
X.  I 

Zl..i^ 

0.  6^ 

IT.  Uy 

zv:7i 

J).cC 
Z.  X 

jzr.^z 

S.b 

C.  c 

T.  e 

P.p 

F&rv-H^InhormZs 

Ori  -Z*vdnvo7zaZs 

F'uZ?n^7V  -  OraZs 

VerC  -  OraZs. 

eh. 

Ik. 

rZ. 

o-ky 
oh. 

ZT.Tv 

nZo 
dZ. 
zZ. 

TnJry 

cZ. 

Azo 

tZi. 

shy 

mJu 

pZy 

en 

/^ 

/iL/n 

^LS, 

sp//?/r/i. 

LS. 

SUHALS. 


IV. 


EXPLANATION  OF  THE  PHONARTHRON  TABLET. 


[first  division.] 

L  There  are  two  primary  means,  or  organs  of  speech,  namely,  the 
LUNGS  and  the  mouth;  whence  the  utterances  originating  in  each  are 
respectively  called  pulmonal  and  oral,  and  correspond  with  the  usual 
but  inadequate  and  indeterminate  denominations  vowel  and  con- 
sonant. 

2.  There  are  three  absolutely  necessary,  and  only  necessarily  nomi- 
nal organs  contained  in  the  mouth,  which  both  generate  the  orals,  and 
modulate  the  pulmonals,  namely,  the  palate,  the  tongue,  and  the 
lip;  w^hence  the  several  enunciations  proper  to  each  are  cdXledi palatal, 
lingual,  labial.  The  natural  coadjutor  of  the  palate  is  the  thick  or 
throatward  part  of  the  tongue;  the  natural  coadjutor  of  the  tongue  is 
the  teethwdrd  or  fore  part  of  the  palate;  and  the  natural  coadjutor  of 
the  lip  is  the  other  lip.  Hence  the  terms  guttural,  dental,  nasal,  &c. 
which  terms  are  often  mentioned  by  grammarians  and  philologists,  are 
improper  and  incorrect,  if  used  to  designate  original  and  natural 
sounds,  there  being  none  such ;  but  only  the  original  sounds  (palatal, 
lingual,  labial)  may  be  affected,  and  the  natural  sounds  (p.  1.  1.)  may  be 
imitated,  by  the  parts  adjacent  to  the  specific  organs  :  thus,  the  lingual 
R.  r.  is  imitated  in  the  French  Parisian  dialect  by  the  uvula,  and  the 
Parisian  French  are  therefore  said  grasseyer,  parler  gras,  that  is,  "  to 


10 


EXPLANATION    OF    THE    PHONARTHRON    TABLET. 


speak  thick."  And  thus  also  the  final  N.  n.  and  M.  m.,  in  French, 
are  affected  nasally,  or  by  the  nose.  And  thus  further,  the  labial  F.  f. 
(z.  e.  Ph.ph.  in  the  Phonarthron  Tablet),  which  is  truly  and  naturally 
enounced  by  the  modern  Greeks,  is  affected  and  partially  imitated  by 
the  teeth,  in  the  generality  of  European  languages. 

3.  Each  of  the  three  oral  organs  (palate,  tongue,  lip)  modulates  and 
generates  its  several  utterances  by  a  graduated  scale  of  three  degrees 
oral,  and  three  degrees  pulmonal ;  or  of  six  degrees  seriatim,  from  the 
extreme  pulmonal  to  the  extreme  oral :  thus — 


1 

2      . 

fi 

4 

5     . 

6 

A 

3 

B 

.     R 
.     0 

I 

,    .,         T     - 

C 

T    . 
P    . 

J3 
N 
M 

.     L 

s 

U 

V 

which  degrees  are  therefore  called  major,  mediate,  and  minor,  because 
each  of  the  two  kinds,  or  primary  powers  (pulmonal  and  oral)  of 
speech-sound  expresses  more  of  its  own  proper  character  in  the  major 
degree,  and  less  in  the  minor  degree,  than  in  the  mediate  or  middle 
degree.  This  is,  in  a  manner,  represented  in  the  circular  portion  of 
the  first  division  of  the  Phonarthron  Tablet,  where  the  respective  major 
degrees  occupy  the  outer  circle,  the  minor  degrees  the  inner  circle,  and 
the  mediate  degrees  the  middle  circle. 


[second  divlsion.] 

1.   By  a  generally  reciprocal  influence  of   the  pulm5nal  and  oral 
powers  upon  the  utterances  of  each  other,  there  results  a  new  (double) 


EXPLANATION    OF    THE    PHONARTHRON    TABLET 


11 


set  of  sounds,  thus  varying  from  their  originals,  and  as  specified  by 
their  names  in  the  second  division  of  the  tablet :  thus — 

The  veri-pulmonals  are  the  natural,  original,  most  perfect  pul- 
monals. 

The  ori-pulmonals  are  contracted  or  acuted  by  the  oral  power. 

The  veri-orals  are  the  natural,  simple,  most  pure  orals.     And, 

The  pulmon-orals  are  affected  or  imbued  with  pulmonal  sound. 

Note.  That  the  veri-pulm5nal  and  ori-pulmonal  varieties  have  been 
usually  distinguished  as  "  vowels"  grave  and  acute  ;  and  that  the  veri- 
oral  and  pulmon-oral  varieties  have  been  usually  distinguished  as 
"  consonants"  pure  and  impure. 

2.  The  degree,  or  extent  of  the  reciprocal  influence  is  indefinite, 
and  not  always  equally  discernible ;  on  which  account,  although  they 
are  sufficiently  distinguished  by  the  marks  ( '  and  ' )  placed  over  letters; 
yet,  in  order  to  determine  accurately  the  comparative  variations  of  dif- 
ferent mouths,  dialects,  and  languages,  such  compounds  of  them  as  the 
following  may  be  used. 


Veri-Pulmonal  =  Grave. 
Pulmon-Oral  =  Impure. 

Veri-Oral  =  Pure. 
Ori-Pulmonal  =  Acute. 

More  Grave, 

or 
More  Impure. 

Grave, 

or 
Impure. 

Less  Grave, 

or 
Less  Impure. 

Less  Pure, 

or 
Less  Acute. 

Pure, 

or 
Acute. 

More  Pure 

or 

More  Acute. 

2^ 

^ 

VJ 

\^ 

^ 

^ 

Note.  That  the  French  make  three  or  four  distinct  sounds  of  E.  e., 
independently  of  the  e  muet^  or  mute  (which  is  a-,  or  a^/i,  or  '  )  ;  namely, 
the  eferme^  the  e  ouvert^  the  e"  tres-ouvert  (and  the  e  moyen?). 

Note.  That  such  letters  as  the  alphabet  affords  (g.  d.  b.  z.)  to  denote 
the  reciprocal  influence,  are  inserted  in  the  tablet,  instead  of  the  punc- 
tual signs  or  marks  being  placed  over  the  original  letters  (c.  t.  p.  s.),  as 

5 


12  EXPLANATION    OF    THE     PHONARTHRON    TABLET. 

is  necessarily  the  case   with   those  sounds   which    have   no  such   dis- 
tinguishing alphabetic  letters. 

[third    DIVISION.] 

Each  of  the  two  primary  means,  or  organs  of  speech,  hath  two  pecu- 
liar properties  or  powers  ;  namely,  those  of  the  lungs,  voice  and  hreath  ; 
and  those  of  the  mouth,  articulation  and  configuration  :  hence — 


1.  The  several  modulations  of  the  voice  are  called  Vocals, 

2.  The  several  modulations  of  the  breath  wee  called  Halitals, 

3.  The  characteristic  articulations  are  called  Ictals, 

4.  The  characteristic  configurations  are  called  Spiritals, 


Pulmonals-Sonal. 
Pulmonals-Sural. 
Orals- Sonal. 
Orals-Sural. 


Note.  That  when  a  person  whispers^  the  vocals  become  halitals. 

Note,  also,  That  the  spiritals  are  what  have  been  usually  called 
aspirates,  or  aspirated  consonants. 

Note,  further,  That  although  the  halitals  and  spiritals  (that  is,  the 
whisperings  and  aspirates)  are  represented  in  the  Phonarthron  Tablet 
by  adding  the  letter  H.  h.  to  each  of  the  corresponding  vocal  and  ictal 
[that  is,  sonal]  letters ;  it  is  not  because  [or  therefore]  the  halitals  and 
spiritals  [that  is,  surals]  are  not  themselves  really  simple  and  single 
sounds,  but  only  because  it  is  more  convenient  and  agreeable  to  the 
old  practice  of  denoting  the  spiritals,  albeit  under  the  mistaken  notion 
of  their  being  aspirated  consonants,  or  sounds  compounded  of  sonal 
consonants  and  the  particular  spirital  H.  /z.,  which  indeed  is  not  the 
case. 


13 


THE  ANGLICISED  LATIN  TERMS, 

USED    IN    THE    PHONARTHRON    TABLET,    EXPLAINED    BY    THEIR 
DERIVATIONS. 


Anglicised  Names. 

Latin  Words. 

English  Meanings. 

Pulm5nal 

Pulmo-nes 

The  lungs 

Oral 

Os,  Oris 

The  mouth 

Palatal 

Palatus 

The  palate 

Lingual 

Lingua 

The  tongue 

Labial 

Labium 

The  lip 

Major 

Major 

The  greater 

Mediate 

Medius 

The  middle 

Minor 

Minor 

The  less 

Vocal,  or 

Voco 

I  call 

Vowel 

Vox 

The  voice 

Halal,  or 

Halo 

1  breathe 

Halital 

Halitus 

The  breath 

Ictal,  or 

Ico 

I  strike 

Consonant 

Ictus 

A  stroke,  or  blow 

Spirital,  or 

Spiro 

I  blow 

Aspirate 

Spiritus 

A  blast,  or  wind 

Sonal,  or 

Sono 

I  sound,  or  ring 

Sonant 

Sonus 

A  sound,  or  noise 

Sural,  or 

Susurro 

I  whisper,  speak  softly 

Susurral 

Susurrus 

A  still  soft  noise 

Veri- 

Verus 

Very,  real,  true.       1 

EXAMPLES  AND  EXPLANATIONS 


THE  (SEVENTY-TWO)  PARTICULAR  SPEECH-SOUNDS, 


FOUR  TABLES. 


16 


EXAMPLES      AND 

FIRST 

The  Vocals i  or 


VERT-PULMONAL. 

A 

(1) 

a       zn  a,  in  English,  bar,  path,fa-ther 
■=.  a,  in  French,  has^  part,  ca-ble 

E 

e       =z:  e,  in  English,  pear,  great,  weight 
r=  e,  in  French,  pere,  grete,fete 
—  n,  He,  in  Hebrew ;  H,  t].  Eta,  in  Greek 

I 

i      zz  i,  in  English,  grief,  mien,  shield 
=  i,  in  French,  crime,  gite,  cerise 

3 

9-       =:  or,  in  English,  e(;or6f.     =  z^r,  in  murder 
zz  oeu,  in  French,  c^xwr.     =:  eu,  in  crewse 
=1  er,  in  English,  herd,  servant 

n 

(2) 

r       r=  r,  in  English,  drum,  grey,  ogre 
■=L  r,  in  French,  hrun,  groupe,  ordre 

(2) 

Z       zz  /,  in  English,  ^/ooc?,  glade,  Bible 
—  Z,  in  French,  blond,  gland,  Bible 

■     -    S      T  nmo/J     in     f-ToKroMiz  •     cinri     A       a        T  nvnTirln     in   l-rroot 

Jl 

^      =3  a,  in  English,  ward,  ball,  fall 
=  0,  in  French,  mort,  corps,  vjoix 
=  0,  in  English,  Twore,  core,  lore 

0 

0       -=.  o,\w  English,  hope,  rose,  gold 
—  0,  in  French,  tome,  rose,  rosier 
•=.  Qi,  (i).  Omega,  in  Greek 

U 

(3) 

u       =z  u,in  English,  truth, plume, flute 

zz  &u,  in  French,  rouler,  croute,  pelouse 
—  1,  Vau,  in  Hebrew.  —  s,  in  Greek 

(1)  When  the  sign is  thus  elongated  towards  the  capital  letter,  it  intimates  that 

acute  {'),  ox  pure :  that  is,  between  the  Veri-Pulmonal  and  Ori-Pulmonal  sounds,  or  between 
Tablet,  Second  Division, 

(2)  Neither  the  English  nor  French  pronounce  the   R.  r.  final,  nor   do   the   French 
them  both  as  halitals  ;  and  the  English  pronounce  ^  instead  of  r  ;  thus — 

ogre,  ochre        "^  f  in  English, 


The  several  J 

examples     |  „.7,  ',       \ 
\_  Bible,  boucle 


ordre,  centre,     >   are  really  and  usually  pronounced,   <  in  French, 


in  French, 


EXPLANATIONS. 

TABLE. 

Pulmonals-Sonal. 


17 


A 


R 


Jl 


O 


ORI-PULMONAL. 


a,  in  English,  ba^,  barrel,  happy 
flj  in  French,  bagae,  baril,  ami. 


e,  in  English,  net,  debt,  weh 
e,  in  French,  nette,  dette,  messe 
E,  £,  Epsilon,  in  Greek. 


2,  in  English,  link,  risk,  bliss 
z,  in  French,  lien,  registre,  ami. 


0,  in  English,  love.   z=.  u,  in  cup 
eu,  in  French,  j'^w.   •=!  u,  in  parfum 
e,  in  French,  Je,  me,  Ze,  se,  te,  &c. 


=  r,  in  English,  trim,  prince,  ochre 
zz  r,  in  French,  jore,  crSme,  centre. 


zz  I,  in  English,  plum,  dag,  purple 
m  7,  in  French,  plan,  clef,  boucle. 


zz  a,  in  English,  wan,  watch,  swan 
zz  a,  in  French,  banc,  sang,  plan 
zz  0,  in  English,  dog,  flock,  top. 


zz  0,  in  English,  obey,  Deuteronomy 
=  0,  in  French,  somme,  notte,  noble 
=.  O,  o,  Omicron,  in  Greek. 


U  \\    u       zz  M,  in  English,  bull,  pully,  bushy 

zz  ou,  in  French,  boule,  boulet,  poulet 
zz  Y,  V,  Upsilon,  in  Greek. 


X 


there  is  no  distinguished  difference  between  the  grave  ( ' ),   or  impure  varieties,  and  the 
the  Veri-Oral  and  the  Pulmon-Oral  sounds.     See  the  explanation  of  the  Phonarthron 

pronounce  the  L.  1.  final,  as  they  ought,  or  as  they  intend  to  do,  hut  the  French  pronounce 


not  og-r,  och-r,      but  og-^,  och-^, 
not  ord-r,  cent-i",  but  ord 
not  Bib-1,  bouc-1,  but  Bib 


^,  och-^,  "^ 

-rh,  cent-rh,        > 
\-lh,  ho\xc-llh      J 


which  peculiarity  in  French  is  further 
remarked  upon  under  Rh,  Lh.  See 
the  next  Table. 


18 


EXAMPLES     AND 

SECOND 

The  Halitals,  or 


&h       &.k   I  This  sound  is  described  in  French  as       -         -         -         - 

In  Hebrew  it  is  designated  by  the  vowel  point  ( : )  Slieva  ;  and  in  Greek 
able  to  that  element  of  Grammar  which  teaches  that  "  a  consonant  cannot  be 
word  ending  with  a  consonant,  and  to  -precede  if  it  legins  with  one.    It  is  the 


veri-pulm5nal. 

All 

ah 

See  the  Explanation  of  the  Phonarthron  Tablet,  Third  Division. 

Eh 

ih 

See  the  Explanation  of  the  Phonarthron  Tablet,  Third  Division. 

Ih 

ih 

See  the  Explanation  of  the  Phonarthron  Tablet,  Third  Division. 

Bh 


rh   I  =:  re,  in  French,  cendre,  marbre,  aigre 

The  French,  in  common  with  other  languages,  erroneously  assuming  r  and 
preclude  the  vowel  or  pulmonal  sound,  which  being  impossible,  they  only 
by  the  Greek  P  {Rho)  and  ( '  )  spiritus  asper :   thus  'P,  expressed  in  Latin 


Lh 


Ih    I  zn  le,  in  French,  angle,  cable,  regie 

See  what  is  said  above,  under  Rh.    Moreover,  this  sound  is  also  designated 
French  it  is  mostly  final,  but  in  Welsh  initial,  ox  used  at  the  beginning  of 


J2h 


nrh 


See  the  Explanation  of  the  Phonarthron  Tablet,  Third  Division. 


Oh 


oh 


See  the  Explanation  of  the  Phonarthron  Tablet,  Third  Division. 


Uh 
(3) 


uh 


See  the  Explanation  of  the  Phonarthron  Tablet,  Third  Division. 


(3)  Independently  of  the  general  sounds  of  U,  and  its  relatives  Uh,  V,  Vh,  which  are 
chiefly  distinguishable  in  French,  and  which  are  effected  by  an  increased  and  extreme 
U .  u  :=:  u,  \n  the  French  words,  pure,  flute,  and  in  the  Suffolk 
V .  V  —  u,  in  the  French  words,  puis,  suite,  and  vh  ■=.  hu  in 
A  general  tendency  to  contract,  and  be  extremely  perspicuous,  is,  indeed,  characteristic  of 
English.  Still,  however,  these  sounds  are  more  than  slightly  varied  from  the  general 
has  been  already  noticed  in  the  "  Explanation  of  the  Phonarthron  Tablet,"  First  Division, 

5 


EXPLANATIONS.  19 

TABLE. 

Pulmonals-SuraL 


ORI-PULMONAL. 


AhW  ah 


See  as  opposite. 


Eh      eh 


See  as  opposite. 


Ih        ih 


See  as  opposite. 


Sh   II   d-h  I  "e  muef^  (or  mute  e). 

by  ( '  )  the  spiritus  lenis ;  if,  indeed,  that  figure  has  any  positive  power  at  all.  Agree- 
sounded  without  a  vowel,"  this  sound  appears  to  follow  the  enunciation  of  every 
most  ready  pulmonal  emission  of  breath,  as  its  vocal  is  of  voice. 


Rh  II  rh   \  ■=:  re,  in  French,  centi'e,  pourpre,  encre. 

I  to  be  consonants  (Orals)  not  vowels  (Pulmonals),  endeavotir  so  to  pronounce  as  to 
become  Halital  (or  Sural),  instead  of  Vocal  (or  Sonal).  This  sound  is  also  indicated 
thus,  Rh. 


Lh  II    Ih    I  =  le,  in  French,  oncle^  temple,  nefle. 

in  Welsh  by  LI.  11.,  being  only  more  strongly  uttered  than  in  French,  because  in 
syllables  and  words. 


J2h       o'h 


See  as  opposite. 


Oh      oh 


See  as  opposite. 


Uh      uh 


See  as  opposite. 


instanced  in  these  Four  Tables,  there  are  other  peculiar  variations,  or  imitations  of  them, 

contraction  of  the  mouth,  or  lips^  in  enouncing  them  :  thus — 

and  Norfolk  English  words,  two,  truth,  &c. 

the  French  words,  huit,  huee,  &c. 

French  pronunciation,  as  a  contrary  tendency  to  be  inexact  and  careless  is  characteristically 

sounds  ;  they  vary  so  much  as  to  be  distinct  sounds,  and  actual  imitations ;  agreeably  to  what 

with  reference  to  R.  F.  &c. 


20 

EXAMPLES      AND 

THIRD 

The  Orals-Sonal, 

PULMON-ORAL. 

J3 
(4) 

V 

=  n,  in  English,  an-ger^fin-ger 

-=.  ng,  in  English,  hang-er^  sing-er 

=.  the  first  y  in  Greek,  ^9oy-yog,  Ey-yvg 

G 

9 

=z  g,  in  English,  game,  hag,  trigger                                                    : 

=z  g,  in  French,  gand,  bagatelle 

:=.  T,  t,  y^  Gamma,  in  Greek                                                                  ' 

J 

J 

=:  z,  in  English,  view,  union 

—  i,  in  French,  vieux,  adieu                                                                \ 

—  i,  in  German,  jear,  jung;  and  in  English,  Hallelu-jah 
=r  y,  in  English,  year,  young  ;  and  in  French,  yeux,  yeuse 

N 

n 

=  n,  in  English,  blind,  window                                                         ,, 
=  n,  in  French,  canne-berge 

D 

d 

—  6?,  in  English,  danger,  ladder                                                  <>: 
z=  6?,  in  French,  danger,  rideau 

—  1,  Daleth,  in  Hebrew 
1=  A,  §,  Delta,  in  Greek 

Z 

z 

=1  2:,  in  English,  zone,  razor 

zz  z,  in  French,  zero,  zizanie 

—  2f,  Xi  Zade,  in  Hebrew ;  Z,  ^,  %eto,  in  Greek 

M 

m 

=  m,  in  English,  mind,  lame                                                         '4 
zz  m,  in  French,  mamelouc,  baume                                                   f 

B 

h 

=:  b,  in  English,  Z><2y,  rabbit 

z=.  b,  in  French,  bague,  rabbin 

=  B,  |3,  C,  ^e^«,  in  Greek                                                               1 

V 

V 

V 

=1  i^,  in  English,  dwarf,  dwindle 

zz  0,  in  French,  oie,  roi,  boi                                                              i 

:=  ou,  in  French,  o^^^,  owze 

(4)  The  oral  sounds  r],  n,  m,j,  v,  both  Sonal  and  Sural  (i.  e.  Ictal  and  Spirital)  have  no 
Pulmonal  sounds  r,  I,  any  perceptible  g7-ave  or  acute  (i.  e.  Veri-Pulmonal  and  Ori-Pulm5nal) 
sounds  remarkable  for   these   differences,   their  coalition  is  illustrated  by  the  examples 


EXPLANATIONS. 

TABLE. 

or  Ictals. 


21 


VERI-ORAL. 


J3 


=  72,  in  English,  rank,  an-chor 
zz  y,  in  Greek,  avay-Ki],  Xapu-y^. 


C 


c,  in  English,  c«we,  5«c^,  tobacco 

c,  in  French,  colere,  saccade 

p,  Koph,  in  Hebrew;  K,  k,  Kappa,  in  Greek. 


J 


e,  in  English, /ezfjj  petr,  Teutonic 
i,  in  French,  J?er,  joM,  szVc/e. 
>,  Jod,  in  Hebrew. 


2V  II   n 
3,  r,  iVw^z ; 


zn  n,  in  English,  plant,  plenty 
r=  w,  in  French,  canne-tille. 
in  Greek,  N,  v,  Nu. 


T        t 


t,  in  English,  taste,  battle 
t,  in  French,  tcte,  bateau 
to,  Te^A,  in  Hebrew 
T,  T,  %  Tau,  in  Greek. 


s 


5,  in  English,  sun,  glossy 

s,  in  French,  salut,  jeunesse 

D,  Samech,  in  Hebrew ;   S,  c?  Sigma,  in  Greek. 


Greek,  M, 


■=.  m,  in  English,  might,  champion 
z=  772,  in  French,  pomme,  pommette 
H,  Mu. 


P   II   p 


=  p,  in  English,  peace,  rapid 
=.  p,  in  French,  /?az>,  lapin 
=3  n,  TT,  -ra-j  Pi,  in  Greek. 


F       ?; 


rz  i^,  in  English,  ^t^zs^,  sweep 
n:  0,  in  French,  j^z,  poids 
z=:  ou,  in  French,  ^weif 
=r  7^,  in  English,  quince,  queen. 


perceptible  pure  and  impure  (i.  e.  Veri-Oral  and  Pulmon-Oral)  distinction  :  neitlier  have  the 
difference  in  themselves  ;  nevertheless,  inasmuch  as  they  coalesce  equally  with  all  the 
adduced,  and  their  differences,  if  existing,  are  thus  noted. 


22 


EXAMPLES      AND 

FOURTH 

The  Orals'Sural 


PULMON-ORAL. 

M 

7]h    —  7Z,  in  French,  langue,  plan                                                          i 
■=.  ng,  in  French,  long^  rang                                                               I 
=  ^,  ^ain,  in  Hebrew. 

Gh 
(5) 

gh      —  gh^  as  anciently  used  in  English,  lights  night,  ghost                i 
=:  J,  Gimel,  in  Hebrew 
=  F,  the  ancient  Greek  Digamma, 

H 

h      =.  h,  in  English,  Hero,  Hungary                                                    '% 
=  ^,  in  French,  Heros,  Hongroie                                                   i 
n,  Heth,  in  Hebrew,  and  the  Greek  (    )  irv^vfxa  Sao-i>, 

Nh 

nh   \  =L  n,m  French,  monde,  gronder 
■=.  nd,  in  French,  gand,  gland 

Dh 

dh      —  th,  in  English,  ^^Aer,  breathe                                                       J 
—  D,  ^,  in  Anglo-Saxon                                                                  ' 
=  *7,  Daleth,  in  Hebrew. 

Zh 

zh      =.  z,  in  English,  azure,   zz  s,  in  pleasure                                      .[ 
=  g,  in  French,  gelee,     =  J,  mjaloux 
—  r,  2/iazw,  in  Hebrew. 

Mh 

mh     —  m,  in  French,  hombe,  bombarde 
:=.  mb,  in  French,  chambre,  plomb 

in,  m  r  rencn,  unaaui,  essaim,  nom,  parjum. 

Bh 

bh      z=.  V,  in  English,  veil,  wave                                                         ^n*^ 
=r  V,  in  French,  voile,  laver 
—  n,  Beth,  in  Hebrew. 

Vh 

i;/i 

=  wh,  in  English,  whale,  wherry 
hou,  in  French,  houari 

(5)  This  letter  [F]  and  sound  [g/«]  have,  in  the  accidents  of  language,  eventually  assumed 
Roman  alphabet,  F,  f,  whose  nominal  and  usual  sound  is  ph.  And  the  sound  gh,  which,  in 
quiescent f  as  in  light,  night,  sight,  bough,  plough ;  is  also,  in  many  others,  become  ph,  as  in 


I 


EXPLANATIONS.  23 

TABLE. 

or  Spiritals. 


VERI-ORAL. 


^h  II    7]h  \  ^z  riy  in  French,  hanque,Jin 
=.  nc,  in  French,  banc,  tronc. 


Ch  Y^  cli    I  =  ch,  in   German,   licht,   nacht,  and  as  anciently  pro- 
nounced in  English,  yacht 
—  D,  Caph,  in  Hebrew ;  X,  Xj  C'/iz,  in  Greek. 


Zf  II   ^     I  13  ^,  in  English,  hate,  hatchet 

=  h,  in  French,  hache,  hachette. 
spiritus  asper. 


Nh  II   7z/z  I  n:  w,  in  French,  tente,  tenter 
=.  nt,  in  French,  chant,  dent, 
hrun,  jeun. 


Th  II    til   I  =  th,  in  English,  author,  hreath 
zz:  p,  p,  in  Anglo-Saxon 
13  n,  Tom,  in  Hebrew ;  0,  Q,  Theta,  in  Greek. 


Sh  II   5A   I  it:  5^,  in  English,  sAzp,  marshy,  wash 
■=z  ch,  in  French,  chand,piche,  riche 
■=.  W,  Shin,  in  Hebrew. 


Mh  \\  m     I  z:  m,  in  French, pompe,  tempite 
=:  mp,  in  French,  champ,  temps. 


Ph  II  ph  I  —  /?^5  in  English, /?^a^^^o?7^.  "=■  f,  mfame 

zz  ph,  in  French,  phrase.       ^=:  f,m  fantaisie 
(5)  =  Dj  Pe,  or  PAe,  in  Hebrew. 


Vh  II   z;/i  I  zz  wh,  in  English,  wheat,  whistle 

■=.  hou,  in  French,  houache,  or  hounge. 


the  power  of  joA ;  thus,  the  ancient  Greek  sign  F  (g'O  has  become  the  sixth  letter  of  the 
some  English  words,  has  become  g,  as  in  ghost,  gherldn ;  and  in  others,  is  entirely 
cough,  trough,  rough,  enough,  laugh. 

D  2 


24 
APPLICATION  OF  THE  PHONARTHRON  TEST 

TO    THE 

HEBREW,  GREEK,  &  LATIN  ALPHABETS. 


22    21    20    19    18 

HEBREW. 
17    16    15    14    13    12    11    10     9     8     7     6     5     4     3     2     I 

■n     -[2/     1     p      -^ 

QyDsobD^tanTinTanK 

Sonals. 


^ 

Vocals. 

Ictals.                             -^ 

"^^---.^^^                     ^ 

!  •  1   •  1  ■ 

.       1       D       1       0 

X 

p       1      -J       1       . 

K       1        .        f       . 

•  Ml- 

•       1      CJ      1       . 

n     1     n     1      . 

Pulmon-Orals. 

Veri- Orals. 

M     ^     1     ^ 

!     •     1     •     I     • 

y    1     .     1     . 
D     1    n     1     3 

\^ 

i     .    1    T    1    n 

1     •     1     M     • 

n     1    li-     1     . 

^ 

Halitals. 

i                           SP^^; 

tals.                          ~^' 

Surals. 


GREEK. 
A.B.r.A.E.Z.H.e.I.K.A.M.N.^Hj.O.n.P.S.T.Y 


X  .  ^  .  O 


a  .^  .y  .  ^  .  t  .1  .  1] 

.    0.    t.  K    .    X    .    /* 

V    .    1    .    O  .    TT  .  p    . 

G   .   T  .   V  .    <p    .  ■y^    . 

ip  .  (t) 

A.a| 1 

1  1  

. 1  

\^.v  \M.fji 

H.  J?  1  P.  p  1  O.w 

E  .£  1 ^1  0  .0 

r.  y     A.5  |B./3 

K  .  /c  1  T  .  r  1  n  .  TT 

-a 

I.  t|A.X|(l).8 

1  — |Y.« 

|z.?i 

is.cl- 

Veri-Pulm5nals. 

Ori-Pulmonals. 

1        r 

Pulmon-Orals. 

Veri -Orals. 

o 
3 

1— 1 

1            1 

1            1 

1            1 

pL, 

1         1 

1            1            i 

1            1 

• ( 1 

1- — 1 

F.(2)| 1 

x.x\o.e\^.<p 

1 1 

1 1 

1 1 

(3)."  1 I 

^ , 

_, 

LATIN. 
A.B.C.D.E.F.G.H.I.J.K.L.M.N.O.P.Q.R.S.T.U.V.X.Y.Z 


.b.c.d.e.f.g.h.i.j.k.l 


p.  q 


t  .  u  .  V  .  X  .  y  .  z 


A.a| 1 

—  1— 1  — 

1 1 

|N  .n|M.m 

E.e  iR.rjO.  o 

1 1 

G.glD.d]  B.b 

C  .c|  T.  t  1  P.p 

'cC 

I.  ifL  .1  [U.u 

—  1 1  Y.y 

|Z.z  1 

J  .  j   1  S  .  s  1  V.v 

O 

s 

Veri-Pulm5nals. 

Ori-Pulmonals. 

Pulmon-Orals. 

Veri-Orals. 

1 

1            [ 

1            1 

1            1 

M 

-^ 

—     ■  1               ■ 

1            1 

1            1 

1            1 

1  

1 1 

F.(7)| 1 

1-^ 1(7). f 

1 

1 1    (6) 

1 1 

H.hf            1 

/ 

NOTE. 

(1)  .  8  is  a  contraction  of  the  two  letters  o  v.        (2) .  F  is  the  ancient  Greek  Digamma. 

(3)  .  '  is  the  Greek  aspirate  mark,  called  spiritus  asper,  or,  Tcvevfia  daav. 

(4)  .  The  redundant  Greek  letters  are  Sf,  ?,  and  •*",  ^. 

(5)  .  The  redundant  Latin  letters  are  K,  k,  Q,  q,  X,  x. 

(6)  .  Y,  y,  is  named  i-grec  in  French,  i.  e.  Greek-2,  or  u,  or  ui  (v),  hence  vi  (mispronounced 
ziai)  in  English. 

(7)  .  F,  f,  has  the  form,  and  originally  the  sound,  of  the  Greek  Digamma,  F  {Gh,  gh),  but 
eventually  that  of  <E>,  (p  {Ph,  ph) ;  the  same  accident  has  happened  to  the  English  gh,  as 
instanced  in  the  words  cough,  enough,  pronounced  cfTph,  enShph.     See  the  foregoing  Table, 


25 


NOTIONS    AND    DEFINITIONS 

RELATING    TO    THE 

SOUNDS  OF  SPEECH. 


I.  Of  Sounds  and  Letters. 

II.  Of  Syllables  and  Syllabication. 

III.  Of  Accent  and  Quantity. 

IV.  Of  Prose ^  Poetry,  and  Versification. 


I. 

Of  Sounds  and  Letter Si 

—  Letters  are  the  signs  of  sounds.  They  are,  moreover,  arbitrary 
signs,  as  the  letters  of  the  alphabet;  and  they  may  be  imitative  signs, 
as  the  characters  of  the  Phonarthron-Symbol ;  and  as  proposed  in  the 
Explanation  of  the  Phonarthron-Symbol.  For,  whereas  the  fine  arts  of 
sculpture,  design,  painting,  and  music,  are  said  to  be  imitative  arts ;  so, 
likewise,  are  poetry  and  speech  imitative  and  expressive,  and  not  arbi- 
trarily significative  only,  but  their  minute  and  simple  principles  of 
imitation  require  to  be  more  correctly  examined  than  appears  to  have 
been  hitherto  the  case. 

zzOf  the  two  kinds  of  sounds,  pulmonals  and  orals,  the  chief  charac- 
teristic contradistinction  of  the  pulmdnals  is  an  mdiQ^mte  perdurability, 
and  that  of  the  orals  a  forcibly  instantaneous  utterance,  which  is  the 
converse  :  whence,  every  one  of  the  nine  original  pulmonals  is  capable 
of  being  perfectly  sounded  alone,  excepting  the  peculiar  instance  L.I.; 
and  every  one  of  the  nine  original  orals  is  ^capable  of  being  perfectly 

5 


26  NOTIONS    AND    DEFINITIONS    RELATING    TO 

sounded  alone,  or  without  the  aid  of  a  pulmdnal,  excepting  the  cor- 
responding peculiar  instance,  S.  s, 

=  Every  sound,  in  general,  whether  oral  or  pulmonal,  consists,  in 
whatever  degree,  of  three  parts ;  namely — of  a  beginning  or  initial 
part,  of  an  enduring  or  middle  part,  and  of  a  final  or  end ;  whence, 
also,  the  characteristic  three  degrees,  major,  mediate,  minor,  of  the 
palatal,  lingual,  labial  varieties,  whether  oral  or  pulm5nal,  exhibited  in 
the  Phonarthron-Tablet ;  where  the  force  or  power  of  sound  in  the 
minors  is  initial,  that  in  the  majors  final,  and  that  in  the  mediates  me- 
dial or  middle. 


II. 

Of  Syllables  and  Syllabication. 

=  The  word  syllable  is  derived  from  the  Greek  word  avWa^r],  which 
literally  signifies,  in  Latin,  comprehensio  ;  and,  in  English,  a  collecting, 
or  putting  together, 
=  Syllables  are  proper  and  improper,  pulmonic  and  oric. 

1.  A  syllable,  properly  so  called,  is  the  united  effect  of  two  indi- 
vidual simple  sounds;  the  one  a  vowel  (that  is,  pulmonal),  the  other  a 
consonant  (that  is,  oral). 

2.  An  improper  syllable  is  either  redundant  or  defective  in  one  of 
these  component  parts ;  namely,  defective  when  consisting  only  of  a 
vowel,  or  only  of  a  consonant ;  and  redundant,  when  consisting  of 
a  vowel  (or  vowels)  and  more  than  one  consonant,  or  of  a  consonant 
(or  consonants)  and  more  than  one  vowel.  And,  note,  that  two  vowels 
or  two  consonants,  which  coalesce  as  one  vowel  or  consonant,  are 
called  diphthongs,  and  three  vowels  or  three  consonants,  triphthongs, 
&c. 

3 — 4.     A  syllable  is  pulmonic  or  oric,   according  to  the  relative 


THE    SOUNDS    OF    SPEECH.  27 

position  of  the  vowel  and  consonant,  and  according  to  \\\e  pre-eminence 
of  the  vowel  or  consonant  (that  is,  pulmonal  or  oral)  power.  Thus — 
Cdi  Td,  Pd^  are  perfectly  pulmonic  syllables,  and  'Ac,  'At,  'Ap,  are 
perfectly  otic  syllables ;  because,  in  the  former  three,  the  vowel  pre- 
dominates, being  grave  and  subsequent,  and  therefore  freely  per- 
durable; and  that,  in  the  latter  three,  it  is  in  subjection,  being  impeded 
and  "caught"  by  the  consonant,  and  so,  by  natural  tendency,  acute, 
(that  is,  ori-pulmonal).  But  Cd,  Td,  Pa,  are  imperfectly  pulmonic, 
and  ^Ac,  ^At,  ^Ap,  are  imperfectly  oric,  obviously  because,  and  inasmuch 
as,  they  vary  from  the  foregoing  rule. 

Note.  That  in  dissyllables,  trisyllables,  and  in  polysyllabic  words, 
the  ffrave  aud  acute  signs  may  be  omitted  over  the  unaccented  syllables, 
because  of  the  comparative  brevity  and  obscurity  which  is  occasioned 
to  them,  by  the  comparative  perspicuity  and  pre-eminence  of  the 
accented  syllables;  which  accented  syllables,  therefore,  may  be  known 
by  this  distinction. 

=  Syllabication,  or  spelling,  is  the  art  of  separating  words  into  their 
constituent  syllables;  or,  rather,  of  putting  these  together  into  words. 

The  beauty  and  perfection  of  syllabication  is  the  most  equal  and 
alternate  distribution  of  vowels  and  consonants  practicable.  The  Italian 
language  is  more  eminent  than  other  languages  for  this  equable  and 
agreeable  alternation :  but  in  German  the  consonants  are  aggregated, 
and  in  French  the  vowels  accumulate  together,  in  difficult  and  dis- 
agreeable profusion. 


III. 

Of  Accent  and  Quantity,  ^c. 

=:Few  terms  have  had  more  various  and  undefined  acceptations  than 
the  word  "accent."     In  one  sense  it  has  signified  any  mark  used  to 


28  NOTIONS    AND    DEFINITIONS    RELATING    TO 

designate  the  various  qualifications  and  distinctions  of  speech-sounds  in 
written  language ;  as  the  rising  and  falling  [that  is,  the  sharp  and  flat 
relations]  of  the  vocal  tones,  and  the  grave  and  acute  distinctions  of  the 
vowel  sounds.  In  another  sense  it  has  signified  any  peculiar  mode  or 
manner  of  pronouncing  and  speaking  in  particular  languages  and 
dialects.  And,  in  a  third  sense,  it  signifies  the  stress  which  is  laid 
on  one  syllable  more  than  on  another  in  a  same  word, 
n:  Accent  and  Quantity  are  correlative  terms.  Quantity  has  reference 
to  the  vowels,  and  to  the  vowel  characteristic  of  perdurahility ;  and 
accent  has  reference  to  the  consonants,  and  to  their  peculiar  character- 
istic of  a  forcibly  instantaneous  activity.  Quantity,  therefore,  is  pro- 
perly an  accident  of  the  pulmonic  syllables ;  and  accent  is  properly  an 
accident  of  the  oric  syllables.  This  contradistinction  should  be  per- 
ceived and  understood,  although  in  practical  language  it  is  indifferent 
whether  a  "  syllable"  be  noted  as  long  or  strong,  provided  the  syllable 
itself  be  sufficiently  distinguished  from  the  rest. 

=  Accent  and   Prosody  are  synonymous  words;  the  former  being  the 
Latin  of  which  the  latter  is  the  Greek :  thus — 

Ac-centus         .         Ad-cantus         .  •\  Relating 

npoo--(j)Sia         .  npO(7-(i)§?/  .  J         "to  Song." 

but  their  uses  have  thus  varied. 

Prosody  (like  Quantity,  only  as  a  term  of  larger  import)  has  been 
applied  to  the  measure  of  song,  poetry,  versification ;  and  Accent  to  the 
emphasis  of  speech,  and  to  compositions  in  prose.  By  Quantity  is 
meant  merely  the  duration  of  a  syllable;  and  by  Prosody,  as  com- 
monly understood,  the  doctrine  which  treats  of  the  quantities,  durations, 
or  measures  of  syllables  and  words  in  versification. 
==  Accent  and  Emphasis.  Accent  is  stress,  and  Emphasis  is  stress,  but 
Accent  applies  to  syllables  as  they  are  sounds,  and  Emphasis  to  words  as 
they  are  meanings.  Accordingly,  syllables  are  properly  said  to  be 
accented  and  unaccented,  and  words  emphatic  or  otherwise. 


THE    SOUNDS    OF    SPEECH. 


29 


A  Table  of  Marks  whose  meanings  have  been  mentioned, 
and  whose  uses  may  be  required. 


Long 

and 

\j 

Short. 

Strong 

. 

and 

1 

Weak. 

Grave 

\ 

and 

r 

Acute. 

Flat 

\ 

and 

i 

Sharp. 

IV. 

Of  Prose ^  Poetry,  and  Versification, 

=:  Prose  is  language  merely  significant  or  descriptive :  Poetry  is  lan- 
guage descriptive  and  imitative  also. 

=  Again  :  Prose  is  language,  as  it  were,  ad  libitum,  and  desultory,  in 
contradistinction  with  Poetry  or  Versification,  that  is,  language  regu- 
lated by  measure. 

=  Poetry,  or  Versification,  is  a  mechanical  arrangement  of  words  by 
measure,  according  to  the  accent  or  quantity  of  their  syllables. 

1.  As  the  particles  of  significant  speech  are  called  words,  so  the  par- 
ticles of  a  composition  in  verse  are  called ^ee^. 

2.  A  foot  is  one  accented  and  one  unaccented  syllable,  or  a  certain 
number  of  either  placed  in  any  determinate  order. 

3.  A  line,  metre,  or  measure,  is  a  stated  number  of  feet  of  any  kind. 
[Note.  A  foot  being  composed  of  two  or  more  syllables  accented  and 

unaccented,  so  long  as  the  aggregate  of  accent  or  quantity  be  pre- 
served in  the  whole  foot,  or  whole  line,  both  the  number  of  syllables, 
and  general  order  of  accentuation  may  be  excepted  and  varied  from  the 
general  rule ;  and  a  good  reader  will  always  know  how  to  justify  and 


30  NOTIONS    AND    DEFINITIONS,    &C. 

excuse  a  good  poet,  and  to  condemn  a  bad  one,  in  such  cases  of  excep- 
tion and  variation.] 

4.  A  vej^se^  or  rhyme,  is  a  stated  number  of  corresponding  lines, 
placed  in  any  given  order  of  correspondence. 

[Note.  In  Latin  and  Greek  poetry,  a  line  is  usually  a  verse  ;  but  in 
the  sense  here  used,  a  verse,  including  several  lines,  implies  a  rhyme ; 
which  rhyme^  in  sound,  corresponds  with  parallelism  in  sense,  as  illus- 
trated (almost  exclusively)  in  the  treasures  of  Hebrew,  that  is,  Bible, 
poesy.] 

=z  Poetry  (which  word  is  derived  from  the  Greek  words  ttoluo,  to  make, 
and  7roLr]<jLg,  poesy,  or  a  making,  that  is,  verse-making)  and  Versification 
are  literally  the  same  thing ;  nevertheless,  they  are  to  be  distinguished. 

Poetry,  as  distinguished  from  Versification,  is  a  vivid  correct  imita- 
tion, expression,  or  representation  of  original  ideas,  contrasted  with 
the  mere  euphony  of  measured  sounds.  Words,  or  just  expressions, 
answer  to  feet ;  sentences,  or  sentiments,  to  lines ;  and,  as  above  noted, 
analogies,  or  antitheses,  in  sense,  to  rhymes  in  measured  verse. 
=r  Prose  and  Poetry,  therefore,  are  respectively  distinguished  from 
Versification,  as  well  as  Poetry  and  Versification  from  mere  Prose; 
the  spirit  of  Poetry  being  separate  from  either,  and  yet  capable  of 
being  embodied  in  both. 

In  English  we  find  that  rhymed  verse  is  not  essential  to  Poetry,  by 
the  compositions  which  exist  in  blank  verse ;  and  in  French  we  find 
that  even  metrical  lines  are  not  essential  to  Poetry,  by  the  well-known 
and  well-used  style,  entitled,  in  France,  "  La  Prose  Poetique" 


END    of    the    PHONARTHRON. 


THE 


PHONARITHMON, 

OR 

NUMERAL  NOMENCLATURE; 

OR 

UNIVERSAL    NAMES    OF    NUMBERS. 


E  2 


"  I  beheld,  and  lo,  a  great  multitude,  which  7io  man  could  number." — John,  Rev.  ch.  vii. 
ver.  9. 

"  Jesus  said,  The  very  hairs  of  your  head  are  all  numbered.'" — Matthew,  ch.  x.  ver.  30, 
and  Luke,  ch.  xii.  ver.  7- 

**  He  expressed  the  number  by  a  word  which  involved  myriads  of  myriads." — Sweden- 
BORG,  Heaven  and  its  Wonders,  section  374. 

"  And  I  doubt  not  but  we  ourselves  might  distinctly  number  in  words  a  great  deal 
further  than  we  usually  do,  would  we  find  out  but  some  fit  denominations  to  signify  them  by  : 
whereas,  in  the  way  we  take  now  to  name  them,  by  millions  of  millions  of  millions,  &c.  it  is 
hard  to  go  beyond  eighteen,  or,  at  most,  four- and- twenty  decimal  progressions,  without  con° 
fusion." — Locke,  Essay  on  the  Human  Understanding,  Book  II.  chap>  xvi.  sect.  6. 


THE 

PHONARITHMON, 

OR 

UNIVERSAL    NAMES    OF    NUMBERS. 


A     -    1 

Acan-a    =. 

11 

A-can  =10 

A-cen 

= 

100 

^     =    2 

Acan-e    =z 

12 

E-can  zz  20 

E-cen 

= 

200 

7=3 

Acan-i    ■=. 

13 

I'Can    zz  30 

I-cen 

=z 

300 

S     =    4. 

Acan-d^    zz 

14 

Sf'Can   =  40 

3-cen 

- 

400 

'Ai    =    5 

Acan-ai  zz 

15 

Ai-canzz  50 

Ai-cen 

1= 

500 

Alt  =    6 

Acan-au  zz 

16 

Au-can—  60 

Au-cen 

= 

600 

J2    -    1 

Acan-a-   = 

17 

Jl'canzz  70 

Jl'cen 

— 

700 

0    -   S 

Acan-o    = 

18 

0-c«7z  =  80 

0-cen 

— 

800 

Z7    zz    9 

Acan-u    zz 

19 

U-ca?z  =  90 

U-cen 

= 

900 

Can  =  10 

Ecan       zz 

20 

Cen     zz  100 

Cin 

— 

1000 

or  A- can 

Ecan-a    ■=. 

21 

or  A-cen 

or  A-cin, 

Can   =  10^  i.  e.  10 
Cen    =   102  I  e.  100 
Cin    =  lOM.  e.  1000 


Cd^  =  10''  i.  e.  10,000 
Cain  =  10^  i.  e.  100,000 
Caun=z  106  i  e   1000,1000 


Cnrn  =  107  i.e.  10,000,000 
Con    =  10^  i.  e.  100,000,000 
Cun   =  10^  i.  e.  1000,000,000 


Tan    =  10^0  i.e.  10,000,000,000 


Tan 
Ten 
Tin 


1010 

Toio 

Toio 


Ts-n: 
Tain : 
Taunz 


1010 

"Tqio 

"iQio 


1010 
Toio 
"Toio 


1.  e. 
i.  e. 
i.  e. 


10,000,000,000 

100,000,000,000 

1000,000,000,000 


I.e. 


I.  e. 


10,000,000,000,000 
100,000,000,000,000 
1 000,000,000,000,000 


i.  e.  10,000,000,000,000,000 
i.  e.  100,000,000,000,000,000 
i.  e.  1000,000,000,000,000,000 


Pan  =  lOioj^'^i.  e.  10,000,000,000,000,000,000 


^  The  diphthongs  At  slwAAH  are  used  instead  oi R  and  L,  as  more  convenient;  andi?  and 
L  are  elsewhere  used  in  a  corresponding  place.     See  the  following  page. 

5 


34 


THE    UNIVERSAL    NAMES    OF    NUMBERS. 


Can 

Cat 

Cap 

Cas 

Car 

Cal 

\Cag 

Cad 

Cah 

Caz 

Tan 

Tat 

Tap 

Tas 

Tar 

Tal 

Tag 

Tad 

Tah 

Taz 

Pan 

Pat 

Pap 

Pas 

Par 

Pal 

\P<^9 

Pad 

Pah 

Paz 

San 

Sat 

Sap 

Sas 

Sar 

Sal 

\Sag 

Sad 

Sab 

Saz 

Ran 

Rat 

Rap 

Ras 

Rar 

Ral 

Rag 

Rad 

Rab 

Raz 

Lan 

Lat 

Lap 

Las 

Lar 

Lai 

!  Lag 

Lad 

Lab 

Laz 

Gan 

Gat 

Gap 

Gas 

Gar 

Gal 

1  Gag 

Gad 

Gab 

Gaz 

Dan 

Dat 

Dap 

Das 

Dar 

Dal 

Dag 

Dad 

Dab 

Daz 

Ban 

Bat 

Bap 

Bas 

Bar 

Bal 

\Bag 

Bad 

Bab 

Baz 

%an 

1 

Zat 

Zap 

Zas 

Zar 

Zal 

Zag 

Zad 

Zab 

Zaz 

EXAMPLE. 

One  Thousand     =:      A-cin     — 

1000 

Eight  Hundred    —      0-cen     — 

.800 

(and)   Forty          —     Sf-can     — 

..40 

1840. 

AN 

IMAGINARY      ANALYSIS 

OP    THE 

NUMERAL  FIGURES. 


1.2.3.4.5.6.7.8.9.0 


1  .     is  composed  of  one  mark,  or  line 

2  .     is  composed  of  two  marks,  or  lines 

3  .     is  composed  of  three  marks,  or  lines 

4  .     is  composed  oifour  marks,  or  lines 

5  .     is  composed  oijive  marks,  or  lines 
Which  is  the  natural  number  of  digits,  or  fingers 

Moreover, 

6  .     is  three  varied,  or  added  to 

7  .     is  three  varied,  or  four  inverted 

8  .     is  four,  and  four  inverted 
is  three  varied,  or  added  to 
is  composed  of  all  but  its  moiety  five 


/ 

^ 

^ 

^ 

<^ 

L 

^ 

^ 

^ 

I 

4 

5 

7 

8 

0 

2 

3 

6 

9 

END    OF    THE    PHONARITHMON. 


THE 

PHONODION; 

OR, 

ELEMENTS     OF     MUSIC. 


A 

NEW     AND     SIMPLIFIED     THEORY, 

PRIMARILY    WITH    REGARD    TO 

-SONG," 

OR 

THE   NATURAL   MUSIC   OF   THE   HUMAN   VOICE; 

AND    SUBSEQUENTLY    APPLICABLE    TO 

THE  VARIOUS  INSTRUMENTS  OF  MUSIC. 


"  O  sing  unto  God  with  the  voice  of  melody." 

David,  Psalm  xlvii. 

The  man  that  hath  no  music  in  himself, 
Nor  is  not  moved  by  concord  of  sweet  sounds, 
Is  fit  for  treasons,  stratagems,  and  spoils  ; 
The  motions  of  his  spirit  are  as  dull  as  night, 
And  his  aflfections  dark  as  Erebus : 
Let  no  such  man  be  trusted." 

Shakspeare,  Merchant  of  Venice,  Act  V.  Scene 


ADVERTISEMENT. 


The  Phonodion,  New  Method  of  Music,  consists — 

1.  In  assigning  a  distinct  and  appropriate  name  to  every  one  of  the 
twelve  tones  of  the  Chromatic  Scale ;  thereby  abolishing  or  precluding 
the  theory  oi flats  and  sharps^  and  greatly  facilitating,  because  simplify- 
ing, an  attainment  of  the  science  of  Music. 

2.  In  assigning  a  distinct  and  corresponding  note  to  every  one  of 
the  twelve  tones ;  which  is  afforded  by  substituting  a  staff  of  six  lines 
for  the  one  oifive, 

3.  In  altering  the  make  of  certain  Instruments  of  Music,  particularly 
the  KEY-BOARD  of  the  Piano-Forte,  for  the  purpose  of  subserving 
the  use  of  the  Phonodion  New  Method  of  Musical  Notation. 

Observe — That  the  trouble  of  translating  Music  out  of  the  old  or 
present  style  into  the  *'  Phonodion"  new  style,  is  no  greater  than  the 
usual  practice  of  transposing  Music  from  one  key  to  another,  in  order 
to  suit  the  pitch  of  different  instruments  or  voices. 


The  following  letter,  and  portion  of  a  letter,  have  been  addressed  to 
the  author  and  inventor  of  the  Phonodion. 

n"  My  Dear  Sir, 

"  In  regard  to  your  invention,  I  hardly  need  say,  that,  as  a  lover 
of  the  science,  I  shall  most  willingly  lend  my  feeble  aid  to  whatever 
will  tend  to  facilitate  and  advance  its  cultivation.  But  you  must  be 
convinced,  that,  however  beneficial  the  result  of  your  new  method  may 
prove,  yet  it  must  take  a  considerable  time  before  our  old  habits,  not  to 
say  prejudices,  can  be  overcome.  In  regard  to  myself,  I  frankly  say, 
that  if  I  find  the  system  improved,  I  shall,  as  far  as  I  can  (come  from 

f2 


40 


what  quarter  it  may),  endeavour  to  promulgate  it.    Wishing  you  every 
success  you  can  desire,  I  remain,  my  dear  Sir,  yours  very  truly, 

'•  Thomas  Attwood*. 
"  Norwood,  Surrey,  October  2*2,  1828." 

'*  Royal  Academy  of  Music,  July  6,  1840. 
=:''  Reverend  Sir, 

"  Your  letter  accompanying  the  representation  of  the  subject  of 
the  '  Phonarthron  ^,'  having  been  laid  before  the  Committee  of  the 
Royal  Academy  of  Music,  I  am  desired  to  inform  you,  that  the  Com- 
mittee decline  the  offer  ^  you  have  been  so  obliging  as  to  make,  with 
respect  to  the  patent  for  the  exclusive  right  to  manufacture  the  contem- 
plated key-board.     I  remain,  Reverend  Sir,  faithfully  yours, 

"T.  W.J.  ViCKERY." 

^  Late  Organist  of  St.  Paul's  Cathedral,  London. 

*  The  Phonodion  Key-Board.     See  pages  50,  51. 

3  This  was  an  offer  to  consign  to  the  Committee  the  power  to  obtain  a  patent  for  the  ex- 
clusive right  to  manufacture  the  Phonodion  Key-board,  the  proceeds  and  profits  of  which  to 
be  applied  to  the  Funds  of  the  Royal  Academy  of  Music,  after  defraying  expenses. 


INDEX  OF  CONTENTS. 

PAGE 

The  Music-Coil,  &c 41 

On  the  Names  of  the  Musical  Tones 43 

On  Music,  Melody,  and  Harmony 45 

On  the  Notation  of  Music    49 

The  Phonodion  New  Method  of  Notation,  &c 50 

The  Phonodion  Piano-Forte,  and  the  common  Piano-Forte  Key-boards,  compared  5 1 
The  Phonodion  New  Method  of  Notation,  and  the  common  or  present  method, 

compared    53 

The  Royal  Anthem  in  the  Phonodion,  and  in  the  common,  style  of  Music,  com- 
pared    54 

A  Melody  for  the  Phonodion-Harmonicon 56 


THE    PHONODION, 


OR 

MUSIC-COIL. 


Ag  '  Ed  -  lb     .     Jlc  -  Ot  -   Up. 


1.  There  are  twelve  tones  in  Music,  and  the  human  voice,  which  are, 
relatively  to  each  other,  higher  or  more  contracted,  and  deeper  or  more 
expanded.  Moreover,  the  whole  twelve  are  in  a  state  of  sequency 
indefinitely  repeatable  either  way;  so  that  any  one  being  taken  as  a 
first,  and  twelve  higher  or  twelve  lower  regularly  sung,  or  sounded, 
from  it — there  is  a  complete  scale,  mode,  series,  or  set ;  and  the  thir- 
teenth is  a  mimic  or  repetund  of  the  first,  the  fourteenth  of  the  second, 
the  fifteenth  of  the  third,  and  so  on,  as  represented  in  the  foregoing 
portraiture  of  a  coil,  hence  called  the  Music-coil, 


42  THE    PHONODION. 

2.  A  mode  or  key  is  any  particular  series  (of  tones  in  Music,  or 
keys  on  a  key-board)  named  after  the  note,  tone,  key  chosen  as  a  first, 
which  first  is  therefore  called  the  Tonic  of  the  Mode,  or  the  Key-note. 

3.  A  scale  or  clef  (which  is  the  French  for  hey,  and  derived  from 
the  Latin  clavis)  is  a  stated  or  determinate  series,  generally  appointed, 
and  marking  the  pitch  of  the  musical  tones,  by  distinguishing  them  into 
higher  and  lower  orders,  which  are  consequently  titled  and  signified 
thus : — 

Sign.  Title  or  Name. 


X     —   "  The  Treble  Clef,"  i.  e.  the  hiyh  (contracted)  set  or  series. 

%    —    "  The  Tenor  Clef,"  i.  e.  the  middle  set  or  series. 

'H     —    "  The  Bass  Clef,"  i.  e.  the  low  (expanded)  set  or  series. 


43 


ON  THE  NAMES  OF  THE  MUSICAL  TONES 


=  In  England  the  first  seven  letters  of  the  alphabet, 

A.B.C.D.E.F.G 
are  the  usual  names  given  to  the  seven  tones  of  the  Diatonic  series,  and 
called ^a^5,  sharps,  or  naturals,  accordingly  as  required. 

=  By  foreigners  the  same  seven  tones  are  respectively  named  thus : 
^  Ut  .  Re  .  Mi  .  Fa  .  Sol  .  La  .  Si 
(c)  .   (d)  .    (e)  .    (f)   .   (g)  .   (a)  .  (b) 
There    is    no  hidden   meaning,   technical    design,   or  philosophical 
reason  for  these  names,  but  their  origin  is  curious.     They  are  certain 
chance  syllables  in  a  verse  taken  from  a  Latin  hymn,  composed  in 
honour  of  St.  John  (the  Baptist),  by  Paul  Diacomt,  about  a.  d.  774. 
The  verse  is  as  follows  : 

Ut  queant  laxis  RE-sonareJibris 

Mi-r«  gestonim  FA-midi  tuorum 

Soiu-ve  polluti  IjA-bii  meatum 

S-ancte  l-ohannes  ^ ! 

=:"In  1746  was  published,  at  Venice,  a  small  pamphlet,  entitled  Re- 
flexions upon  the  manner  of  learning  to  Sing,  with  a  new  method  of 
Sol-mi-sation  hy  twelve  syllables,  providing  for  all  the  keys  and  accidents 
to  which  they  are  subject. 

"  The  names  of  the  tones  or  notes  were  as  follow  : 

Ut  .  joa  .  Re  .  5o  .  Mi  .  Fa  .  tu  .  Sol  .  de  .  La  .  no  .  Si 
(c)  .        .(d).       .  (e)  .(f).       .  (g)  .        .  (a)  .       .  (b) 

^  The  Italians  say  Do  instead  of  Ut,  as  a  preferable  enunciation  in  learning  to  sing.    See 
Burney's  Hist.  Mus.  vol.  ii.  pages  99.  101. 
2  See  Burney's  Hist.  Mus.  vol.  ii.  page  85. 


44 


ON    THE    NAMES    OF    THE    MUSICAL    TONES. 


"  The  author,  to  the  memory  of  the  musical  student,  has  formed  his 
twelve  syllables  into  four  ideal  words : 

IjT-pa-RE  .  ^o-Mi-Fa  .  tuSoiL-de  .  La-?zo-Si  \" 

=  The  author  of  the  Phonodion,  therefore,  is  not  entirely  unsupported 
in  his  doctrine,  that 

"  There  are  twelve  tones  in  Music," 
which  tones  ought  severally  to  be  named  and  noted  independently  of 
each  other ;  moreover,  the  twelve  literal  names  which  he  has  chosen, 
are  chosen  with  design,  as  being  such  that  no  other  of  the  sounds  of 
speech  would  serve  equally  well  for  the  purposes  to  which  they  are 
applied.  And  they  have,  furthermore,  this  indifferent  advantage  over 
the  Venetian  nomenclature,  that,  "to  the  memory  of  the  musical 
student  they  are  formed  into"  two  instead  of  "  four  ideal  words,"  yet 
with  only  the  same  number  of  syllables  in  each  word — 

Ag-Ed-Ih  .  Jlc-Ot-Up. 
rzThe  names  of  the  "Phonodion"  notes  or  tones  are  separately  pro- 
nounced thus : 


A 

-   a 

.  as  a,        i 

n  Bath 

and  as  a, 

in  Bas 

E 

-   e 

.  as  ei, 

in  Veil 

and  as  e, 

in  FSte 

I 

-    i 

.  as  2>,       ] 

m  Field 

and  as  i. 

in  Gite 

J2 

—    a- 

.  as  a, 

in  Ball 

and  as  o. 

in   Orbe 

0 

—     0 

.  as  0, 

in  Home 

and  as  o, 

in  Role 

U 

-   u 

.  as  w. 

in  Rule. 

and  as  ou, 

in   Voufe. 

G 

-  9^ 

.  as  GiTf 

in  Girl 

and  as  Gueu, 

in   Gueule 

o 

3- 

D 

-  d^ 

.  as  Dir, 

m  Dirk 

and  as  Deu, 

in  Deuil 

B 

-   b^ 

.  as  Bir,   \ 

n  Bird 

and  as  Ben, 

in   Beurre 

C 

-     C3- 

.  as  Cur, 

in  Curl 

and  as  Coeu, 

in  Cceur 

T 

-    ta^ 

.  as  Tur, 

in  Turf 

and  as   Teu, 

in   Createur 

P 

-  p^ 

.  as  Pur, 

in  Purse. 

and  as  Peu, 

in  Peur. 

That 

IS,  accordin 

g  to  the  It  A 

LIA 

N  pronunciation 

in  general. 

^  See  Burney's  Hist.  Mus.  vol.  ii.  p.  102. 


45 
ON  MUSIC— MELODY— HARMONY. 


=  Each  of  these  three  names  has  its  own  peculiar  signification,  although 
in  the  license  of  popular  language  they  are  frequently  confounded,  that 
is,  used  indiscriminately. 

— Music  is  ^^  sweet  sound^^  the  sound  of  song,  or  song-sound  (that  is, 
PuJmonal)  opposed  to  speech-sound  (that  is,  Oral)^;  and,  in  general, 
implies  whatever  of  practice,  and  whatever  of  theory,  relates  to  the 
study  of  "sweet  sounds."  Melody  is  the  regulated  succession  or 
sequency  of  "sweet  sounds."  And  Harmony  is  their  simultaneous 
accordance  or  agreement — founded  on  laws  in  nature,  and  ascertained 
by  the  justness  of  the  human  ear. 

Again  :  Music  is  the  substance  of  Melody,  and  the  subject  of  Har- 
mony ;  Melody  is  the  use  of  Music,  and  the  object  of  Harmony ;  and 
Harmony  is  respectively  their  rule  and  guide. 

=:In  agreement  with  this  distinction  of  the  three  relative  terms.  Music, 
Melody,  and  Harmony,  there  are  three  genera,  or  kinds  of  series,  in  the 
musical  tones ;  namely, 

1.  The  Chromatic  series,  or  scales  of  twelve  tones; 

2.  The  Diatonic  series,  or  scales  of  seven  tones ;  and 

3.  The  Enharmonic  series,  or  scales  of  three  (or  four)  tones ;  which 
latter  tones  when  sung,  or  sounded,  together,  and  not  in  succession,  are 
called  chords. 

Note. — The  Chromatic  series,  or  scales,  are  in  a  state  of  succession 
ascending  and  descending. 

The  Diatonic  series,  or  scales,  are  in  a  state  of  succession  major 
and  minor.     And 

The  Enharmonic  series,  or  chords,  are  concord  and  discord. 

*  Pulraonal  or  musical  sound  corresponds  with  sentiment,  or  soul  ;  and  Oral,  or  articu- 
late sound,  has  reference  to  intellect,  or  mind  :  hence,  Music,  or  Song,  conveys  the  Heart's 
feeling ;  and  Speech,  or  Language,  the  Mind's  intelligence. 

G 


46 


MUSIC — MELODY HARMONY. 


These  are  the  radical  properties  or  peculiarities  of  each  kind  of  series 
severally ;  and  they,  furthermore,  belong  to  the  others,  after  the  fol- 
lowing manner : 

1.  All  the  Chromatic  scales  are  ascending  and  descending; 

2.  All  the  Diatonic  scales  are  ascending  and  descending,  and  also 
major  and  minor  ;  and 

3.  All  the  Enharmonic  scales  are  ascending  and  descending,  also 
major  and  minor,  and  also  concord  and  discord. 

All  these  relative  varieties  in  all  the  modes  are  about  to  be  laid 
before  the  musical  student,  by  means  of  the  names  of  the  tones. 

1.  First  will  be  exhibited  all  the  Chromatic  scales  ascending  and 
descending ; 

2.  Next  will  be  exhibited  all  the  Diatonic  scales  ascending  and 
descending,  major  and  minor;  and, 

3.  Lastly  will  be  exhibited  all  the  Enharmonic  scales  ascending  and 
descending,  major  and  minor,  concord  and  discord. 


I.  All  the  Chromatic  Scales. 
Ascending  —  and  —  Descending. 


12  3  4  5  6  7  8  9101112 

1 

1211109  8  7  6  5  4  3  2  1 

AgedibJ2c    o    tup 

A 
G 

E 
D 

I 
B 

p  u    t  0  c  Jib   i    d  e  g  A 

gedibJlcotupA 

AputocJlbideg 

edihJlcotupAg 

g  A  p  u   t   0   c  Jib   i  d  e 

d  i  b  J2  c   0    t  u  p  A  g   e 

e  g  A  p  u  t   0  c  Jib  i  d 

i  b  J2  c  0    t    u  p  A  g  e   d 

degAputocJlbi 

bJlcotupAgedi 

i  d  e  g  A  p  u  to  c  Jib 

JlcotupAgedib 

J2 
C 
0 
T 

U 
P 

b   i   degAputocJl 

cotupAgedibJI 

Jib   i  d   e  g  A  p  u  t  0  c 

otupAgedibJlc 

c  Jl  b  i    degAputo 

t  u  p  A  g  e   d  i   b  J2  c    o 

0   c  Jl  b  i  d  e  g  A  p  u  t 

u  p  A  g  e  d   i   b  J2  c  o   t 

t    ocJlbidegApu 

pAgedibJlcotu 

utocJlbidegAp 

MUSIC — MELODY HARMONY. 


47 


II.  All  the  Diatonic  Scales. 


MAJOR. 


Ascending 

— 

and 

— 

D( 

fsce 

ndii 

'g- 

f 
1     3 

5     6     8 

10 

12 

1 

12 

10 

8 

6 

5 

1 
3     1 

A     e 

i      b      c 

t 

P 

A 

P 

t 

c 

b 

i 

e    A 

c,     d 

b    Jl    0 

u 

A 

G 

A 

u 

0 

Jl 

b 

d    g 

e      i 
d     b 

Jl    c      t 

C       0       u 

V 
A 

9 
e 

E 
D 

9 

e 

p 

A 

t 
u 

c 

0 

Jl 

c 

i  e 
b     d 

i    J2 

b     c 

0      t     p 
t     u     A 

9 

e 

d 
i 

I 
B 

d 
i 

9 

e 

p 

A 

t 

u 

0 

t 

Jl     i 

c      b 

JX    0 

u     p    g 

d 

b 

Jl 

b 

d 

9 

p 

u 

0    Jl 

c     t 

p     A    e 

i 

J2 

C 

Jl 

i 

e 

A 

p 

t      c 

0     u 

A    g     d 

b 

c 

0 

c 

b 

d 

9 

A 

U       0 

t  p 

u    A 

9     ^     2 
e     d     b 

c 

0 

t 

r 
u 

0 

t 

c 

i 
b 

e 
d 

9 
e 

p  t 

A     u 

P    9 

d     i    J2 

0 

It 

p 

u 

0 

Jl 

i 

d 

9     P 

MINOR. 


Ascending 

— 

and 

— 

Descending. 

r 
1     3 

4 

6 

8 

9 

12 

1 

11 

9 

8     6 

4 

3     1 

A     e 

d 

b 

c 

0 

P 

A 

u 

0 

c     b 

d 

e    A 

9     d 

i 

Jl 

0 

t 

A 

G 

P 

t 

0     Jl 

i 

d     g 

e     i 

b 

c 

t 

u 

9 

E 

A 

u 

t      c 

b 

i      e 

d    b 

Jl 

0 

u 

p 

e 

D 

9 

p 

U       0 

Jl 

b     d 

i    Jl 

c 

t 

p 

a 

d 

I 

e 

A 

p  t 

c 

Jl     I 

b     c 

0 

u 

A 

9 

i 

B 

d 

9 

A    u 

0 

c      b 

Jl     0 

t 

p 

9 

e 

b 

Jl 

i 

e 

9    P 

t 

0    Jl 

c      t 

u 

A 

e 

d 

Jl 

C 

b 

d 

e    A 

u 

t      c 

0      u 

p 

9 

d 

i 

c 

0 

Jl 

i 

d     g 

p 

U       0 

t  p 

A 

e 

i 

b 

0 

T 

c 

b 

i     e 

A 

p  t 

u    A 

9 

d 

b 

Jl 

t 

U 

0 

Jl 

b     d 

9 

A     u 

P    9 

e 

i 

Jl 

c 

u 

P 

t 

c 

Jl    i 

e 

9    P 

48 


MUSIC — MELODY — HARMONY. 


III.  All  the  Enharmonic  Scales,  or  common  Chords. 

CONCORD. 


MAJOR. 

MINOR. 

Ascending  &  D 

esc( 

ending. 
5      l' 

Ascen( 

iing  &  Descending. 

^1      5 

8' 

1 

'8 

"T 

1 

'8     4     l' 

A     i 

c 

A 

c 

i 

A 

L4 

d 

c 

A 

c     d    A 

9     b 
e    J2 
d     c 

0 

t 

u 

9 

e 

d 

0 

t 

u 

b 

J2 
c 

9 

e 

d 

9 

e 

d 

i 

b 

Jl 

0 

t 

u 

9 
d 

0  i  g 
t  b  e 
u    Jl    d 

i      0 
b      t 

p 

A 

i 

b 

p 

A 

0 

t 

i 
b 

I 
b 

c 

0 

p 

A 

i 
b 

pel 
A     0     b 

J2    u 

9 

J2 

9 

u 

J2 

Jl 

t 

9 

Jl 

g     t    Jl 

c    p 
0     A 

t     9 
u      e 

p  d 

e 
d 
i 
b 
J2 

c 

0 

t 
u 

p 

e 
d 
i 
b 
J2 

p 

A 

9 
e 

d 

c 

0 

t 

u 

p 

c 

0 

t 
u 

!  V 

u 

p 

A 

9 
e 

e 

d 

i 

b 

Jl 

c 

0 

t 

u 

p 

e  u  c 
d  p  0 
i  A  t 
b  g  u 
Jl    e     p 

DISCORD. 


MAJOR. 

MINOR. 

Ascendir 

ig    and    Descending. 

Ascending    and 

V 

Desce 

nding. 

f 

1 

1 

1     5     8 

12 

1 

12 

8 

5 

1 

1 

4     8 

J2 

1 

12 

8 

4     1 

A     i      c 

V 

A 

p 

c 

i 

A 

A 

d     c 

P 

A 

P 

c 

d    A 

g     b     0 

A 

9 

A 

0 

b 

9 

9 

i      0 

A 

9 

A 

0 

i     9 

e     Jl    t 

9 

e 

9 

t 

Jl 

e 

e 

b      t 

9 

e 

9 

t 

b      e 

d     c      u 

e 

d 

e 

u 

c 

d 

d 

Jl    u 

e 

d 

e 

u 

Jl    d 

top 

d 

i 

d 

p 

0 

i 

i 

c     p 

d 

I 

d 

p 

c      i\ 

b     t    A 

i 

b 

i 

A 

t 

b 

b 

0    A 

i 

b 

i 

A 

0      b  i 

Jl    u    g 

b 

Jl 

b 

9 

u 

Jl 

Jl 

t    9 

b 

Jl 

b 

9 

t    Jl\ 

c     p     e 

Jl 

c 

Jl 

e 

V 

c 

c 

u     e 

Jl\   c 

Jl 

e 

u      c 

0     A     d 

c 

0 

c 

d 

A 

0 

0 

p     d 

c    1    0 

c 

d 

p      0 

t     g      I 

0 

t 

0 

i 

9 

t 

t 

A    i 

0 

t 

0 

i 

A     t 

neb 

t 

u 

t 

b 

e 

u 

u 

9     b 

t 

u 

t 

b 

9     u 

p     d   Jl 

u 

p 

u 

Jl 

d 

1 

p 

p 

e    Jl 

11 

P 

u 

Jl 

e     p 

Note. — Hence,  every  common  Chord  has  a  literal  Name,  which  may 
be  pronounced  as  a  technical  Word. 


ON     THE      NOTATION     OF     MUSIC. 


ay^/e^^.-c^/v^  /urmyyc/^  At.^-^  a^rv<^/iMAyu.  ofU^^^A-^^ru/^  (yUa^(yrL^^.  ^^ 
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THE      PHONODION 

NEW      METHOD       OF       MUSICAL       NOTATION. 


Ag.Ed_Id. 


M.c_Ot^U/j 


THE 


Three.  Scal^cs,  ot  Cle/s^  ajrboC  th^  ''J^Jw7^^dz/7r?S"J\kTio-Tart€'  JC^'hoccrd. 


TCNOff 


THE 
P/ANO-FOf^TE . 


n  0  u^  E  I  jx  0  u^  E  I  Ji  o\u ^  E  I  Jl  0  u^ 


JS\I 


Jl 


OBSEffi^E. 


'J.  tymyj^/^y/^ey^Jta^ro  -^ytyv'v^  ,^iy'yaxe/:i!^yc.(yrut^^ 


THE 
PHONODION    PIANO -FORTE  AND  THE  COMMON  PIANOFORTE 
KEYBOARDS     COMPARED. 


THE  COMMON   P/AAfOrORTE    HEYBOARO. 


C/t.Bff.Fff.G-/f.A/t 


D^.i:i> 


n 


D  B 


&h  .Al^.B^ 


m 


SolZo\Si 


C^.jD/tf  F/i.^.Aff.  C/if.na  .Fff.a^.A/^.  Cli.B» 


D^  H. 


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THE    PMOAfOOfO/¥     P/AAfO     FORTE    ffEYBOARO. 


Ik  y  yiki  k  yiy  y  ^sm  y  i^'y  ii  yid  ^  i^?y  y  yiy  y  yi 

^_^|^T  EI^aOU^EIJl  O  [/I  B  F  Jl\0\u\^  f\f\JX 


DESCRIPTION. 


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THE     PHONODION  ja 

NEW     METHOD    OF     MUSICAL    NOTATION 


THE  PHONOOION 
TREBLE,  TENOR, 
on  SASS  CLEF. 


/       Z.     3.    ^.     J.     6.      7.     d     9.  /O.  //  (Z. 


J.  6.         7. 


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THE    ROYAL    ANTHEM,   coTrvnvorv 

IN   THE    OLD  AND    NEW    STY  LI 

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O  JCW&  zciS  aZL. 


'Ud.   '^GOD     SAVE    THE     KJNC 
MUS/C     COMPARED  . 


^.D.m39 


)\^/ea:^z^n.t/^e^ 


VERSJE   H. 


OJjordy;  ojzr  Gody  curiae' 
Convert  oiat' e^'ie^ruiej^ 

^oct&TLdy  OUT-  poIztC&y 
Methe^  n^y  tras.  CathoTzc^^ 


y/f^e^  L^^iAJ-/^  a^ru^C 


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yAA^.y?^c.  '  yAt?-    A-e-AuruA 
Oyf-vcA       C-OyriyfA  y-Tt^crA  yAo-c^  ^^^A^^I^Tu-  y^^  

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£/V{?    Of  THE    PNOA/OD/O/V . 


PHONARTHRA 
ANGLICA-GALLICA, 


AN 
APPLICATION  OF  THE  PHONARTHRON 

TO 

"ENGLISH"  AND  FRENCH 
PRONUNCIATION. 


Extera  quid  quaerat,  sua  qui  vernacula  nescit 


H 


ADVERTISEMENT. 


The  Author  of  the  "  Phonarthra''  Anglica-Gallica  does  not  pretend  to 
impart,  through  the' medium  of  a  book,  that  perfection  or  proficiency  in 
native  accent^  which  can  only  be  acquired  by  a  correct  ear^  and  the 
habit  of  good  society  in  either  France  or  England  ;  all  that  he  under- 
takes to  afford  is,  the  aid  of  an  infallible  guide  to  a  pronunciation  of 
French  and  English,  so  true  and  right,  as  cannot  but  be  fully  intelligible 
to  those  who  hear  the  pronunciation  uttered. 


h2 


INDEX  OF  CONTENTS, 


PAGE 

I.  The  English  or  French  Alphabet    , 61 

II.  Remarks  upon  the  Alphabet ......  63 

III.  The  Enghsh  and  French  Sounds   65 

IV.  The  English  and  French  Sounds,  or  Orthoepic  Letters,  illustrated  in 

words  where  they  occur 68 

V.  The  two  sorts  of  Syllables,  in  Alphabetic  series 70 

=Enghsh  and  French  examples  in  Orthography  and  Orthoepy. 

VI.  The  Names  of  Numbers 72 

VII.  The  Names  of  Times  and  Seasons 74 

VIII.  A  few  short  Sentences , 'JQ 

IX.  Anecdote  of  a  Heathen  Prince  and  some  Primitive  Christians    78 

X.  The  Blind  Poet's  Address  to  the  Light — Remarks  82 

XI.  The  Prayer  of  our  Lord 94 

XII.  Alliterative  Curiosity  in  both  the  French  and  Enghsh  Tongues 92 


Gl 


THE  ENGLISH  OR  FRENCH  ALPHABET; 

THAT    IS, 

THE  ORTHO-GRAPHIC  LETTERS. 


Numeral 

Roman 

Phonarthric 

French 

English 

Order. 

Character. 

Name. 

Name. 

Name. 

1 

A    .    a 

A    .    a 

A    .    a 

E   .    e 

2 

B    .    b 

B^ 

Be 

Bi 

3 

C   .    c 

C^ 

Se 

Si 

4 

D   .    d 

D^ 

De 

Di 

5 

E   .    e 

E    .    e 

E    .    e 

I     .     i 

6 

F   .    f 

Ph^ 

Eph 

Eph 

7 

G  .   g 

G^ 

Zhe 

Dzhi 

8 

H  .   h 

m 

Ash 

Etsh 

9 

I    .    i 

I  .   i 

I    .     i 

Ai    .    ai 

10 

J    •    J 

j^ 

Zhi 

Dzhe 

11 

K  .   k 

a 

Ca 

Ce 

12 

L   .    1 

L^ 

El 

El 

13 

M  .  m 

M^ 

Em 

Em 

14 

N  .    n 

m 

En 

En 

15 

O  .    0 

0    .    0 

O    .    o 

O   .    o 

16 

P   .    p 

P^ 

Pe 

Pi 

17 

Q.    q 

Cu 

Cu 

Cju 

18 

R  .    r 

R^ 

Er 

Ar 

19 

S    .    s 

S^ 

Es 

Es 

20 

T  .    t 

TV 

Te 

Ti 

21 

U  .    u 

U  .    u 

t      .      U 

Ju    .    ju 

22 

V   .    V 

V^ 

Bhe 

Bhi 

23 

W  .    w 

Vu 

Double  Bhe 

Double  Ju 

24 

X  .    X 

Cs^ 

Ics 

Ecs 

25 

Y  .  y 

Vi 

I-grec 

Vai 

26 

Z    .    z 

z^ 

Zed 

Zed 

62 


THE    ENGLISH    OR    FRENCH    ALPHABETS. 


The  Alphabet  otherwise  arranged,  according  to  the  organic  analogies, 
excepting  the  Five  Vowels. 


Palatals 

C.  c 

K.k 

Q.q 

X.x 

H.h 

J.J 

G.g 

Palatals. 

Linguals 

T.  t 

S.s 

L.l 

N.n 

R.r 

Z.z 

D.d 

Linguals. 

Labials 

P.p 

Y.y 

W.w 

M.m 

F.f 

V.  V 

B.b 

Labials. 

63 


REMARKS  ON  THE  ALPHABET 


I.  The  word  Alphabet  is  composed  of  the  names  of  the  two  first 
letters  of  the  Greek  Alphabet,  Alpha-Beta  ;  which  names  are  them- 
selves derived  from  the  names  of  the  two  first  letters  of  the  more 
ancient  Hebrew  Alphabet,  Aleph-Beth. 

n.  The  Alphabet  is  a  list,  or  catalogue  of  the  letters,  signs^  or  cha- 
racters used  to  represent  the  sounds  of  speech. 

ni.  The  real  number  of  the  sounds,  however,  is  by  no  means  repre- 
sented by  the  actual  number  of  the  alphabetic  signs  or  letters ;  several 
of  the  letters  being  redundant,  or  duplicate  signs  of  the  same  sound,  and 
several  of  the  sounds  having  no  express  letters  to  signify  them  at  all ; 
hence— 

IV.  The  Orthography  (or  correct  writing)  of  a  language,  and  the 
Orthoepy  (or  correct  pronunciation)  of  a  language,  do  not  always 
correspond ;  that  is,  the  Orthography  does  not  exactly  represent  the 
Orthoepy  \ 

V.  It  is,  therefore,  a  desideratum  in  every  language,  that,  independ- 
ently of  the  orthographic  letters  of  the  Alphabet,  the  definite  number  of 
sounds  discoverable,  be  discovered,  and  noted  by  their  own  peculiar 
signs  or  letters,  which  shall  invariably  represent  them  only^  for  the  pur- 
pose of  explaining,  by  their  means,  the  Orthoepy  (or  true  pronunci- 
ation) of  words  written  in  the  standard,  but  inadequate,  redundant,  and 
variable  letters  of  the  alphabet, 

VI.  This  desideratum,  therefore,  being  achieved,  in  behalf  of  the 
English  and  French  languages,  is  now  presented  in  the  following  table 

^  The  words  Orthography  and  Ortlwepy  are  derived  from  the  Greek  words  OqQoq — rights 
Tpa^w — to  write  or  engrave,  and  Ettw — to  say  or  speak» 


64 


REMARKS    ON    THE    ALPHABET 


of  the  "  English  and  French  Sounds,'*  or  "  Orthoepic  Letters,'*  which 
shows,  that,  whereas  the  letters  of  the  Alphabet  are  twenty-six  in  num- 
ber (including  all  redundants)  ;  the  simple  original  sounds  utterableand 
discoverable  amount  to  thirty  (two)  in  English,  and  to  twenty-eight  in 
French,  besides  several  particular  variations,  imitations,  and  com- 
binations of  simple  sounds,  which  have  been  mistaken  for  additional 
distinct  simple  sounds. 


65 


THE  ENGLISH  AND  FRENCH  SOUNDS 


THE   ORTHOEPIC  LETTERS. 


Palatals. 

Lingua 

Is. 

Labials. 

A     . 

a 

3 

3- 

J2        .      fr 

B    . 

e 

R 

r 

0        .     0 

/     . 

i 

L 

I 

U       .     u 

J     . 

'{ 

S 

z 

s 

z 

\  V       .     V 

H   . 

'{ 

Sh 

Zh 

sh 
zh 

\  Vh     .     vh 

C     . 

c 

T 

t 

P       ,    p 

G    . 

9 

D 

d 

B       .     h 

-Ch  . 
.Gh  . 

ch-i 

Th 

th 

Ph      .    ph, 

Dh 

dh 

Bh     .     bh 

c2(    . 

^ 

N 

n 

M      ,     m 

10 

12 

10 

ph,  i.e.  F  .  f 


32 


I.  Thus  there  are  Jive  letters  in  the  Alphabet  which  are  redundant ; 
namely,  K,  Q  (which  have  the  sound  of  C),  X  (which  stands  for  C5, 
or  gz),  and  Y,  W  (which  sometimes  signify  J,  F,  and  sometimes 
/,  U), 


11.  On  the  other  hand  there  are  twelve  sounds  noted  in  the  above 
table,  which  (with  one  exception,  viz.  Ph  .  ph,  i.  e.  F  .  f)  are  not 
numbered  in  the  Alphabet ;  namely, 


66 


THE    ENGLISH    AND    FRENCH    SOUNDS. 


rGh 
Lch 

chJ 

Dh 

.     dh 

Bh 

hh 

Th 

,     th 

Ph 

ph 

3 

•     9- 

%h 

.     zh 

J2     . 

nr 

3 

•       V 

Sh 

.     sh 

Vh    . 

vh 

[Gh  and  Ch]  indeed  have  no  actual  existence  in  modern  French  or 
English  ;  but  on  account  of  their  ancient  use,  and  visible  remains  in  the 
Orthography,  they  are  put  in  their  places  in  the  table.  Again :  Dh  and 
Th  are  not  French,  but  only  English  sounds.  And  further :  J3  in 
French,  is  really  the  J3A  in  the  Phonarthron  ;  but  this  distinction  is  not 
worth  noting,  and  this  observation  is  sufficient  to  point  out  the  usual 
practical  difference  of  e3  .  ;;  in  the  two  languages. 


THE  ENGLISH  AND  FRENCH  SOUNDS, 

OR 

ORTHOEPIC  LETTERS, 

ILLUSTRATED  IN  WORDS  WHERE  THEY  OCCUR. 


l2 


68 


THE  ENGLISH  AND  FRENCH  SOUNDS,  OR  ORTHOEPIC 

ENGLISH    EXAMPLES. 


Grave  and  Impure  Sounds. 

Pure  and  Acute  Sounds. 

S 

si 

y^    .  «     zz  «5  in  A«rm  .father 
E   .  e     =  e,  in  great .  weight 
I    .  {     zz  i,  in  shield  .  priest 
J    'j     =  i,  in  vieio.  zzj,  in  Hallelujah 
H  .  h     zz  ^5  in  Aero  .  Hungary 
G  .  g     =.  g,  in  game  .  beggar 
[Gh.  gh  zz  gh,  in  ghost  .  night~\ 
rZ    .  7]     =  72,  in  anger  .finger 

a     zz  fl!,  in  man  .  marry 
e     z:  e,  in  crest  .  merry 
i     z=  i,  in  print .  chilly 

j      zz  e,  in  feio,  pew,  Teutonic 
h     =  h,  in  hate  .  hatchet 
c     zz  c,  in  cane  .  tobacco 

[ch  zz  ch,  in  chasm  .  yachf] 
7]     ZZ  72,  in  rank  .  anchor 

3 

Cc:/'         ^       —    re,  m  herd,  ro,  iu wore? -i  3 
0       '  9-       —    U.io.  bird  .  \_u,va.curd] 

R   .  r     :=  r,  in  grain  .  negro  ^ 

L   .  I      =:  Z,  in  blind  .  sable  ^ 

Z    .  z     :=  2",  in  zone  .  razor 

Zh  .  zh  zz  z,  in  azure .  zr  5,  in  pleasure 

D  .  d     ■=:  d,in  danger  .  ladder 

Dh.  dh  zz  th,  in  father  .  breathe 

N  .  n     zz  72,  in  sun,  window 

I     zi  0,  in  love .  zz  u,  in  cup  ^ 
r     zz  r,  in  C7'ust .  accrue  ^ 
I     zz  Z,  in  plant .  simple  ^ 
s     zz  5,  in  sun  .  glossy 
sh   zz  sh,  in  ship  .  marshy 
t     zz  t,  in  taste  .  battle 
th   zz  th,  in  author  .  breath 
n     zz  72,  in  pan  .  plenty 

IS 

Jl  .  n-    zz  a,  in  hall,  zz  0,  in  boy 

0.6     zz  0,  in  home  .  stone 

U  .  u     zz  w,  in  truth .  =  00,  in  goose 

V  .  V     zz  ?^,  in  ivar  .  dwarf 

Vh .  vh  =.  wh,  in  whale  .  wherry 

B   .  b     =  Z»,  in  bag  .  rabbit 

Bh .  bh  z=  v,  in  veil .  wave 

M  .  m    zz  m,  in  mind  .  lame 

n-    zz  «,  in  watch  .  =  0,  in  rock 

6     zr  0,  in  obey  .  romance 

u     =  2^,  in  bull .  zz  0,  in  wolf 

V     =:  2^,  in  weep  .  sweep 

vh  zz  wh,  in  wheat  .  whistle 

p    zz  p,  in  peace  .  rapid 

pli  •=.  f  in  fame .  zz  ph,  in  phantom 

m    zz  772,  in  might  .  champion 

3  .  d'  >  This  sound  is  the  same  as  that  described  in  French  as  ["e  muet'"']  the  mute  e,  when 

sounded  as  in  the  words  ^e,  me,  le,  te,  se,  &c.     See  the  "  Phonarthron,"  Examples  and  Explanations, 

Second  Table— the  Halitals. 

2  Neither  the  English  nor  the  French  pronounce  the  R  .  r  final,  nor  do  the  Frenc?i  pronounce  the 

L  .  I  final,  as  they  ought,  or  as  they  think  to  do,  but  the  French  pronounce  them  both  as  Halitals 

(aspirates)  ;  and  the  English  pronounce  B-  instead  of?- — thus : 

f  ogre,  ochre,  in  English,    ^     are  really    f  not  og-r,  och-r,  f  but  og-S^,  oc-9'. 

The  several  I  I  I  J 

<    ordre,  cent7-e,  in  French,     >  and  usually  <   not  rrrd-r,  s/rr^t-r,  <    hnt  fTrd-rh,  s(r7]t-rh. 

^         {^Bihle,  ftoMcfe,  in  French,  J  pronounced  \^  not  Bih-l,  huc-l,        [^'bnt  Bih-lh,  buc-l7i. 

Note.  That  in  some  syllables  the  vowel  sound  is  so  obscure,  or  doubtful,  as  not  to  require  the  grave 

or  acute  sign  of  distinction  at  all. 


69 


LETTERS,  ILLUSTRATED  IN  WORDS  WHERE  THEY  OCCUR. 

FRENCH    EXAMPLES. 


Grave  and  Impure  Sounds. 

Pure  and  Acute  Sounds. 

rA  .d 

=.  a,  in  dme  .  cable 

a 

=z  «,  in  ami  .  mari 

E  .i 

zz.  e,  in  fete.  =r  oi,  in  foible 

e 

—  e,  in  bonte  .festin 

, 

I    .i 

rr  i,  in  gite  .  cerise 

I 

=.  i,  in  colibri  .  biribi 

'B 

J   J 

=  i,  in  vieu ,  adieu 

3 

■=.  i,  infer  .  pied  .  siecle 

£ 

H  .h 

=  h,  in  heros  .  Hongroie 

h 

zz  A,  in  hache  ,  hachette 

G  ,g 

=:  ^,  in  gand  .  bagatelle 

c 

zz  c,  in  colere  .  saccade 

iGh.  gh 

= ] 

Ich 

—                                              1 

J^   '  V 

—  72,  in  plan .  =.  ng,  in  rang 

V 

zz  n,  in  fn  .  =.  nc,  in  banc 

[3    .^ 

=z  eu,  in  beurre  .  creuse  ^ 

3- 

zz  eu,  in  feu  .  peuplier  ^ 

R   .  r 

=  r,  in  grain  .  ne'gre  (rh) 

r 

=:  r,  in  crin  .  sucre  (rh) 

cc 

L  A 

—  Z,  in  blond  .  sable  (Ih) 

I 

zz  Z,  in  flamme  .  nefle  (Ih) 

c3 

3 

Z    ,z 

=.  z,  in  zero  .  zizanie 

s 

zz  5,  in  saint  .jeunesse 

hJU 

Zh  .  zh 

=r  J,  in  jour  .  =z  ^,  in  rouge 

sh 

—  ch,  in  chaine  .  hache 

^ 

D  .d 

—  d,  in  danger  .  rideau 

t 

±:  f,  in  tete  .  bateau 

IDh.  dh 

=  ] 

[th 

zz  .] 

^N    .71 

—  n,  in  canne-berge 

n 

zz  72,  in  canne-tille 

CJ2.  i^ 

zz  0,  in  mort  .  mordre 

zz  «,  in  banc  .  banque 

0  .6 

iz  0,  in  role  .  rosier 

6 

zz  0,  in  loto  .  domino 

U  .H 

—  ou,  in  roM^e  .  pelouse  ^ 

u 

—  ou,  in  joujou  .  vouloir 

-2 

V  ,v 

zz  oz,  in  roz ,  bois  ^ 

V 

zi  ou,  infouet  .fouetter 

^ 

c^ 

J 

Vh.  vh 

=z  hou,  in  houari  ^ 

vh 

zz  hou,  in  houache  or  houage 

B   .h 

zz  5,  in  5«^?/e  .  rabbin 

p 

iz  p,  in  paix  .  lapin 

Bh.hh 

zz  u,  in  voile  .  laver 

ph 

—f  in  fantaisie .  zz  ph,  inphrase 

Jd  .  m 

zz  772,  in  mamelouc  .  baume 

m. 

zz  777,  in  pommette  .  pomme. 

1  In  addition  to  the  general  sounds  of  B ,  U,  V,  Vh,  there  are  variations  from  them  in  French, 
which  are  effected  by  an  extreme  contraction  of  the  mouth  or  lips  in  enouncing  them :  thus — 

v?7  .  u  ■=.  u,m  the  French  words  pure,  flute — and  in  the  Suffolk  and  Norfolk  English  words 

two,  truth,  &c. 
vF  .  V  ■=z  u,\n  the  French  v}OxdiS puis,  suite,  &c. 
^Vh  .  vh  =z  hu,  in  the  French  words  huit,  huee,  &c. 
A  tendency  to  mince,  contract,  and  be  very  perspicuous,  is,  indeed,  characteristic  of  French  pro- 
nunciation, as  an  opposite  tendency  (to  be  inexact  and  careless)  is  characteristically  English.     Still, 
however,  these  sounds  are  so  much  contracted,  as  to  be  distinct  sounds  and  actual  imitations.    See  the 
"  Phonarthron,"  Explanation  of  the  Phonarthron  Tablet, 


70 


THE  TWO  KINDS  OF  SYLLABLES,  PULMONIC  AND 


THE    PULMONIC    SYLLABLES. 


Ba 

be 

hi 

ho 

hu 

Ca 

ce 

ci 

CO 

CM 

Da 

de 

di 

do 

du 

Fa 

fi 

fi 

fo 

f^ 

Ga 

9^ 

gi 

90 

gu 

Ha 

he 

hi 

ho 

Wm 

Ja 

> 

fi 

jo 

>          J 

Ka 

he 

ki 

ko 

« 

La 

le 

li 

lo 

H 

Ma 

me 

mi 

mo 

mu                 ^1 

Na 

ne 

ni 

no 

nu                      1 

Pa 

pe 

pi 

po 

pu                 J 

Ba 

re 

ri 

ro 

^^k 

Sa 

se 

si 

so 

su 

Ta 

te 

ti 

to 

tu 

Va 

ve 

vi 

vo 

vu 

Wa 

we 

wi 

wo 

wu 

Ya 

ye 

yi 

yo 

yu 

Za 

ze 

zi 

zo 

zu 

71 


ORIC,  EXEMPLIFIED,  IN  ALPHABETIC  SERIES. 


THE    ORIC    SYLLABLES. 

Ah 

eh 

ih 

oh 

uh 

Ac 

ec 

ic 

oc 

uc 

Ad 

ed 

id 

od 

ud 

4f 

ef 

if 

of 

uf 

Ag 

^9 

«> 

09 

ug 

Ah 

eh 

ih 

oh 

uh 

Ax 

ex 

ix 

ox 

ux 

Aq 

eq 

iq 

oq 

uq 

Al 

el 

il 

ol 

ul 

Am 

em 

im 

om 

urn 

An 

en 

in 

on 

un 

Ap 

ep 

ip 

op 

up 

Ar 

er 

ir 

or 

ur 

As 

es 

is 

OS 

us 

At 

et 

it 

ot 

ut 

Av 

ev 

iv 

ov 

uv 

Aw 

ew 

iw 

ow 

uw 

Ay 

ey 

iy 

oy 

uy 

Az 

ez 

iz 

oz 

uz 

72 


THE  NAMES  OF  NUMBERS. 


ENGLISH    WORDS 

FRENCH    WORDS 

AND 

THEIR    PRONUNCIATION. 

AND 

THEIR    PRONUNCIATION. 

I 

.  One 

.  V^n 

1 

.  Un-Une 

.  '3frj—un 

II 

.  Two 

.  Tu 

2 

.  Deux 

.  D^  [z] 

III 

.  Three 

.  Thri 

3 

.  Trois 

.  Trvr?  [z] 

IV 

.  Four 

.  Phos' 

4 

.  Quatre 

.  Cdtrh 

V 

.  Five 

.  Phaihh 

5 

.  Cinq 

.  Sdrjc 

VI 

.  Six 

.  Sics 

6 

.Six 

.  Sis—Siz 

VII 

.  Se-ven 

.  Sebh-en 

7 

.  Sept 

.Set 

VIII 

.  Eight 

,'Et 

8 

.  Huit 

.  "^Fhit 

IX 

.  Nine 

.  Nain 

9 

.Neuf 

.N^ph 

X 

.  Ten 

.  Ten 

10 

.Dix 

.  Dis—Diz 

XI 

.  E-le-ven 

.  I-lehh-en 

11 

.  Onze 

.'Orjz 

XII 

.  Twelve 

.  Tvelhh 

12 

.  Douze 

.  Duz 

XIII 

.  Thir-teen 

.  Thd^-tin 

13 

.  Treize 

.  Trez 

XIV 

.  Four-teen 

.  Ph^-tin 

14 

.  Qua-torze 

.  Cd-tnrrz 

XV 

.  Fif-teen 

.  PMph-tin 

15 

.  Quinze 

.  Cdr^z 

XVI 

.  Six-teen 

.  Sics-tin 

16 

.  Seize 

.  Sez 

XVII 

.  Se-ven-teen.  Sehh-en-tin 

17 

.  Dix-sept 

.  Di-set 

XVIII .  Eigh-teen 

.  'E-tin 

18 

.  Dix-huit 

.  DiS'Vhit 

XIX 

.  Nine-teen 

.  Nain-tin 

19 

.  Dix- neuf 

.  Dis-rid-ph 

XX 

.  Twen-ty 

.  Tve7i'ti 

20 

.  Vingt 

.  Bhdrj 

73 


THE  NAMES  OF  NUMBERS. 


ENGLISH    WORDS 

FRENCH    WORDS 

AND    THEIR    PRONUNCIATION. 

AND    THEIR    PRONUNCIATION. 

X 

.  Ten 

.  Ten 

10. 

Dix 

.  Dis — Dix 

XX 

.  Twen-ty 

.  Tven-ti 

20. 

Vingt 

.  Bhdri 

XXX 

.  Thir-ty 

.  Th9:-ti 

30. 

Trente 

.  Tra-nt 

XL 

.  For-ty 

.  Ph^-ti 

40. 

Qua-rante 

,  Cd-rn-nt 

L 

.  Fif-ty 

.  PMph-ti 

50. 

Cin-quante 

.  Sdii-Cfrnt 

LX 

.  Six-ty 

.  Sics-ti 

60 

Soi-xante 

.  SvfT-Zn-nt 

LXX 

.  Se-ven-ty 

.  Sebh-en-ti 

70 

Soi-xante-dix 

.  SvfT-zn-nt-dis 

LXXX 

.  Eigh-ty 

.  'E^ti 

80 

Quatre-vingts 

.  Cdtrh  hhdri 

XC 

.  Nine-ty 

.  Nain-ti 

90 

Quatre-vingt-dix  ,Cdtrh  hhd7]-dis 

C 

.  Hun-dred 

.  Hln-^dred 

100 

Cent 

.  Srfi] 

C 

.  One  hun-dred 

.  Vs^n  hln-dred 

100 

Un  cent 

.   Br]  Smi 

CC 

.  Two  hun-dreds 

.  Tu  liln-dredz 

200 

Deux  cents 

.  Da-  SfTT] 

CCC 

.  Three  hun-dreds 

.  Thri  hin-dredz 

300 

Trois  cents 

.  Trvr^  srfrj 

CD 

.  Four  hun-dreds 

.  Phcrr  hln-dredz 

400 

Quatre  cents 

.  Cdtrh  srfrj 

D 

.  Five  hun-dreds 

.  Phaihh  hln-dredz 

500 

Cinq  cents 

.  Sd?]  sm] 

DC 

.  Six  hun-dreds 

.  Sics  liln-dredz 

600 

Six  cents 

.  Sis  Srrj] 

DCC 

.  Se-ven  hun-dreds 

.  Sebh-en  hln-dredz 

700 

Sept  cents 

.  Ses  sn-T] 

DCCC 

.  Eight  hun-dreds 

.  'Et  Idn-dredz 

800 

.  Huit  cents 

.  ''Vhi  srfrj 

CM 

.  Nine  hun-dreds 

.  Nam  hln-dredz 

900 

Neuf  cents 

.   N'd'  SfTTl 

M 

.  Thou-sand 

.  ThaU'Zand 

1000 

.  Mille 

.  MU 

74 


THE  NAMES  OF  TIMES  AND  SEASONS. 


ENGLISH    WORDS 

FRENCH    WORDS 

AND    THEIR    PRONUNCIATION. 

AND    THEIR 

PRONUNCIATION. 

The  day 

.  DM  di 

Le  jour 

.  Ld-  zhur 

The  night 

.  DM  nait 

La  nuit 

.  ILa  nvi 

The  hour 

,  DM  au-3> 

L'heure 

.r^r 

The  week 

.  DM  vie 

La  semaine 

.  La  s'min 

The  month 

.  DM  mi-nth 

Le  mois 

.  La-  mv(Y 

The  year 

.  DMjid- 

L'an 

T'>  ' 

,  JLj  nrri                • 

One  thou-sand 

.  Vd-n  thaU'Zand 

Mil 

,Mil 

Eight  hun-dred 

.  'Et  hln-dred 

Huit  cents 

,-VMsf^ri 

and  for-ty 

.  and  ph(r-ti 

Qua-rante 

.  Cd-rrrnt 

The  morn-ing 

.  DM  mrr-nirj 

Le  ma-tin 

.  La-  md'tdij 

The  fore-noon 

.  DM  phfT-nun 

L'a-vant  mi- 

■di 

.  Udhh-frri  ''^i'di 

The  af-ter-noon 

.  DM  dph-td-nun 

L'a-pres  mi- 

^di 

,  L^d-pri  mi-di 

The  ev-en-ing 

.  DM  ibh-niT] 

Le  soir 

.  Ld-  sv/r{r) 

Sun-day 

.  Sln-de 

Di-manche 

.  Di-mfTTish 

Mon-day 

.  Mdn-de 

Lun-di 

.  La-n-di 

Tues-day 

.  Tjuz-de 

Mar-di 

.  Mar^di 

Wed-nes-day 

.  Venz-de 

Mer-cre-di 

.  Mer-cr-di 

Thurs-day 

.  TUz-de 

Jeu-di 

.  ZU-di 

Fri-day 

.  Frai-de 

Ven-dre-di 

.  Bhf^i^-dr'-di 

Sa-tur-day 

.  Sdt-9.-de 

Sa-me-di 

.  Sdm-di 

East-er 

.  'Is-U 

Paque 

.Pdc 

Mi-chael-mas 

.  Mic-l-mas 

La  Saint  Mi 

-cliel  La  Sdri  Mi-shel 

Christ-mas 

.  Cris-mas 

No-el 

.  No- el 

Mid-sum-mer 

.  Mid-slm-9^ 

La  Saint  Jean 

.  La  Sdr]  Zhfrt] 

75 


THE 

NAMES  OF  TIMES  AND  SEASONS. 

ENGLISH    WORDS 

FRENCH    WORDS 

AND    THEIR    PRONUNCIATION. 

AND    THEIR    PRONUNCIATION. 

The  Spring 

.      DM  Sprir] 

Le  Prin-temps 

,    La.  Prdt^-tm) 

March 

.  Mdtsh 

Mars 

.  Mars 

A-pril 

.  'E-pril 

A-vril 

,  'Abh-ril 

May 

.Mi 

Mai 

,  Mi 

The  Sum-mer 

.     DM  Slm-9^ 

L"E-te 

n'Et-e 

June 

.  Dzhun 

Ju-in 

.  Zhu-ttTj 

Ju-ly 

.  DzMi-lai 

Juil-let 

,  Zhul-je 

Au-gust 

.  ^Jl-gB-st 

Aout 

.  lA-y^ 

The  Au-tumn 

.     DM'Jl-tB-m 

L'Au-tomne 

n'O-ton 

Sep-tem-ber 

.  Sep'tem-hd- 

Sep-tem-bre 

,  Sep-ta-m-brh 

Oc-to-ber 

.  'Jlc-td-h3^ 

Oc-to-bre 

.  'Oc-to-brh 

No-vem-ber 

.  No-hhem-ba- 

No-vem-bre 

.  No-bhn-m-brh 

The  Win-ter 

.      DM  Vin-ta, 

L'Hi-ver 

.        ULbhir 

De-cem-ber 

.  Di-sem-bs^ 

De-cem-bre 

.  De-sn-m-brh 

Ja-nu-a-ry 

.  Dzhdn-jic-e-ri 

Jan-vi-er 

.  Zhn-n-bM-e 

Feb-ru-a-ry 

.  Feb-ru-e-ri 

Fev-ri-er 

.  Phebh-ri-e 

Child-hood 

.  Tsliaild-hud 

L'En-fance 

.  L" Jl7]-phfr7]s 

Youth 

.  Jutli 

La  Jeu-nesse 

.  La  Zhd'-nes 

Man-hood 

.  Man-hud 

L'A-do-les-cence  L' ' A-do-les-fr7]S 

Age 

.  'Edzh 

T-a  Vi-eil-lesse 

.  La  BM-il-jes 

The  East 

.  DM  '1st 

fL'Est 
LL'O-ri-ent 

.  n'Est 

.  L'O-ri-fTT] 

The  West 

,  DM  Vest 

rUOuest 
tuOc-ci-dent 

.  L'Vest 

.  n'Oc-si-do'T^ 

The  North 

.  DM  N^th 

fLe  Nord 
\LeSep-ten-tri- 

.  L^  N^r 

on  La-Sep-tfrri'tri-OT] 

The  South 

.  DM  Sauth 

fLe  Mi-di 
LLe  Sud 

.  Ld.  Mi-di 
.  La,  Sud 

k2 


76 

ENGLISH 

Orthography  and  Orthoepy. 


I.  Af-fec-tion      for    one's  pa-rents  is  the     foun-da-ti-on      of    all 

' Aph-ec-sbb -on  phnt  virUz  pi-rents  iz  dhi  phaun-de-sN-on  rfbh  rrl 

the  vir-tues. 
dhi  hh^'tjuz, 

II.  No-thin^  is  more  de-Iight-ful,  than  to  be  with  one's  friends. 

Nd-'thiT]   iz  moB-  di-lait-phul,  dhdn  tu  hi  vidh  vItlz  phrendz. 

III.  Mu-tu-al   lov~ing-kindness    is    the   great    bond    of    hu-man 
Mju-tju-al  Ubh-iri-caind-nes    iz    dhi    gret     hn-nd  n-hh  hju-man 

S0"ci-e-ty:  with-out  it    life    is  un-ea-sy,  full   of  ap~pre-hen-si-on  and 
so-sai-i-ti  :  vidh-aut  it  laiph  iz    In-i-zi,  phul  nrbh  dp-ri-hen-sN-on   and 

dis-qui-et. 

dis-cvai-et, 

IV.  Con-sci-ence  is  the  voice  of  the  soul,  pas-si-on  is  the  voice  of 

Cfrn-sN-ens  iz  dhi  hh<ris  n-hh  dhi  sol,  pd-sh'-on  iz  dhi  hhn-is  rrbh 

the  bo-dy ;  which   of  the  two  should  we  o-bey  ? 
dhi  hfr-di;  vhitsh  n-hh  dhi   tu     shud     vl   o-be? 

V.  True  ho-nor  is  im-mu-ta-ble :  it  de-pends  nei-ther  up-on  age, 

Tru    rrn-or    iz    im-ju-ta-bl :     it  di-pendz  nai-dhs^r  Ip-crn  edzh, 

coun-try,  nor   pre-ju-dice ;  it  re-sults  e-ter-nal-ly   from   the  un-al-te- 
cln-tri,    ncr  pre-dzhu-di-s ;  it  ri-zllts  i-t^-na-Ii  phram  dhi  In-a-l-ta^- 

ra~ble  laws   of  du-ty. 
ra-hl   Irrz  rfbh  dju-ti, 

VI.  The  rose  is  beau-ti-ful,    re-fresh-ing,  and  sweet-scent-ed,  but 

Dhi  roz   iz  bju-ti-phul,    ri-phresh-it],    and       svit-sent-ed,      bit 

it  has  its  thorns. 
it  hdz  its  thtrnz. 

VII.  The  sim-pli"ci-ty  of  na-ture   is  more  love-ly,  than  all   the 
Dhi  sim-pli-si-ti  n-bh   ni-tja-r    iz    mOd-    Ubh-li,  dhdn  rrl    dhi 

em-bel-lish-ments  of  art. 
em-bel-ish-ments  rrbh  at. 


77 

FRENCH 

Orthography  and  Orthoepy. 


I.  L'af-fec-ti-on  en-vers  ses  pa-rens   est  le  fon-de-ment  de  toutes 
L^dph-ec-si-OT]  o-ri-bher    se  pd-rrfrjZ    e    U  phoTj-d'-ntrrT]  d^-     tut 

les  ver-tus. 
le  hhiv'tu. 

II.  II  n'y  a  ri-en  de  plus  a-gre-a-ble  que  d'etre  au  mi-lieu  de  ses  a-mis. 
II  nH  a  ri-drj  ds-pluz  a-gre-a-hlh  cs-  d^e-trh  o  mil-jd~   ds-  sez  d-mi, 

III.  Une   bi-en-veil-lance   mu-tu-elle   est    le    grand   li-en   de   la 
"^Un     hi-d7]'hhel-jfr7]S      mu-tu-el       e      U     grn-i]     li-dri    ds-   la 

so-ci-e-te  hu-maine ;    et  sans  elle  la  vie  est  in- corn-mode,  pleine  de 
so'si-e-te      u-men ;        e   sn-riz    el    la   hhi   et       drj-co-mod,      plen     do- 

crainte  et  d'in-qui-e-tude. 
crdrf    e     d'drj-ci-e-tud. 

IV.  La  con-sci-ence  est  la  voix  de  Tame,  les  pas-si-ons  sont  la 
La    cdrj-si-o-7]S        e     la  bhvn-  ds-   Vdm,      le     pa-si-ot]      sdt]   la 

voix  du  corps ;  la-quelle  des  deux  voix  faut-il  e-cou-ter  ? 
hhvfr  du   crr ;        la-cel      de      da^    hhvtr  phot-il   e-cu-te  ? 

V.  Le  so-lide  hon-neur  n'est  point  va-ri-a-ble :    il  ne  de-pend,  ni 
Ls-   s6-lid       on-B-.        rCe    pvn-r]  bhd-ri-a-hlh :  il  no-    de-pn"t]i     ni 

des  temps,  ni  des  lieux,  ni  des  pre-ju=ges;    il  a  sa  source  e-ter-nelle 
de       tfTT],     ni    de     Ijd^^     ni   de  pre-zhu-zhe ;  il  a  sa    surs      e-ter-nel 
dans  la  re-gle  in-al-te-ra-ble  de  ses  de-voirs. 
drrr^    la  re-gl   in-dl-te-rd-blh  ds-  se   d'-bhvnr, 

VI.  La  rose  a  sa  beau-te,  sa  frai-cheur,  et  son  o-deur ;  mais  elle 
La   roz  a  sa     bo-te,     sa  phre-sh^r,    e    son    d-d&- ;     mez    el 

a  aus-si  ses  e-pines. 
a    o-si    siz    e-pin, 

VII.  La  sim-pli-ci-te  de  la  na-ture  est  plus  ai-ma-ble  que  tons  les 
La  sdm-pli-si-te  da-  la   nd-tur     e    pluz   e-md-blh    ca^     tu    lez 

em-bel-lisse-ments  de  I'art. 
rrm-bel-is-nnrTj      ds-  Vdr, 


78 

ENGLISH 

Orthography  and  Orthoepy. 


Es-teem  of  a  Hea-then  Prince  for  certain  Chris- ti-ans. 
'Es-tim  trbh  e  Hi-dhen    Prins  fir   sl-ten    Cris-ti-anz. 


CoN-STAN-Ti-us  Chlo-rus  ^  oncc  is-su-ed  a  pro-cla-ma-ti-on,  that 
Crrn-stdnshi'd-s      Clo-rd-s         vlns  isshu-d  e  pro-da-mi-sN-on,  dhdt 

all   Chris-ti-ans  who  oc-cu-pied  pla-ces  in  his  go-vern-ment,  should 
trl    Cris-ti-anz     hu    rrc-ju-pai- d  ple-sez   in  hiz  go-bh-d-rn-ment,    shud 

of-fer     sa-cri-fi-ces     to      Ju-pi-ter      and  the  o-ther  hea-then  gods,  on 
ffph-d-  sdc-ri-phai-sez  tu  Dzhu-pi-t^[r^  and  dhi  d-dh-a.  hi-dhen  gn-dz,  rfn 

pain   of    be-ing   de-priv-ed   of    their   si-tu-a-ti-ons.      Some  of  them 
pen   frhh    bi-irj    di-praibh-d  n-bh  dheo-  sit-ju-e-sh''-onz,      Sim  n-bh  dhem 

com-pli-ed  with  the  or-der,  by  means    of  which,  how-ev-er,  the  so- 
Cifm-plai-d  vidh  dhi    rr-da^,    bai   minz  trbh  vhitsh,  hau-ebh-a-,  dhi  srr- 

ve-reign   on-ly   in-tend-ed  to   try   them.       Ac-cord-ing-ly  they  fell 
hho^ren      on-li     in-tend-ed    tu  trai  dhem.        ^ Ac-crrd-ir^-li,      dhi  phel 

un-der  his  con-tempt,  and  he  dis-miss-ed  them  for  ev-er   from  his  pre- 
d-n-da^r  hiz  cn-n-tempt,  and  hi  dis-mis-t  dhem  phn-r  ebh-o-  phrn-m  hizpre- 

sence.  One  of  this  prince's  cour-ti-ers,  de-sir-ing  to  know  the  mo-tive 
zens.     Vd-n  abh  dhis  prins-iz     crrt-ja-z,     di-zair-iri  tu    no     dhi  mo-tibh 

of    a   pro-ceed-ing  which  ap-pear-ed  so  strange, — "  Men,"   replied 
(rbh  e      pro-sid-ir]     vhitsh     d-pir-d     so    strenzh^ — "  Men,^^  ri-plai-d 

Con-stan-ti-us,   "who  sa-cri-fice   their  re-li-gi-on  to  their  in-te-rest, 
C/rn-stdn-shi-ds,  "  hu  sdc-ri-phais  dheo-  ri-lid-zK -on  tu  dhir   in-ts-rest^ 

are  ca-pa-ble  of  an-y  de-re-lic-ti-on ;  and  I  could  not  ex-pect    that 
d      ci-pa-bl  n-bh  en-i  de-ri-  lic-sh'-on ;  and  ai   cud    nn-t   ecs-pect  dhdt 


^  Constantius  Chlorus,  Emperor  of  Rome,  died  at  York,  in  the  province  of  Britain, 
A.  D.  306. 


ENGLISH    ORTHOGRAPHY    AND    ORTHOEPV.  79 

those  per-sons  whose  dis-grace  you  are  sur-pris-ed  at,  should  prove 
dhoz    pi-sonz     huz       dis-gres     ju     a     ss^-praiz-d  at,    shud    prubh 

more  faith-ful  to  me  than  to  their  God."     The  em-pe-ror  then  en-no- 
mod.  plieth-phul  tu  mi  dhdn  tu  dhes-  Gd-d.''     Dhi  em-pd-r^    dhen  en-no- 

bled  and  en-rich-ed  those   Chris-ti-ans,  who  i-ma-gin-ed   they  were 
hVd    and  en-rifsh-t    dhoz    Cris-ti-anz,     hu  i-mad-zliin- d  dM     vea- 

brav-ing  his  an-ger  and  re-venge,  in  re-fus-ing  to  do  ho-nor  to  his 
hrebh-iri    hiz   di^-ga-   and  ri-hhenzh,  in  reph-juz-irj  tu  du    o-na-    tu  hiz 

false  gods,  and  he  ev-en    con-fid-ed    to  them  the  pro-tec-ti-on  of  his 
phrrls  gn-dz,  and  hi  ihh-en  crfn-phaid-ed  tu  dhem  dhi  pro-tec-sK -on  n-hh  hiz 

per-son. 
p^-son. 


80 

FRENCH 

Orthography  and  Orthoepy, 


Es-time  d'un  Prince  i-do-la-tre  pour  les  Chre-ti-ens. 
'Es-tim    d^lt]  Prdns  i-do-ld-trh  pur   le      Cret-jdr]. 


Con-stance   Chlore  fit  pub-li-er  a  line   cer-taine  e-poque,  que 
Cor^-strrns  Clor    phi  puh-li-e    a    un      ser-ten       e-poc,       Cd- 

tous   les    Chre-ti-ens   qui    oc-cu-pai-ent   des    places    a  son   ser-vice, 
tu      le        Cret-jdr]        ci  6c-cu-pe         dd     pids-z   d  sor\     ser-hhis, 

eus-sent  a  of-frir  des  sa-cri-fices   a  Ju-pi-ter  et  aux  au-tres  di-vi-ni-tes 
usH  a  oph-rir  des  sdc-ri-phis- z  a  Zhu-pi-ter  e    oz    o-trh    di-hhi-ni-te 

du  pa-ga-nisme,  s'ils  vou-lai-ent  res-ter  en  charges.      Quel-ques-uns 
du  pd-yd-nism,     s'il       bhu-le       res-ter  o-t]   shdrzh.         Cel-c'z       Ir^z 

o-be-ir-ent  a  cet  or-dre,  par  le-quel  on  a-vait  seule-ment  vou-lu  les 
o-bi-ir't     a  set  dr-drh,  par    h-cel    on  d-hhe      Sd-F-mo-rj    hhu-lu   lez 

e-prou-ver.     lis  s'at-ti-rer-ent  le  me-pris  du  prince,  qui  les  chas-sa 
e-pru-hhe,       lis     s' dt-ti-rer-      Is-    me-pri    du    prdns     ci     le    shds-sa 

pour  ja-mais  de  sa  pre-sence.     Un  de  ses  cour-ti-sans  a-yant  vou-lu 
pur    zhd-me  da-   sa   pre-zn-ns,      3ri    d^    se    cur-ti-zo-r^z   i-jn-T]     bhu-tu 

ap-pren-dre  de  lui  le  mo-tif  d'une  con-duite   qui   pa-rais-sait   aus-si 
d-prrr7]-drh     da-  Ivi  U  mo-tiph  d'un     c07]-dmt      ci      pa-ris-set      o-si 

e-trange:    "  Les   hommes    qui   sa-cri-fi-ent   leur   re-li-gi-on   a   leur 
e-trfTTjzh :    "  Lez         6m         ci      sdc-ri-phi       h      r'-li-zN-ot]  a    llr 

in-te-ret,"  lui  re-pon-dit  Con-stance,  "  sont  ca-pa-bles  de  man-quer  a 
dn-te-re,^'    Ivi    re-por^-di     Cori-stn-ns,     "50?;    cd-pd-bV    do^    mn-ri-cer    d 

tous  leurs  de-voirs :   et  je  ne  pou-vais  es-pe-rer  que  ceux,  dont  la  dis- 
tu       h     d'-bhviT :    e  zha-  no-  pu-bhez  es-pe-re      cs-      Sd-,      dor]  la  dis~ 

grace  vous  a  sur-pris,   me  fus-sent    plus  fi-deles  qu'ils  ne  I'ont  e-te 
grds    bhuz  a   sur-pri,    ma-    phus       plu    Ji-del      ci'l     ng-    Vdrjt    e-te 

1 


FRENCH  ORTHOGRAPHY  AND  ORTHOEPY.  81 

a  leur  Dieu."     Le  prince  com-bla  en-suite,  de  bi-ens  et  d'hon-neurs, 
a   hr   Djly      JLs-  prdns   cdi]-hla     n-i^-smf,    ds^  bi-df^z   e        d'o-n9.r, 

les  Chre-ti-ens  qui  cro-yai-ent  bra-ver  sa  co-lere  et  sa  ven-geance,  en 
le       Cret-jdr]      ci        crfr-je       hrd-hhe  sa    co-ler     e  sa  hhn-ri'zhn-ns,  rrj] 

re-fu-sant    de     sa-cri-fi-er  aux  faux  dieux,  et  il  leur  con-fi-a  meme  la 
re-phu-zrrri  da^  sdc-ri-phi-jer    o     pho     djl,     e    il  Is^r  co7]-phi-a    mim  la 

garde  de  sa  per-sonne. 
gdrd^  da-  sa   person. 


Qui  est  in-fi-dele  a  son  Dieu,  pent  I'etre  a  son  Prince  ! 
Ci    et  dij-phi-del  a  soi]    Djl,     ps-     Vet?'   a  so-q  Prdns ! 


83 

ENGLISH 

Orthography  and  Orthoepy. 


The  Blind   Poet's  Ad-dress  to  the  Light 
Dhi  Blaind  Po-et's    A-dres   tu  dhi  Lait. 


MILTON'S   PARADISE   LOST,   BOOK  IIL 


Hail,  ho- 

ly  Light ! 

Off-spring 

of  Hea-ven 

first-born ; 

HiU  ho- 

ti  Lait! 

Jlph-spriTi 

f^bh  He-bhn 

fi-st-btrn  ; 

Or,  of 

the  E-ter- 

nal,  co- 

e-ter- 

nal  beam; 

J2r,  (rbh 

dhi'^i-td- 

nal,  co- 

i-t^- 

nal  bim  ; 

May  I 

ex-press 

thee  unblam'd 

?  since  God 

is  Light, 

Mi  at 

ecs-pres 

dhi-^n-bUnCd 

?  sins     Gird 

iz  Lait, 

And  nev- 

er  but 

in  un- 

ap-proach- 

ed  Light 

And  nebh- 

^   bdt 

in  In- 

a-protsh- 

ed  Lait 

Dwelt  from 

E-ter- 

ni-ty, 

dwelt  then 

in  thee, 

Dvelt  phnl-m 

I-t^- 

ni-ti, 

dvelt  dhen 

in  dhi. 

Bright  ef- 

flu-ence  of 

bright  es- 

sence  in- 

cre-ate ! 

Brait  eph- 

lumens  nbh 

brait    es- 

ens      in- 

cri-it ! 

* 

*            * 

%           * 

Be-fore 

the  sun. 

* 

%            % 

#            * 

Bi-phi? 

dhi  sin, 

Be-fore 

the  hea-vens 

thou  wert. 

and,  at 

the  voice 

Bi~ph^  ' 

dhi   hebhnz 

dhau  V9.t, 

and,  at 

dhi  bhfris 

Of  God, 

as  with 

a  man- 

tie,  didst 

in-vest 

Jlbh  Gird, 

dz  vidh 

a  mdn- 

tl,    didst 

in-bhest 

The  ri- 

sing  world 

of  wa- 

ters  dark 

and  deep, 

Dhi  ral- 

zit]    vUd 

n-bli  V(r- 
1  Bi-phiT,  or  Bi-phbS 

l2 

tS'Z    ddc 

and  dip, 

84 


ENGLISH  ORTHOGRAPHY  AND  ORTHOEPY. 


Won  from 
Vm  phrn-m 

the  void 
dhi  bh^id 

and  form- 

and  phrrm- 

less  in- 
les    in- 

fi-nite. 
phi-nit. 

Taught  by 
Tfrt       hai 

the  hea-ven- 
dhi    hebhn- 

ly  muse 
li    mjuz 

to  ven- 
tu  bhen- 

ture  down 
{/V     daun 

The  dark 
DM  ddc 

des-cent, 
di-sent, 

and  up 
and  Ip 

to  re- 
tu  ri- 

as-cend, 
a-send, 

Though  hard 
Dho        had 

and  rare, 
and  reV, 

thee  I 
dhi  ai 

re-vis- 
ri-bhiz- 

it  now, 
it  nau, 

And  feel 
Andphil 

thy  sov- 
dhai  s/rbh- 

ran  vi- 
ran  bhai- 

tal  lamp ; 
tal  lamp  ; 

but  thou 
bit  dhau 

Re-vis- 

Bi'bhiz- 

it'st  not 
if  St  nrrt 

these  eyes, 
dhiz     aiz, 

that  roll 
dhat  rdl 

in  vain 

in  bhen 

To  find 
Tu  phaind 

thy  pier- 
dhai  pis-- 

cing  ray, 
sir^      re, 

and  find 
and  phaind 

no  dawn ; 
no    drrn; 

So  thick 
So   tliic 

a  drop 
a  drrfp 

se-rene 
si-rin 

hath  quench'd 
hath  cvensNt 

their  orbs, 
dher  rrbz, 

Or  dim 
Jl  dim 

suf-fu- 
suph-ju- 

si-on  veil'd. 
zhon  bheVd. 

Though  with 
Dho       vidh 

the  year, 
dhi  jid^, 

Sea-sons 
Si'Zonz 

re-turn ; 
ri't^n  ; 

yet  not 
jet   nn-t 

to  me 
tu  mi 

re-turns 
ri-tlnz 

Day,  or 
Dd,     n- 

the  sweet 
dhi  svit 

ap-proach 
a-protsh 

of  e-ven 
(rbh  ibhn 

or  morn, 
rr    mrrn, 

Or  sight 
J2   salt 

of  ver- 
rfbh  bhl' 

nal  bloom, 
nal  blum. 

or  sum- 
fr   slm- 

mer's  rose, 
d-z        roz, 

Or  flocks, 
J2  phlrrcs. 

or  herds, 
rrr  hldz. 

or  hu- 
(rr  hju- 

man  face 
man  phis 

di-vine ; 
di-bhain  ; 

But  cloud 
Bit  claud 

in-stead, 
in-sted, 

and  ev- 
dnd  ebh- 

er  du- 
9-  dju- 

ring  dark 
ri7]     ddc 

Sur-rounds 
Sd-raundz 

me,  from 
mi,  phra-m 

the  cheer- 
dhi  tshia^- 

ful  ways 
phul  vez 

of  men 
frbh  men 

ENGLISH  ORTHOGRAPHY  AND  ORTHOEPY. 


85 


Cut  off; 

and  for 

the  book 

of  know- 

ledge  fair, 

Ck  o-ph  ; 

and  phtr 

dhi  buc 

i^bh  nffl- 

edzli  phcQ^, 

Pre-sen- 

ted  with 

a  u- 

ni-ver- 

sal  blank 

Pri-zen- 

ted  vidh 

aju- 

ni-bh^- 

sal  bld7]C 

OfNa- 

ture's  works. 

to  me 

ex-pung'd 

and  ras'd, 

jihh  m- 

tJB^'z        VB^CS 

tu  mi 

ecs-plnzNd 

and  ris't, 

And  Wis- 

dom  at 

one  en- 

trance  quite 

shut  out. 

And  Viz- 

dom  at 

Vd-n  en- 

trans    cvait 

shd-t  aut. 

So  much 

the  ra- 

ther  Thou, 

Ce-les- 

ti-al  Light, 

So  mltsh 

dhi  rd- 

dhd^  Dhau, 

Si-les- 

tjal     Laity 

Shine  in- 

ward,  and 

the  mind 

through  all 

her  pow-ers 

Shain  in- 

Vfrd,    and 

dhi  maind 

thru         (rl 

ho-  pau^d.z 

Ir-ra- 

di-ate  :   there 

plant  eyes, 

all  mist 

from  thence 

/-re^- 

djet :       dhea- 

plant  aiz, 

(tI  mist 

phrn-m  dhent 

Purge  and 

dis-perse. 

that  I 

may  see 

and  tell 

P^dzh  and 

dis-p^(r)s, 

dhat  ai 

me  si 

and  tel 

Of  things 

in-vjs- 

i-ble 

to  mor- 

tal  sight. 

c/2bh  thiT]Z 

in-bhiz- 

i-bl 

tu  mfT- 

tal  sait. 

S6 


RE-MARK.— RI-M AC. 


It  is  an  o-pi-ni-on  in  France,  that  De-lille,  the  trans-Ia-tor  of  Mil-ton, 
It  iz  an  o-pin-jon  in  Phrans^  dhdt  De-Hl,    dhi  trdns-U-tor  n-hh  Mil-ton, 

has  ex-cell-ed  the    o-ri-gi-nal     bard    him-self.        This,  in-deed,  is  some- 
haz   ec-sel-d    did  o-ri-dzhi-nal  had  him-selph.      Dhis,    indid,    iz    sd-m- 

times  the  case,  but  not  in  the  spe-ci-men  now  ad-duc-ed.     The  fact  is, 
taimz  dhi  ces,    hit  urrt  in  did   spe-si-men    nau    ad-jus- d.      Dhiphdctiz, 

a  trans-la-tor  takes   ad-van-tage    of    the  o-ri-gi-na- tor's  hum-bler  flights, 
a  trdns-li-tor    tecs  dd-hhdn-tedzh  n-hh  dhi  o-ri-dzhi-ne-td-' z  hlm-hlB-  phlaits, 

then  to   e-mu-late  his  mo-del  in  those  par-ti-cu-lar  soar-ings  which  are 
dhen  tu    em-ju-let    hiz  mrr-del   in  dhoz    pa-tic-ju-la      sor-ir]Z    vhitsh    a 

more  suit-ed  to  his  own  ta-lent.     Thus,  Pope  al-so  some-times  e-mu-lates 
moV     sut-ed  tu  hiz   on   td-lent.     Dhls,    Pop   trl-so  slm-taimz    em-ju-lets 

Ho-mer ;  but  then  the  po-et-ry  is  no  more  that    of  Mil-ton  or  Ho-mer, 
Hd-mQ-  ;     hit  dhen  dhi  po-et-ri  iz  no    mds-  dhdt  rfbh  Mil-ton  or   Ho-md-, 

but   of   Pope   and  De-lille.     In   the    fi-nish     of  mo-dern  style,  and  in  a 
bit  (rhh   Pop    dnd    De-lil.       In  dhi  phi-nish  n-hh  mn-ds-n   stail,  dud  in  a 

de-scrip-ti-on   of  the  more  fa-vor-ite    com-mon  to-pics,  the  latter  may 
di-scrip-sh' -on  n-hh  dhi   mda-  phe-hhor-it    cn-m-on     trr-pics,  dhi    Idt-s-    mi 

re-al-ly  ri-val  the  form-er ;  but,  in  sub-li-mi-ty,  sim-pli-ci-ty,  en-er-gy, 
ri-al-i  rai-hhal  dhi  phfrm-B- ;  hit,   in   slh-li-mi-ti,    sim-pli-si-tii    en-B-dzhi, 

and  o-ri-gi-na-li-ty,    Ho-mer  and  Mil- ton,  and  al-so  Shake-speare,  must 
dnd  o-ri-dzhi-nd-li-ti,  Ho-ma-r  dnd  Mil-ton,  dnd  also       Shic-spia-,       mist 

ev-er  stand  a-loof  and  a-lone,  in-im-it-a-ble,  and  un-ri-val-led,     by  trans- 
ehh-a-  stand  a-litph  dnd  a-lon,    in-im-it-a-hl,    dnd  In-rai-bhal-d,  hai  trdns- 

la- tors. 
le-td-z. 


87 


FRENCH 

Orthography  and  Orthoepy. 


In-vo-ca-ti-on  a  la  Lu-mi-ere,  du  Poete  a-veu-gle. 
' Ari-hho-cd-si-OT]  a  la   Lu-mi-er,    du  Po-et    d-bh^-ylh, 

TIREE    DU 

PARADIS    PERDU,    LIVRE    TIL 

TRADUIT 

PAR  J.  DELILLE 


8a-lut, 

clar-te 

du  jour. 

e-ter- 

nel-le 

lu-mi-ere. 

Sd-lu, 

clar-  te 

du  zhur, 

e-tir- 

nel-{9-) 

lum-jer. 

Du  Ci-el 

la  fille 

ai-nee 

et  la 

beau-te 

pre-mi-ere, 

Du  Sjel 

la  phil- 

je-ne 

ela 

ho-te 

pr'm-jir. 

Peut-e- 

tre  du 

Tr^s-Haut 

ra-yon 

co-e- 

ter-nel. 

Pa.^6- 

trh  du 

Tri-Ho 

rd'jorj 

co-e- 

ter-nel^ 

-Site 

-Si  tB. 

nom-mer 

ain-si 

n'out-ra- 

ge  point 

le  &el  !- 
hSjel!  . 

nom-er 

dtj-si 

nhit-rd- 

zh(^)  pvn-T] 

Que  dis- 

je  !    Dieu 

t'u-nit 

a  sa 

di-vine 

es-sence  ; 

a  di-- 

zN  !  Djl 

fu-nif 

d  sa 

di~hhin 

es-rrrjS : 

Dieu  meme 

est  la 

lu-mi-ere, 

et  sa 

tou-te- 

puis-sance. 

DJl  mem 

e  la 

lum-jSr, 

^  sa 

tU-t(B^) 

pvis-iTT^S, 

Com-me 

d'un  pa- 

vil-lon. 

s'en-vi- 

ron-ne 

de  toi. 

Com-(9^) 

d'd^T]  pd- 

hhil-joT], 

s^(r7]-hhi' 

ron-(9) 

da-  tVfy. 

E-cla- 

tant  ta- 

ber-na- 

cle,  ou  re- 

sid-e 

ton  roi, 

E'cla- 

to-rj  fd- 

her-nd- 

cZ,  u  re- 

zid-{^) 

to7]  rvft^ 

Bril-lant 

e-cou- 

le-ment 

die  sa 

gloire  im- 

mor-telle. 

Bril'jfriit 

e-cii- 

V-mrrt] 

da-  sa 

glvtrr  im- 

rrr-tel 

% 

* 

* 

* 

* 

% 

# 

* 

# 

# 

88 


FRENCH  ORTHOGRAPHY  AND  ORTHOEPY. 


Sa-lut ! 

Av-ant 

qu'un  mot 

eut  en- 

fan-te 

le  monde. 

Sd-lli ! 

Abh-n-T] 

c^It]  mo{t) 

d-t  rrrj- 

phil-j^-te 

U  mo7]d\ 

Eut  ar- 

ra-che 

la  Terre 

aux  a- 

bim-es 

de  I'onde, 

^3ta- 

ra-she 

la  Tir 

oz  a- 

bim-d^ 

d^  Vo7]d\ 

Eut  as- 

sis  le 

So-leil 

sur  le 

tron-e 

des  Airs, 

^3t  as- 

i  h 

So-U 

sur  h 

trdn'(Q) 

des  Er, 

Et  sur 

le  vide 

im-mense 

eut  con- 

quis  I'u- 

ni-vers, 

E  sur 

h  bhid 

im-rr7]S 

d-         007]- 

ci  Vu- 

ni-bher. 

Tu  bril- 

lais  de 

ses  feux ; 

rin-sen- 

si-ble 

ma-ti~ere 

Tu  hril- 

Je  da^ 

se  phi ; 

Vdri-Sfrri- 

si-bl 

mdt-jer 

En  re- 

9e-vant 

la  vie 

a  sen- 

tila 

lu-mi-ere, 

J271  r'- 

Sd'-bhrfrj 

la  bhi 

a  sn-n- 

tila 

1  lum-jer. 

Et,  comme 

un  voil- 

e  pur 

du  Ci-el 

res-plen- 

dis-sant, 

JS,  com 

9-7]  bJivtril" 

(b.)  pur 

du  Sjel 

res-pln-T]- 

dis-nrt]. 

Tuje- 

tas  la 

clar-te 

sur  ce 

mon-de 

nais-sant. 

Tu  zh{^)- 

tala 

cldr-te 

sur  Sd^ 

mdn-d{9^) 

nes-frtj. 

Trop  long- 

temps  re- 

te-nu 

dans  les 

gouf-fres 

fu-nebres, 

Tro  lorj- 

^.r'^  r'- 

td'-nu 

d^T^  le 

guph-r^ 

phii-nebrh, 

J'ai,  de 

mes  pas 

er-rants, 

par-cou- 

ru  leurs 

te-nebres ; 

Zh'e,  d^ 

me  pdz 

er-ari, 

par-cu- 

ru  llr 

te-nebrh  ; 

Grace  aux 

Mus-es, 

du  Ci-el 

des-cen- 

du  sans 

1 

ef-froi, 

Grds  0 

Muz-(b^), 

dii  Sjel 

des-frr]- 

1  dii  Sfrnz 

eph-rva. 

J'ai  plon- 

ge  dans 

I'a-bime 

et  re- 

mon-te 

vers  toi : 

Zh'e  ploTj- 

zhe  dn-T] 

Vd-Um 

e  r'- 

mon-te 

bher  tVfr  : 

Je  vi-ens 

re-voir 

le  Ci-el, 

re-voir 

ce  monde 

heu-reux. 

Zhd'  bhi^dr] 

r^-bhvfr 

h  Sjel, 

r'-bUva 

59-  morid 

l-rl. 

Bril-lant 

de  tes 

ra-yons, 

e-chauf- 

fede 

tes  feux  ; 

Bril-jfTT) 

d^  te 

re-J07j, 

e-slioph- 

edB, 

te  pill  ; 

Je  sens 

de-ja 

ta  flamme, 

a-li- 

ment  de 

la  vie ; 

S/ia-  Sfrt] 

de-zhd 

ta  phldm, 

d-li- 

mnrr]  dd- 

la  bhi ; 

Mais,  he- 

las !    a 

mes  yeux 

talu- 

mi-ere  est 

ra-vie. 

Me^,  Ae- 

las!   d 

mes  jl 

ta  lum- 

jer     e 

rd-bhi. 

FRENCH  ORTHOGRAPHY  AND  ORTHOEPY. 


89 


En  vain 

leur  globe 

e-teint. 

et  rou- 

lant  dans 

la  nuit. 

J2ri  bhdtj 

llr  glob 

e-tdri, 

e  ru- 

Inrr]  drrr] 

la  nvi, 

Cherche  aux^  vout-es 

des  Cieux 

la  clar- 

te  qui 

me  fuit; 

Shersh       o 

b1iut-{3.) 

de  Sjl 

la  clar- 

te  ci 

ms^  phvi ; 

Tu  ne 

vi-slt- 

es  plus 

ma  de- 

bil-e 

pru-nelle. 

Tic  ne 

bhi-zit- 

(^)  pfu 

rna  de- 

bil-{.) 

pru-neV. 

% 

* 

%                      ^ 

f 

* 

% 

* 

*                       4 

^ 

* 

Les  ans, 

les  mois, 

les  jours, 

par  un- 

e  sag- 

e  loi, 

Lez  ffrj, 

le  mvrr, 

le  zhur, 

par  lin- 

{3-)  sazh- 

(5-)  Ivnr, 

Tout  re- 

vi-ent,  mais 

le  jour 

ne  re- 

vi-ent  pas 

pour  moi : 

Tur'- 

bhi^aT],  me 

h  zhur 

7Z3.  r'- 

bhi^ari  pa 

pour  moi : 

Mes  yeux 

cherch-ent 

en  yain 

les  fleurs 

fraicli-es 

e-closes. 

Mezjl 

shersh- (d^)t 

fTTi  bhdrj 

Ze  pAZ^r 

phresh-(3^)z 

e-cloz, 

Mes  prin- 

temps  sont 

sans  grace. 

et  mes 

e-tes 

sans  roses. 

Me  prdrj- 

t/rrj  S07^ 

5^7j  grds, 

e  mez 

e-te 

5^;;  rdz. 

J'ai  per- 

dii  des 

ru-is-seaux 

le  cris- 

tal  ar- 

gen-tin, 

Zh'e  per- 

du  de 

rvis-o 

h  cris- 

te/  ar- 

zhfTTj-tdr], 

La  pour- 

pre  du 

cou-ehant. 

les  ra- 

yons  du 

ma- tin, 

La  pur- 

prh  du 

cu-shrri], 

le  ri- 

joT]  du 

md-tdr], 

Etles 

jeux  des 

trou-peaux, 

et  ce 

no-ble 

vi-sage 

Ele 

1  zhl  de 

tru-poz^ 

e  55- 

no-blh 

bhi-zazh 

Ou  le 

Dieu  qui 

fit  I'homme 

,   a  gra- 

ve son 

i-mage. 

'Uh 

Djl  ci 

phi  Vom, 

ft  ^ra- 

bhe  son 

i-mazh. 

J'ai  gar- 

de  ses 

mal-heurs, 

et  per- 

du  ses 

plai-sirs. 

Zh'e  gar- 

de  se 

mdl-s-z, 

e  per- 

du  se 

pie-sir. 

Ou  sont 

les  doux 

ta-bleaux 

si  chers 

a  mes 

loi-sirs  ? 

'Vsori 

le  du 

td'blo 

5z  sherz, 

a  me 

Ivn-zir  ? 

Ri-en, 

de  cet- 

te scene. 

en  beau- 

tes  si 

fe-conde, 

Ui^ar^, 

era-  set- 

(9^)  sen, 

^j;  Z»o- 

te  si 

phe-  cor^d. 

Ne  se 

peint  dans 

ces  yeux 

ou  se 

peign-ait 

le  monde 

2V^5^ 

pari  ^^^V 

sesjlz 

u  ss- 

pen-je 

M 

U  mond. 

90 


FRENCH  ORTHOGRAPHY  AND  ORTHOEPY. 


Vain-(e)- 

Pour  moi 
Ptir  mvo- 

Ma  vue, 
Ma  bhu, 

Des  ob- 
Des  ob- 

Tout  est 
Tute 

Et  pour 

E  pur 

A-dieu  ! 
A-djl! 

Les  tre- 
Le  tre- 

La  nuit 
La  nvi[t) 

E'-clair- 

E'-cUr- 

E'-pur- 
E'-pur- 

Mets  tes 
Mete 

Et  fais 
E  phe 

Des  ob- 

Diz  6b- 


ment  se 
mnrr]  .s> 

dans  I'u- 
dncT]  Vu- 

a  la 
a  la 

jets  ef- 
zhez  eph- 

vag-ue, 
blidg-{d'), 

moi  le 
mvfT  h 

des  arts 
dez  a 

sors  du 
zor  du 

en-glou- 

frri-glu- 

e  ma 

(a-)  ma 

e  tout 
(5-)  ^z^jf 

feux  dans 
phl^  dnrr] 

queje 

c^  zh^ 

jets  que 

zhe  c^ 


co-lore 
co-lor 

ni-vers 
ni-bhers 

clar-te 
clar-te 

fa-ces 
d-se 

con-fus, 
coTj-phu, 

grand  livre 
ffrfTi]  libhr 

bril-lants, 
bril-jfrr] 

sa-voir, 
sa'bhvfTi 

tit  tout. 
ti  tu, 

rai-son 

rd-zoT] 

en  moi, 

fTT]  mvrr, 

mon  coeur, 
moi^  clr, 

de-voile, 
de-bhvn-il, 

ja-mais 

zha-me 


et  le 


il  n'est 
il  rCi 

re-fu- 
r'-pliu- 

ne  re- 

cou-vert 
cu-bher 

est  fer- 
e  phir- 

la  pompe 
la  pomp 

les  fruits 
le  plirvi 

Eh  bi-en  ! 
E  bf7a7] ! 

au  de~ 
0  de- 

par  ta 
par  ta 

mets  des 

me  dez 

en  mes 
n-ri  me 

n'ont  vus 
n^OK^  bhu 


fru-it  et 
\frvi    e 

qu'un-e 

I  c'un-(^) 

sant  le 

I  Znrr]  Is- 

coit  plus 

I  SVnr  plu 

d'un  voile 
I  c?V?;  bhvfril 

me  pour 

I  me  pur 

en-clian- 

I  nrrj-shfTT]'- 

.  de  la 
ds-  la 

fil-le 
phil-j{^) 

faut  de 
pho  ds- 

ce-les- 
se-les- 

yeux  dans 
JS'  dnrr] 

vers  so- 
bher  so- 
les yeux 
lezjl 


la  fleur ; 
la  phJlr  ; 

cou-leur. 
cu-ll-r. 

pas-sage, 
pds-azh, 

I'i-mage : 
Vi~mazh  : 

e-pais, 
e-pe, 

ja-mais. 
zha-me. 

te-resse, 
te-reSi 

sa-gesse ; 

sd'zhes  ; 

des  Ci-eux, 

de  Sja-, 

mes  yeux ; 

mezjl ; 

te  flamme; 
^(a-)  phldm  ; 

mon  ame; 
mon  dm  ; 

len-nels, 
len-el, 

mor-tels. 
mn-r-teh 


91 


RE-MARQUE-^R'-MARC. 


L'in-vo-ca-ti-on  a  la  lu-mi-ere  est  jus-te-ment  ce-le-bre  :   elle  est 
U dTi'bho'cd-si-ori  a  la   lu-mi-er     e     zhus-f-mrrt]   se-U-hrh :     el     et 

e-crite  d'une   ma-ni-ere  ad-mi-ra-ble :    ri-ma-gi-na-ti-on  de  Mil-ton 
e-crif    d'un^     md-ni-ir    dd-mi-ra-blh :    Vi-md-zhi-nd-si-ot]  d^   Mil-ton 

y  a  de-plo-ye  toute  sa  mag-ni-fi-cenee ;  mais  ce  qui  en  fait  le  prin- 
i  a  de-plo'je      tuf    sa  mdn-ji-phi-so-7]S ;     me    sa-    ci    rrr]  phe  U  prdr]- 

ci-pal  in-te-ret,  ce  sont  les  plaintes  tou-cliantes  qu'il  fait  de  sa  ce-ci-te; 
si-pal  drj-te-re,    ss-  sot]   le    pldnf      tu-sha-rint^    c'il   phe  da-  sa  se~si-fe ; 

il  ex-prime  ses  re-grets  de  la  ma-ni-ere  la  plus  at-ten-dris-sante.     Le 
il  ecs-priwb    se     r'-gre    da-  la  md-ni-ir    la  pluz   d-tavf-dri-sarf .       Xa- 

rap-port  mal-lieur-eux  que  la  tra-dtie-teur  a  i-ci  a-vec  son  au-teur,  a 
rd-pnrr         mdl-lr-l         €&-    Is-    tra-dlcc-tlr   a  i-si  dhh-ec  son    o-tlr,    a 

peut-etre  a-jou-te  au  plai-sir  et  a  la  fa-ci-Ii-te  a-vec  les-quels  il  a 
pl^t-etr       a-zhu-te    o    ple-zir    e   a  la  plia~si-li-te  dbh-ec  le-celz     il  a 

trans-por-te  ce  mor-ceau  d'une  Langue  a  I'au-tre. 
trrr7]Z'por-te  ss-    mor-so     d'un!      Ln-qg    a    Votrk. 


M  2 


92 

ENGLISH 

Orthography  and  Orthoepy, 


The    Prayer   of  our    Lord. 
Dhi      Prer   n-bh  au-9-  Lad, 


zzOur    Fa-ther  which  art  in  Hea-ven — 
Au-5-  Pha-dhs^  vhitsh  at  in  Hebh-n — 

I.  Hal-low-ed  be    Thy    Name. 

Hd-lo-ed      hi  Dhai    Nem. 

II.  Thy   king-dom  come. 
Dhai     cirj-dom      elm. 

III.  Thy   will  be  done  on  earth,  as  it  is  in  hea-ven. 
Dhm    vil  hi   din  o-n  ^Bth,  dz  it  iz  in  hebh-n. 

IV.  Give  us  this  day  our  dai-ly  bread : 
Gibh  Is  dhis  de  oai-q-  de-li   bred : 

V.  And  for-give  us  our  tres-pas-ses,  as  we  for-give  them  that  tres- 
And  phrr-yibh  Is  om-s-  tres-pds-ez,   dz  vi  phn-gibh  dhem  dhdt  tres- 

pass  a-gainst  us. 
J)  as     a-genst    Is. 

VI.  And  lead  us  not  in-to  temp-ta-ti-on,   but   de-li-ver  us    from 
And    lid     Is  no-t   in-tu    tem-ti-sN-on,    bit   di-libh-s-r  Is  phrn-m 

e-vil. 

i-bhn. 

ziFor  Thine  is  the  king-dom,  and  the  pow-er,  and  the  glo-ry,   for 
Phtr  DhcHn  iz  dhi    cirj-dom,     and  dhi  pdH-s-r,  and  dhi  gln-ri,  phtrr 

ev-er    and    ev-er.       A-men. 
ebh-5-r  and   ebh-d-r.      ^E-men. 


93 

FRENCH 

Orthography  and  Orthoepy. 


L'O-rai-son  Do~mi-ni-cale. 
U  0-re-zo7]    Do-  m  i-ni-cdl. 


zzNo-tre  Pere  qui  es  aux  cieux — 
No-trh  Per    ci   ez    o       sjl — 

-    I.  Ton  nom  soit  sanc-ti-fi-e. 
Torj    not]  svfr  S(r7]-tiph-je. 

II.  Ton  regne  vi-enne. 
Tot]    r^nj     bhjen. 

III.  Ta  vo-lon-te  soit  faite  en  la  terre  comme  au  ci-el. 
Ta  hh6-ld7]~te  sva  phet  o-t]  la   ter       com      o     sjel. 

IV.  Donne-nous  au-jour-d'hui  no-tre  pain  quo-ti-di-en. 
D6n'[^)-miz  o-zhur-dvhi   no-trh  par]      co-tid-jdr]. 

V.  Par-donne-nous  nos  of-fenses,  comme  nous  par-donn-ons  a  ceux 
Pdr-d6n~{d')-nu   noz   o-phrrrjs,      com       nu     pdr-d6n-07]Z   a     si 

qui  nous  ont  of-fens-es. 
ci     nuz   OTjt  6-phrr7]-se. 

VI.  Ne  nous  in-duis  pas  en   ten-ta-ti-on,   mais   de-li-vre  nous  du 
Nd-   nuz    dn-dvi  pdz  ari    to-7]-tds~J07],     me    de-libh-rh    nil     du 

mal. 
mdl. 

rrCar  c'est  a  toi    qu' ap-par-ti-ennent,  le  regne,  et  la  puis-sance,  et 
Car  s'et   d  tvn-    c'         d-pdr-ti-en,       1^     renj^     e    la    pvi-sn-r^s,      e 

la  gloire.  aux  si-ecles  des  si-ecles.     A-men. 
la  ylvfrr,     o     sjec-lh    de  sjec-lhz.     ^ A-men. 


94 
ALLITERATIVE  CURIOSITY. 


"  A  certain  French  gentleman,  praising  the  happiness  of  his  native 
language,  which  had  words  that  implied  a  likeness  to  the  thing  signi- 
fied, at  the  same  time  finding  fault  with  the  English  tongue,  as  not 
being  able  to  do  the  like,  he  proposed  the  following  verses  to  Dr. 
Wallis : 

"  Quand  un  cordier,  cordant,  veut  corder  sa  corde, 
Pour  sa  corde  corder,  trois  cordons  il  accorde ; 
Mais,  si  un  des  cordons  de  la  corde  descorde, 
Le  cordon  descordant  fait  descorder  la  corde. 

"  Which  Dr.  Wallis  thus  rendered  into  English  verse,  making  use  of 
the  pure  English  word  twist  (contrary  to  the  expectation  of  the  French 
gentleman)  instead  of  the  French  word  cord : 

"  When  a  twiner  a  twisting,  will  twist  him  a  tv^ist, 
For  the  twining  of  his  twist  he  three  twines  doth  intwist ; 
But  if  one  of  the  twines  of  the  twist  do  untwist. 
The  twine,  that  untwisteth,  untwisteth  the  twist. 

"  Afterwards,  the  doctor  added  four  lines  more : 

"  Untwirling  the  twine  that  untwisteth  between. 
He  twirls  with  his  twister  the  two  in  a  twine ; 
Then,  twice  having  twisted  the  twines  of  the  twine, 
He  twitcheth  the  twines  he  had  twisted  in  twain. 

"  Afterwards  he  added  four  lines  more  : 

"  The  twain,  that,  in  twisting  before  in  the  twine. 
As  twins  were  intwisted,  he  now  doth  untwine, 
'Twixt  the  twain  intertwisting  a  twine  more  between. 
He,  twirling  his  twister,  makes  a  twist  of  the  twine." 


The  foregoing  is  copied  from  "  An  Essay  towards  a  practical  English  Grammar,  &c.  by 
James  Greenwood,  Sur-Master  of  St.  Paul's  School.  London  :  Printed  for  Arthur  Bettesworth, 
at  the  Red-Lvon  in  Pater-Noster  Row.     1729." 


END    OF    THE    PHONARTHIIA    ANGI.ICA-GALLICA. 


PHONARTHRA-HEBRAICA. 


A 

NEW  AND  SIMPLE 

GUIDE  TO  HEBREW  READING  &   PRONUNCIATION, 

COMPRISING    AND     COMPARING 

BOTH  THE  SYSTEMS  WHICH  DIVIDE  THE  STUDENTS 

OF    THE 

SACRED  LANGUAGE. 


Jesus  said, — "  It  is  easier  for  heaven  and  earth  to  pass,  than  one  tittle  of  the  Law  to 
fail."  Luke  xvi.  17- 

Jesus  said, — "  Till  heaven  and  earth  pass,  one  jot,  or  one  tittle  shall  in  no  wise  pass 
from  the  Law,  till  all  he  fulfilled."    Matt.  v.  18. 

Jesus  said, — "  Heaven  and  earth  shall  pass  away,  but  my  words  shall  not  pass  away." 
Matt.  xxiv.  35  ;  Mark  xiii.  31 ;  Luke  xxi.  33. 


INTRODUCTION. 


There  are  two  ways  of  reading  Hebrew:  namely — I.  The  method 
which  is  usually  practised  in  languages,  the  letters  of  the  alphabet 
being  naturally  divided  into  the  well-known  classification  of  votvels  and 
consonants.  II.  An  artificial  method,  invented  for  the  purpose  of  per- 
petuating a  knowledge  of  the  true  pronunciation  of  the  language  when 
it  was  (about  to)  become  disused ;  and  wherein  all  the  letters  of  the 
alphabet  are  considered  as  either  consonants,  or  quiescent  letters,  the 
vowel  sounds  being  represented  more  accurately  by  certain  arbitrary 
points  or  marks  placed  about  the  alphabetic  characters.  The  former  of 
these  systems  is,  of  course,  the  simpler  of  two,  the  more  ancient,  and 
the  more  quickly  learned :  the  latter  may  be  preferred,  or  may  be 
dispensed  with  entirely,  but  should  be  learned  together  with  the  former 
subordinately,  as  a  useful  help,  but  not  as  an  infallible  guide ;  the  exact 
power  even  of  the  voioel  points  themselves  being  sometimes  doubtful. 

There  are  also  two  kinds  of  Hebrew  character,  or  letters,  namely,  I. 
The  Samaritan,  or  more  ancient  Hebrew,  to  which  the  punctual  theory 
is  not  known,  nor  applied  ;  and,  II.  The  Chaldee  character,  which  is 
the  more  modern  :  similarly,  as  in  English,  there  is  the  German  text, 
otherwise  called  the  Old  English,  and  the  Black  Letter  ;  and,  there  is 
the  Latin  (Roman  and  Italic),  which  is  that  in  common  modern  use. 

N.  B.  Hebrew  is  read  from  right  to  left,  and  not  from  left  to  right  as 
in  English. 


INDEX   OF   CONTENTS. 


PAGE 

I.  Introduction    < 97 

II.  The  Hebrew  Alphabets,  &c 99 

III.  The  Hebrew  Names  of  Numbers 102 

IV.  The  Vowel  Points  304 

V.  The  Names  of  the  Hebrew  Letters  pronounced 107 

VI.  Pronunciation  of  the  word  "  Jehovah/'  &c 109 

VII.  The  Names  of  the  Writers  of  the  Hebrew  Scriptures,  &c 111 

VIII.  The  1 1 7th  Psalm  translated  and  pronounced 113 

IX.  The  Exordium  of  the  last  Song  of  Moses,  Deut.  xxxii 114 

X.  The  Prayer  of  our  Lord 117 


99 


THE  HEBREW  ALPHABETS. 


Numeral 

Samaritan 

Phonarthron 

Chaldee 

Numeral 

Order. 

Character. 

Power. 

Character. 

Value. 

1 

N- 

^   or  J2 

N 

I 

2 

S 

B   or   ^/i 

n 

II 

3 

1 

G  or   Gh 

:i 

III 

4 

^ 

D  or  Z)/i 

"T 

IV 

5 

^ 

J^     .    e 

n 

V 

6 

X 

U   or    V 

1 

VI 

7 

^ 

Zh    .    zh 

2            ^ 

VII 

8 

-^ 

H    .    A 

1      n 

VIII 

9 

^ 

r    .    t 

^      12 

IX 

10 

/rr 

I    or  J 

,s        ^ 

X 

11 

iJ 

Cli   .    ch 

T    •    3 

XX 

12 

Z 

L     .    Z 

^ 

XXX 

13 

!iJ 

ilf    .    m 

D    .    D 

XL 

14 

:i 

N      .      7Z 

1    •     ^ 

L 

15 

^ 

S     '.s 

D 

LX 

16 

V 

c0   or   c3/i 

r 

LXX 

17 

^ 

P   or  PA 

n     •    9 

LXXX 

18 

•m 

^  2;    .  2 

T   •    i^ 

XC 

19 

V 

C     .    c 

P 

C 

20 

^ 

R     .    r 

n 

CC 

21 

vu 

aS/i    .     sh 

t:^ 

CCC 

22 

A 

Th    .    ^A 

n 

CD 

NOTES. 


I.  In  the  Masoretic,  or  punctual  system,  the  letters  K  and  n  are 
quiescent,  or  else  represent  the  aspirate  H .  h  ;  the  letters  ^  and  T  are 
likewise  quiescent^  or  represent  the  consonants  t/.J?  V .  v;  and  the  let- 
ter J7  is  also  sometimes  quiescent,  giving  place  to  a  vowel  sound. 

n2 


100 


THE    HEBREW    ALPHABETS. 


II.  The  following  letters  are  sometimes  elongated :   thus- 


III.  The  sign  "  ^pD .  Macaph,  joins  words  together  like  the  English 
hyphen  (-) ;  and  the  sign  :  pv^D  .  Siluc,  ends  a  sense  like  the  English 
period,  or  full  stop  (.)  . 

IV.  The  Hebrew  letters  are  properly  classed  according  to  the 
organs  of  speech  :  thus — 


'  8 

n 

D 

P^    ^^ 

:^ 

•> 

n 

H 

Palatals 

10 

^ 

V 

r 

:^ 

"n     ^SDj'~~^"T^ 

^:)^ 

~^^^ 

"1      Linguals 

4 

^3 

^2 

T>            "* 

Labials 

U 

1 

but  improperly  according  to  usual  practice  :   thus — 

I^nnK  —  Gutturals 
i-  :  - 

py2  —  Palatals 

•^5??"!!  —  Linguals 

i^nii^DT  —  Dentals 

^D^H  —  Labials 


V.  Hebrew  words  are  composed  of  letters  which  are  distinguished 
by  the  names  of  Radicals  and  Serviles :  the  former  intimate  the  radical 
or  general  sense  of  a  word,  and  the  latter  the  adjunct  or  qualifying 
sense.  The  radical  and  servile  letters  exactly  divide  the  Alphabet : 
thus — 


j  ^ 

.    V 

:i 

D 

.    b 

D 

1 

.  1 

rr 

.  n  . 

j^ 

Serviles 

-} 

p 

i: 

H) 

V 

D 

ro 

.  n 

r 

-7   • 

J 

Radicals 

THE    HEBREW    ALPHABETS.  101 

The  servile  letters  are  easily  remembered,  as  composing  the  three 
names  : — 


:b2'^        r^tl^       ]r\'\^    }  —  {  Aithan,  Mose5,  and  -  Caleb. 


A  root,  or  word  of  general  sense  alone,  usually  consists  of  three 
letters,  making  two  syllables;  but  there  are  exceptions,  some  roots 
being  defective,  and  some  redundant  in  a  letter. 

N.  B.  The  servile  letters  are  sometimes  radicals,  but  the  radicals  are 
never  serviles. 

VI.  In  order  to  read  and  accent  Hebrew  without  the  vowel- 
points, — 

(1)  .  Pronounce  every  consonant-letter  separately,  and  every  vowel- 
letter  distinctly. 

(•2)  .  Where  no  vowel-letter  divides  the  two  consonants,  one  must  be 
supposed,  as  e  or  &■ ;  this  supposition  is  noted  in  the  orthoepic  examples 
hereafter  given,  by  the  apostrophal  comma  (')  being  placed  between 
consonants. 

(3)  .  In  general,  accent  the  second  letter,  or  first  syllable  of  the 
root.  It  is  not,  indeed,  necessary  to  make  any  strong  accentuation  ;  on 
the  contrary,  rather  not,  but  so  that  every  syllable  and  letter  may  be 
equally  pronounced,  and  so  that  the  radical  letters  may  be  distinguished. 
Experience  will  give  tact  and  facility  in  the  practice  of  these  rules. 


102 


THE  HEBREW  NAMES  OF  NUMBERS. 


CD 
> 


c»       S       S 


O 


<0 


O  S 

£  .^ 

o  a> 

^  S 


■f  - 

o     s 


O    --3 
^     O 


.5 

H 


o 


is       <D 


bJD 


«       5i 


Oh 


O     _5 


o     ^ 
:i:    CD 

3     nr 


1     — 

—7-* 

^_ 

t-^ 

_^ 

i  3  £ 

c 

-^ 

■4^ 

-^ 

^ 

!-; 

o 

o 
72 

.j^ 

3 

[^^ 

.3 

> 

a; 
02 

-<-> 
g 

r^ 

1         o 

r 

?J 

?i 

r 

n 

f=i 

f5 

•^ 

q 

^ 

3 

j-i 

1 

I! 

JJ 
P 

^ 

n 

Pi 

1        ^ 

i          "^ 

r 

?^ 

f) 

r 

c 

fi 

?3 

?) 

C 

^ 

.s 

% 

i~\ 

j-\ 

t\ 

jj 

f^ 

n 

P 

^ 

a 

E 

c; 

I 

q 

fe 

S 

c; 

'I 

Figures 

_^ 

(M 

CO 

^ 

LO 

o 

i>. 

00 

Oi 

o 

% 

n 

*-5 

r 

n 

<— 

#— 

n 

a 

Letters 

■r- 

-s      . 

.2     1^ 

O 

2^ 

3 
O 

> 

>< 

> 

a; 

'^ 

■— ( 

H 

i:^ 

fa 

^ 

X 

W  ^ 

Uh 

%  ^  ^  % 


^  ^  <:;  ^ 
n  j3  ^  g 
t>,  ^  x:^  r 


^ 

^  & 

% 

t: 

^ 

^5 

fi 

q 

j^ 

T  c 

c;  -c 

r 

1) 

*^ 

n 

p 

5^ 

s 

<1 

&g 

n 

& 

'' 

t 

e 

^ 

t 

.S 

^  ^ 

% 

c 

j:^ 

fi 

fi 

q 

^ 

S 

q  -C 

r 

n 

^ 

n 

r\ 

t^ 

::J 

o 

q 

g 

q 

^ 

5 

^ 

fc 

1^ 

-O 

s 

3 


c3 


rr; 

G 

0; 

CL, 

> 
0) 

O 

rr 

»-• 

CU 

a> 

§- 

T* 

^ 

t-i 

n 

i^ 

::=\ 

o 

n 

-o    ' 


1 


a 

3 


a 

G 
C3 


a; 


H  q 

^  r 


THE    HEBREW    NAMES    OF    NUMBERS. 


103 


T    . 


11 

12 
13 
14 
15 
16 
17 
18 
19 


nnw 


Feminine 


Masculin*: 


''r\p^^orinH 

Eleven 

D^ji^ ,  or  ^;)^ 

Twelve 

T       ; 

Thirteen 

nya-ix 

Fourteen 

Fifteen 

T     • 

Sixteen 

Seventeen 

n±iU} 

Eighteen 

nv'^D 

Nineteen 

Common         .     Feminine 

Masculine 

ND    . 

21 

Q'^I'W"? 

^     -n™ 

n™ 

One  and  twenty 

ID    . 

22 

1  ' :  ■•■   : 

Q^-?!}'^ 

^]^P 

Two  and  twenty 

:b  . 

33 

D'^ti^b't^"^ 

T 

X       ; 

Three  and  thirty 

ID    . 

44 

1-  T  :-    : 

r^^Nt 

nya-ix 

Four  and  forty 

n:)  . 

55 

••  X 

rwon 

X    •  -; 

Five  and  fifty 

ID    . 

66 

1  •  •    : 

t^^ 

Six  and  sixty 

rr  . 

77 

^iy?Pi 

yni£^  • 

n^nti^ 

Seven  and  sevent 

ns)  . 

88 

1  •     : 

ny?D^  • 

X     : 

Eight  and  eighty 

Dii   . 

99 

r  :  •    : 

^^^  • 

nvpr^ 

Nine  and  ninety 

P 

.     100 

constr,  r)i^t2    .    abs 

oi.  ^^^Q 
1  ■•■  ** 

A  hundred 

1 

.     200 

D'^JIJ^D    .    for 

•i  -  T  : 

[Two]  hundreds 

t:^ 

.     300 

1 " 

t:)^!^ 

Three  hundred 

Ji 

.      4 

too 

1  •• 

j;2nN 

Four  hundred 

^bij^    .    A  thousand         .         Q''§i'^?    •    [Two]  thousands 

nam  or  Nini ,  ):ii ,  ni^:ir\  or  ni:ai  .  Ten  thousand 

|TT  :  I    •        I    •        |T  :  •  I    • 

^!?^^  JliKD  W    .    Six  hundred  thousand 


1  ito  is  used  instead  of  n%  because  the  latter  denotes  the  Sacred  Name,  which  might  thus 
be  used  irreverently.     See  page  109. 


104 


THE    NAMES    OF    THE    POINTS. 


THE  VOWEL  POINTS, 


TOGETHER    WITH    THEIR     CORRESPONDING    PHONARTHRIC    POWERS. 


__  ••  —  • 

•    •  •  •    •  • 

•  •  •     • 

T  •••  t: 


a 

e 

a 

(') 

r 

9- 

nr 

u 

f 

nr 

The  Names  of  the  Points — their  Meanings  and  Pronunciations^  icith  the 
Points  and  without  the  Points. 


Names  pointed. 

Fig. 

Meaning. 

Power. 

Names  unpointed. 

nn9  .    Pathah 
1-  - 

yCi'\)  .    Cn-mez 

T 

The  Opener 

The  Peculiar 

The  Contractor 

d 

9^ 

\ 

n 

bi:iD  .    S'gul 
y^p  .    Cm'z 

n^:  .    Zer^ 
...... 

K^^  .    Sh'vn- 

yap  .  Cibuz 

•• 

The  Enforcer 

The  Void 

The  Compresser 

e 

(') 

u 

nui .  z\i 

"^W  .    Sh'va 

ynp ,  Cb'z 

I-- 

Hn-teph 

T : 

Short 

or 

"Caught" 

or 

Acute 

^Pathah 

S^gol 

Cn-mez 

a 

9- 

nr 

nns)  ■ 
yDp 

'  IFfp 

=:A11  these  signs  are  placed  underneath  the  letters. 
zzThe  sign  or  point  i^W  .  SNvn  (:),  intimates  merely  the  absence  of  a 
vowel,  and  is,  therefore,  as  nearly  as  possible  expressed  by  the  apostro- 
phal  comma  ('),  as  used  in  English  to  denote  the  absence  or  elision  of 
a  vowel   sound.     At  the  same  time,  however,  it  usually  supposes  so 


THE    NAMES    OF    THE    POINTS.  105 

much  of  indistinct  vowel  sound  as  may  suffice  to  detach  (if  need  be)  any 
two  consonants  which  are  in  juxta-position. 

zzThe  uses  of  a  single  point,  or  dot,  are  as  follow  : — 

1.  A  point,  or  dot,  placed  underneath  any  letter  is 

I     pnrr  .  HiHc    I    .    |  The  Trembler  |    i    |  pHH   .    HWic   I 

2.  A  point,  or  dot,  placed  over  above  any  letter  is 

I    Ub^n  .  Hohm  I    .    I     The  Robust    |   o   I   D^IH  .  HuUm 

If  placed  over  above  to  the  right,  it  is  pronounced  before  the  letter ;  if 
placed  over  above  to  the  left,  it  is  pronounced  after  the  letter :  it  must 
not,  however,  be  confounded  with  the  arbitrary  point  placed  over  ti^, 
to  render  it  either  S,  or  Sh  ;  thus,  in  the  punctual  system,  ^  =  *S,  and 
^  1=  Sh.  Circumstances,  indeed,  will  always  indicate  what  is  signified 
by  this  point;  which,  in  the  case  of  ti^,  may,  at  first,  appear  versatile 
and  obscure  :  thus — 

\if  =r  S,  and  So 

^  —  Sh,  and  Osh 

■^  =  Sho,  and  05 

3.  A  point,  or  dot,  placed  inside  the  letter  "),  is  called 

I    p'^W  .  Shurec  I  ?)    I     The  Sibilant    I   ii    |   pIVX^  .  Shur'c   1 

thus  reconverting  the  consonant  1  .  V,  into  a  vowel.  This,  however, 
must  not  be  confounded  with  another  power  which  it  has  of  strengthen- 
ing, accenting,  or  confirming  the  consonant  1  .  F,  as  well  as  every  other 
consonant  letter,  except  V  and  H.  When  the  single  point  or  dot 
performs  this  office,  it  is  called  Dagesh ;  and  when  it  is  placed 
inside  the  vowel-letter  rT  .  E,  which  is  then  sounded  H  .  ZjT,  it  is  called 
Mapic. 

Note. — There  are  also  many  other  points,  or  punctual  signs,  called 

o 


106  THE    NAMES    OF    THE    POINTS. 

accents,  which  have  various  offices  ascribed  to  them ;  but  the  precise 
use  and  meanings  of  them  all  are  not  known.  The  foregoing  are  the 
uoi^eZ-points,  a  knowledge  of  which  is  sufficient  for  our  present  purpose, 
and,  it  is  presumed,  not  too  complicate,  or  difficult,  to  deter  the 
beginner  from  proceeding  further  by-and-by. 


107 


THE   NAMES   OF   THE   HEBREW   LETTERS, 

WITH    THE    POINTS    AND    WITHOUT    THE    POINTS. 


_  ^)^.Jlhph 

c)^^^ .  AVph 

^^ 

1 

SV2.  .  Beth 

1  •• 

jT'n .  5zYA 

n 

2 

biy^  .  Gimel 
1 "  * 

'PD^:)  .  Gim'l 

:i 

8 

rhi .  nvth 

"r 

4 

KH  .  He 

KH  .  Ea 

n 

5 

y).  Vu 

1 

6 

]X'  ^hain 

rr  .  Zhin 

T 

7 

irn  .  Heth 

JTTr  .  Hith 

n 

8 

JT'rO  .  Teth 

J-|"'tO  .  TzY/i 

ro 

9 

IV  .  Jod 

nv  .  Jud 

> 

10 

51?  .  Chaph 

C]J  .  C/i>A 

1 

.  ^ 

20 

V|T 

"ID^  .  Z'w'^ 

^ 

30 

DD  .  Mem 
1" 

DD  .  M'm 

D 

.   D 

40 

l-IJl  .  Nnn 

\^1  .  Nun 

] 

:: 

50 

"^9^  •  Sfrrrid-c 

IDD  .  S'm'ch 

D 

60 

VV  .  c3am 

VV  .  ^3m 

p 

70 

1" 

K9.  Pa 

n 

•    S3 

80 

1    "T 

ni5 .  %'6fi 

r 

:i 

90 

Slip  .   C6»Jt?A 

tip  .  Cw/?/i 

P 

100 

ti^n  .  Resh 
1" 

t:^n .  Risk 

n 

200 

];??  .  Shin 

]'^^  .  Shin 

t:^ 

300 

IT 

Ml  .  Thu 

Ji 

400 

^  The   sign  [i],   consis 

ing   of  a  perpendicular 

1- 

500 

stroke  below  a  letter,  is  ca 

lied  3nci  Ms-th^g,  i.  e.  a 

D 

600 

Aii!,  &r26?/e,  or  rei?«.     Its  use 

J  is  to  mark  the  accented 

] 

700 

syllable,  and  it  causes  a  {■: 

i.  e.  [']  Sh'va,  otherwise 

^    ■ 

800 

mute,  to  be  pronounced  [3. 

]• 

r 

900 

o  2 


108 


The  following  Verse  8,  Chapter  3,  from  the  Prophecy  of  Zephaniah, 
contains  in  it  all  the  letters  of  the  Alphabet : 

'  V  IT  T  T 


109 


PRONUNCIATION  OF  THE  NAME  "JEHOVAH,"  &c. 


zrThe  four  letters  mjl''  of  the  Hebrew  alphabet  correspond  with  the 
four  letters  EUEI  of  the  Roman  alphabet,  that  is,  in  the  Roman  order 
of  reading  lEUE,  or  JEUE. 

zzNow  lEUE  or  JE-U-E,  as  first  pronounced  and  written  by  one 
generation,  coming  (by  a  change  of  euphony  incidental  to  all  languages) 
to  be  pronounced  JE-O-A,  by  a  succeeding  generation,  these  three 
syllables  easily  and  naturally  divide  themselves,  by  aspirating  before 
the  middle  one  (O),  and  parting  it  from  the  last  by  the  cognate  and 
corresponding  consonant  of  U,  which  is  V  ;  and,  the  original  and  pro- 
per sound  of  V  being  that  of  English  W,  and  J  the  sound  of  English 
Y,  the  present  and  true  pronunciation  of  the  word  is  attained,  namely, 
JE-hOv-A,  that  is,  Je-ho-va,  or  Ye-ho-wa. 

iz Again:  lEUE,  or  JEVE,  being  by  the  Masoretic,  or  punctual 
system,  JHVH  (that  is,  four  consonant  letters  instead  of  four  vowels), 
requires  the  insertion  of  certain  vowel-signs  in  order  to  be  pronounced  ; 
which  is,  therefore,  done,  by  inserting  those  of  the  natural  pronunciation 
above  shown  :  thus — JeHoVaH  .  that  is,  Je-ho-vah  (or  Ye-ho-wah), 
according  to  established  oj-thography ;  but,  according  to  the  real 
orthoepy^  Ja-HoV^H. 

z=In  like  manner  may  be  explained  all  the  examples  following:  as 
thus — 


'^'^^^. 

D^•^'?^^ 

rvsrx' 

nin> 

L'H'M 

ALE-IM 

J'H'V'H 

JEUE 

eLoHiM 

ELOhlM 

JeHoVaH 

JEhOvA 

that  is 

■      Gods. 

that  is 

•   The  Eternal 

110 


PRONUNCIATION    OF    THE    NAME    "  JEHOVAH,"  &C. 


D'^^P 

n^t^D 

yp^ri) 

ri:;in^ 

M'Sh'J'H 

M'ShlH 

J'H'Sh'J3 

JE-USh'J3 

M^ShiJaH 

M^ShlaH 

JeHoShuac:3 

JEh-OShua^ 

.hat  is,  Christ,  or  Anointed. 

that  is,  Jesus,  or  "Jehovah  the 

Savi 

our." 

nnbbn 

T        :  - 

n"'-i'?'7n 

H'L'L'-J'H 

EL'LU-JE 

HaLeLuJaH 

ALeLU-JA 

that  is,    "  Praise  -  Ye    The  -  Lord  !' 


Ill 


THE  NAMES,  OR  WRITERS'  NAMES  OF  THE  HEBREW 

SCRIPTURES, 

PRONOUNCED  WITH  THE  POINTS  AND  WITHOUT  THE  POINTS. 


1  .  Moses 

2  .  Joshua 
Judges 
Ruth 
Samuel 
Kings 

Chronicles 


8  .  Ezra 

9  .  Esther 

10  .  Nehemiah 

11  .  Job 

12  .  David 

13  .  Psalms 

14  .  Solomon 

15  .  Proverbs 

16  .  Ecclesiastes 

17  .  Song  of  Songs 

18  .  Amos 
19^  Hosea 

20  .  Micah 

21  .  Isaiah 

22  .  Joel 

23  .  Nahum 

24  .  Habakkuk 


nti^D  .  Moshd. 
Vt)n\ .  J'hoshuai^ 
Wmy^  .  Shophtim 

im  .  Ruth 
b^'^r^^  .  Sh'muel 
n^^bD  .  Malchim 

NITi; .  :^9^zhrfr 
")r)pi<J  .  ^s-ther 

n^i^K ,  ijoh 

uhr}n .  TKUiim 
r\rb^ .  smomo 

'h^^  .  Mishle 

r\br\i;) .  Coh^-Uth 

'  L  Hashirim 

T 

V^^r^ .  Hosheai^ 
HD^^D  ,  Mien- 

T 

^^VV\ '  J'shatj-jrr 
bijfV  .  Joel 
D^TO  .  Nahum 

p^pDH  .  Habacuc 


r^)Dr:i .  M'she 

VU)^7^^ .  JeusNy] 
W^^W  .  Shuphtim 

lyn .  Ruth 

b^yO'^  .  Sh'mual 

DO/D  .  M'Vchim 

(Ubri- 
l_    Eimim 

i^l]);  .  3'zhra 

IDDi^  .  Asthr 

n^Dm  .  N'h'm-je 

nv^^ .  Jjub 

I'M  .  Duid 

D'bnn  .  Thelim 

nob^  .  ShTme 

""b^D  .  M'shli 

Pibnp .  Certh 

fShir- 
L  Eshirim 

D^UV  .  cZ'mus 
W)n .  Eush'^ 
r\yt2  .  Miche 
n'V^'^ .  Ish'tj-je 
bi^V  .  Jual 
Dim  .  N'hum 

P^pnn .  H'Ucuc 


112 


THE    WRITERS     NAMES    OF    THE    HEBREW    SCRIPTURES. 


25 

.  Obadiah 

nnn*iy 

3obad-j(r 

nnmp 

.  :^ub'd-je 

26 

Zepbaniah 

Z'phan-jn- 

n^js^i 

Z'ph'n-je 

27 

Jeremiah 

.  Ir'm-jo- 

n-'D"!^ 

Ir'm'je 

28 

Lamentations 

T      •• 

Echo- 

nyi^. 

Aiche 

29 

Ezekiel 

bi^p]ji\ . 

JTh^zh'c-el 

bi^p\n^ . 

J'NzNc-al 

30 

Daniel 

...   T 

Dn-ni-jel 

bik'2i 

Uni-al 

31 

Haggai 

'^n. 

Hagnj 

^:in. 

H'gi 

32. 

Zechariah 

Zh'char-jrr 

nnor . 

ZKchW-je 

33 

Jona 

X 

Joiirr 

mv. 

June 

34. 

Malachi 

''Di^'^D . 

Malrrchi 

o^<^Q . 

Mlachi 

113 

PSALM   117. 

TRANSLATED  AND  PRONOUNCED  WITH  THE  POINTS  I 

^ND  WITHOUT 

THE  POINTS. 

Verse  I. 

Sin^-ye  [Praises] 

^bbr\  .  HaVlu 

•hbr^ 

.  Eriu 

^to 

■J1^^  .  3th 

-na 

,  Ath 

Jehovah, 

TViTV  .  J^hovfT^ 

r^T^'' 

.  Jeue 

all 

"bli  .  Cho-l 

T 

-bD 

.  Ch'l 

nations : 

D^'lil  .  Goim: 

D^i:) 

.  Guim  : 

celebrate -ye -Him, 

^UT^Ilt  .  Shab'hu-hu, 

imnnti; 

.  Sh'Uhu-eu 

all 

-^3    .  Chrrl 

'bD 

.  CKl 

the -peoples. 

D''D^^^   .  Hrr-umim. 
1  •  ••.  T 

Verse  II. 

D^D^^^ 

.  E-amim. 

For 

••S  .  Chi 

o 

.  C/zz 

mighty 

-11^   .  Gn-har 

12^ 

.  G'bW 

over -us 

^yhy .  :zn-ie-nu 

^Tby 

.  cZ^H-nu 

(is)  His -favor; 

i^pn   .  Has'd-o  : 

Mon 

.  ^T'sW-w  .• 

and-  (the)  fidelity 

vv:iv 

'^ir2i^^ 

.  U-am'th 

(of)  Jehovah 

nyni  .  J'hovo- 

mn'' 

.  Jeue 

(is)  for  -  ever. 

UbS^^b   .  L-rioln-m. 

D^^r^ 

.  L-7]uVm. 

Praise- ye 

'^bbr^ 

.  E/7i^ 

Jah. 

IT 

1 

.  J^. 

♦      1  •  \i  T     T                : 

0 

iiprr  ^yhv   "in^  ' 

3 

♦     T      :          T    ;      vv: 

^  nx  has  no  corresponding  word  in  English.  The  nearest  meaning  is  "  the,"  yet  not  the 
same  as  n  "  the,"  but  intimating  an  objective  case  after  it,  whence  it  seems  to  partake  ot 
the  force  of  the  English  prepositions  at  or  to. 


114 


EXORDIUM  OF  THE  LAST  SONG  OF  MOSES. 

SEE    DEUTERONOMY    XXXII. 


Verse  I. 

Give  ear, 

•'):''T^^^  .  Haazhinu 

iriNH 

.  Eazhinu 

O  ye  Heavens, 

D''Ql£;n  .  Hasho-maim 

•  -  T   - 

ym^r^ 

.  E-sh'mim 

and  I  will  speak ; 

n"T21Stl.  Vahadaherrr; 

ninii^i 

.  U-ad'hWe; 

and  hear. 

V^'^ry]  .  V'thishmaT] 

V^'^TTs 

.  U-tNsh'm\ 

O  Earth, 

yiKH  .  Hahrrr^z 

'      V  T  T 

V1^^^ 

.  E-ar'z 

the  words 

■np^^  .  ImWe 

■n^.^ 

.  ArrCri 

(of)  my  mouth. 

^3  .  Pi. 

r 

Verse  H. 

''3 

.PL 

Shall  drop 

^1^^_.  Jar\aroph 

n^r 

.  Irfr'ph 

as  the  rain, 

ntODS  .  Chanifrtrrr 

T  T    - 

^my2 

.  CNrrCfr 

my  doctrine ; 

••np^  .  Liclii  ; 

^n'^b 

.neu; 

shall  distil 

b-]r)  .  Tliizhal 

b^n 

TKzm 

as  the  dew, 

bm  .  Chatal 

b:D:i 

Ch'fl 

my  speech ; 

TllDi^  .  ImWn-thi: 
•  T  :  • 

^mDK 

AmYthi  : 

as  the  small  rain 

Dn;X^t?3  .  Chish\irim 

Dn^rti^D 

Ch'sh'Tjirim 

upon 

"hv  .  :Zale 

'^bv 

^'li 

the  tender  herb, 

l^t/1  .  Dd^shs^, 

i^^i 

Usha, 

and  as  the  showers 

u^y^y^y .  v'chir'bihwi 

y2'2iy 

U-chWbibim 

upon 

"'k  •  '^a^e 

'^bv. 

Sli 

the  grass. 

n'W  .  ^es^h. 

2m . 

SsKh. 

Verse  III. 

-- 

Because 

^3  .  Cfii 

^D  . 

Chi 

the  name 

Ut  .  Shem 

Dt:; . 

SlCm 

(of)  Jehovah 

TVSsV  .  J'hovfr 

^\^rv . 

Jeue 

I  will  publish ; 

ynj)^  .3 em-; 

^^'^pN  . 

Ac'ra  ; 

EXORDIUM    OF    THE    LAST    SONG    OF    MOSES. 


115 


ascribe  -  ye 

!)nn  .  Hn-bu 

T 

inn 

.  ^5w 

greatness 

^713  .  God^l 

b^^ 

G'd'l 

unto  our  God. 

^y^rhvh  .  Lelohenu. 
\"     I" 

Verse  IV. 

^Tr^bt^b 

L-aleinu. 

The  Rock  ! 

Il-ijn  .  Hazur 

ni^in 

E-zur 

perfect 

U^t2r\  .  Thrrmim 

'      T 

D"'Dn 

TKmim 

(is)  His  work  ; 

^bv^_  .  Pn-rirrlu  ; 

i^rs) 

rrflu; 

for 

>3  .  Chi 

o 

.  Chi 

all  His  ways 

VD-IT'pD  .  Chn-l  Urn-cn- 

T    T     :            T 

10-)"T-^D 

Chn-l-Ur'c-ju 

(are)  judgment : 

m^^  .  MisKpn-t  : 

DH)t:^D 

M'sNft : 

a  God 

^K  .  El 

bi^ 

.Al 

of  truth, 

T       )v; 

nji^si^ 

.  Amune 

and  -  no 

r^")  .  F'  En 

r^^•) 

.  U-Ain 

iniquity. 

Sv  .  :^(rva,    , 

^^;^ 

3ul, 

just 

pn^  .  Zadic 

pnij 

.  Z'dic 

and  -  right 

Iti^'^l  .  V^jnrshnrr 

")i^''i 

U'IshW 

(is)  He. 

VnTi  .  Hu. 

?^in 

.  Eua. 

p  *J 


116 


o 

h3 

1 

OS 

3 
O 

s 

1 

1 

< 
< 

Eh 

1^ 

<: 

c» 

^ 

^ 

1 

Pi 

>^ 

_Q 

^ 

.*J 

^ 

o 

2 

O 

s 

o 

1 

a; 

*c5 

S-i 

o 

o 

o 

s 

O 
-5 

13 
O 

o 

3 
O 

o 

o 

1 

c 
o 

1 

3 
C3 

•4^ 

'3 

3 

o 

S 

3 
Pi 

O 

Q 
0 

P3 

O 

Si 

en 

o 

^ 

s 

o 

^co 

3 

3 

-a 

QJ 

o 

o 
2 

> 

C3 
O 

g 

< 

15 

CO 

15 
o 

QJ 

*g 

S 

CO 

o 

i 

Oh 

3 

1 

o 

CO 

13 

3 

o 

< 

§ 
1 

,        ', 

Hi 

> 

o 


w 

jy- 

n 

57 

57 

Jv- 

?? 

w 

w 

71 

>. 

Pi 

<: 

Pi 

<! 

a: 

o 

r? 

57 
0 

7i 

<n 

5? 
t> 

5? 

|y< 
Kf 

5^ 

57 

n 
t> 

57 
KT 

i 

Kf 

57 

H 

5^ 

^ 

< 

Sw 

-r? 

5< 

rl 

♦  ♦ 

Pi 

<31 

n 

^ 

e 

0 

♦  ♦ 

^ 

♦  ♦ 

r? 

t> 

Jy- 
Kf 

:z^ 

Pi 
o 

0^ 


117 


THE  PRAYER  OF  OUR  LORD  "JESUS  CHRIST.' 


=      Our  Father 

•    X 

which  (art)  in  Heaven. 

•   T  X    -    V 

I.       Hallowed  be 

^l\l) 

Thy  Name. 

^19f 

n.           Come 

X 

Thy  kingdom. 

•  ^-P^^^^ 

HI.           Be 

V! 

Thy  will 

l^^^^l 

as  that 

it^j^i) 

in  Heaven 

•  X  X  - 

also 

1?1 

on  Earth. 

■Yias. 

'     V  X  X 

IV.      Our  bread 

•''j?rL^ 

brought 

^^1 

daily. 

)^r3ruv 

extend 

^D 

to  us 

^2b 

X 

to  day. 

'U)'^r} 

V.     And  forgive 

n^Di 

us 

^\b 

X 

our  debts. 

•* 

as 

'^^^.^ 

we  forgive 

those  possessing 

'!?!;?> 

our  dues. 

:  wnia'in 

.  J2hinu 

i:3>nj< 

j  Shd^basho" 
\     rriirim, 

U'^^V2.'V 

.  Icrrdesh 

^1\>^ 

.  Sh'ms^chrr. 

'^i;t:m 

.  Tho-ho 

Niaji 

(MaVchutha^- 
\      chnr. 

:  ino'pD 

.  J'hi 

M"* 

.  Rzon'chfT 

i:iij"i 

.  Cha-asher 

^U)^2 

.  Bashfrmfrim 

u^n'^2, 

.  V'chen 

P") 

.  Brrfirrrg-z. 

:pNn 

.  LaKmenu 

^yorh 

.  Uhar 

-in-r 

,  Jom-Vjomo^ 

iDrn'DV 

.  Then 

]^ 

.  Lnrnu 

^:h 

.  Ha-jom. 

:Dvn 

.  Us'lah 

rhD^ 

.  Lfrnu 

i:b 

.  3th-hobothenv 

•i:^jTO")n"ni^ 

.  Cha-ashd-r 

")t:;ND 

.  Sn-latCnu 

ijn'^D 

.  JUha7]ale 

^bV2b 

.  Hobotheny, 

'  )Tn')y)n 

.  Sh'b^sh^mim, 

.  Th^bua 

.  M'Vchuth'ch. 

.  Jei 

.  ICzurCch 
.  Ch-ashr 
.  B'sKmim 
.  U-c'n 

.  UKrf^nu 

.  i)'Z.V 

.  Jum-Vjumu, 

.  E-jum. 
.  C7-s7'A 
.  L'nu 

,Ath-hubuthinu 
.  Ch-ashr 
.  S'VKnu 

,  Hubuthinu. 


118 


THE    PRAYER    OF    OUR    LORD    "  JESUS    CHRIST. 


VI.       And  not 

lead  us 

into  temptation, 

but 

deliver  us 

from  evil. 

=     For  thine  (is) 

the  kingdom, 

and  the  power, 

and  the  glory, 

for  ever  and  ever. 
Amen. 


X  ; 

•  X  X      : 


V'al 

Th'bienu 

Unisnrjon, 

Chi-im 

Hazilenu 

Mern-7]. 

Chi  Vchrr 

HamaVchuth 

Ug'buvfr 

V'chfrhod 

Uriolfrm- 
^ol/rmim. 

J2men. 


]VD^b 

n'f2b^]rnb^vb 


.  U-al 
.  TJi'Manu 
.  UvLsiun^ 
.  Chi-am 
.  EziVnu 

.  Chi  Vch 
.  E-m'Vchuth 
.  U-g'bure 
.  U-ch'hud 

(_     r]uVmim, 
.  AnCn, 


119 


a> 

(» 

OJ 

> 

3 

•So 

> 

^3 

T3 

2 

pi::; 

1 

Q 

.2 

GO 

03 

3 

^ 

§. 

O 

M 

O 

#* 
H 

CO 

O 
> 

t 

a3 

1 

o 

J 

o 

1 

f 

O 

CO 

.2 

3 

5 
S 

.2 

i 
1 

Pi 

3 
;-i 

3 

2 

C5 

o 

u 

i 
1 

a; 

8 
s 

o 

§ 

•—1 

> 

•So 

I 

1 

o 

3 

t» 

3 

"5 

> 

.2 

1 

<! 

P^ 

I 

n 
^ 

:;:! 
^ 

S 

^ 

S 

J 

2 

o 

QJ 

f 

CO 

Ph 

•5 

1 

>» 

S 

> 

3 

'72 

<! 

':a 

3 
<1 

cl 

3 

'feJD 

CO 

3 

o 
II 

1— 1 

h— 1 

> 

t-H 
> 

1 

II 

PS 
M 

W 

0) 

<u 
CO 

J 

H- 1 

^^^^ 

^ 

\A 

II 

II 

> 

1— ( 

O 

« 

^ 

»-H 

HH 

> 

> 

1— ( 

^ 

M 

<1 

1—1 

1— 1 

i—i 

> 

fe 

«+i 

D 

^ 

s 

O 

, 

* 

• 

• 

> 

* 

" 

KT 

^ 

1-1 

P^ 

Ph 
W 

PS 
< 

:? 

H 
S 

♦  ♦ 

♦♦ 

♦  ♦ 

i 

I 

37 

1> 
01 

Kf 

% 

37 

37 
37 

37 
♦  ♦ 

4 

09 

m 

ffi 

<5 

<n 

^ 

?J 

^^ 

^ 

<r 

* 

o 

1 

r7 

37 

♦♦ 

?7 

»— ' 

o 

•^ 

:n 

^ 

37 

w 

^ 

CC 

jn 

•^ 

•^ 

1^ 

< 

O 

3 

37 

^ 

w 

37 

♦♦ 

Kf 

Kf 

31 

THE  LIST  OF  SUBSCRIBERS'  NAMES. 


H.  R.  H.  THE  PRINCESS  AUGUSTA 


H.  R.  H.  THE  DUCHESS  OF  KENT. 


Altamont,  The  Earl  of 

Attwood,  Rev.  George,  Framiingliam,  Suffolk. 

Bacon,  R.  M.  Esq.,  Cossey,  Norwich. 

Bamford,  James,  Esq.,  6,  Milk  Street,  Cheapside,  Lon  don. 

Bellamy,  Rev.  Edward,  Dersingham,  Norfolk. 

Boyle,  Charles  John,  Esq. )   p^^^^^^  Hampton  Court,  Middlesex. 

,  Miss  Mary  Louisa,  ^ 

Brander,  Rev.  Boulton,  Calne,  Wilts. 

Branfil,  Charles,  Esq.,  Upminster  Hall,  Essex. 

Buccleugh,  Her  Grace  the  Duchess  of,  Whitehall,  London. 

Burghersh,  Right  Hon.  Lord  Viscount,  12,  Upper  Harley  Street,  London. 

Burnett,  John  Fasset,  Esq.  May  Place,  Dartford,  Kent. 

Burton,  Lieut.-Col.  Wilham,  Royal  Marines,  Woolwich,  Kent. 

Campbell,  Vice-Admiral  Sir  Patrick,  K.C.B.,  Leamington,  Warwickshire,    2  copies. 

-,  Lieut. -General  Sir  Colin,  K.C.B.,  Governor  of  Ceylon.     2  copies 

,  Colonel  Frederick,  commanding  Royal  xA.rtillery  at  Montreal,  Canada. 

Condren  de  Suzanne,  Monsieur  de,  Proviseur  du  College  Royal,  Angers,  France. 

Cooksley,  Rev.  J.  C,  Eton  College,  Windsor,  Berks. 

Craig,  Rev.  Edward,  Burton- Latimer,  Northamptonshire. 

Dawson,  Rev.  W.  A.,  Christ  College,  Cambridge. 

Dixon,  Mrs.  C,  Nightingale  Vale,  Woolwich,  Kent. 

Doyle,  James,  Esq.,  Crimplesham  Hall,  Norfolk. 

Dupont,  Mons.  Claude  Jean,  Dijon,  France. 

Evans,  Miss,  Burton-Latimer,  Northamptonshire. 

Falkland,  Lord  Viscount,  Governor  of  Nova  Scotia,     2  copies. 

Fox,  Rev.  William,  Girsby  House,  Louth,  Lincolnshire,     6  copies, 

Frere,  Philip  H.,  Esq.,  Downing  College,  Cambridge. 

Grimshawe,  Charles  Livius,  Esq.  Biddenham,  Bedfordshire. 

Gurney,  Daniel,  Esq.  North  Runcton,  Lynn,  Norfolk. 

Hamilton,  Rev.  George,  32,  Burton  Crescent,  London. 

Harper,  Rev.  Latimer,  Burton-Latimer,  Northamptonshire. 

Harrison,  Rev.  W.  B.,  Goudhurst,  Kent. 

Hawtrey,  Rev.  Dr.,  Eton  College,  Windsor,     6  copies. 

Henslow,  The  Misses,  Down  Cottage,  Clifton,  Somerset. 

*  Deceased,  22d  September,  1840. 


122  THE    LIST    OF  SUBSCRIBERS^    NAMES. 

Henslowe,  E.  P.  Esq.,  Cranham,  Essex. 

,  F.  I.  F.  Lieut.  R.N.  Chevalier  de  I'ordre  de  Leopold, 

,  F.  H.  Esq.,  Sydney,  N.  S.  W. 

Hulkes,  Thomas  WilHam,  Esq.,  Rochester,  Kent. 

Jones,  Charles,  Esq.  32,  Gower  Street,  London. 

Kennedy,  Rev.  Dr.,  Shrewsbury  School,  Salop. 

Kelly,  Thomas  Juhus,  Esq.,  Major,  commanding  at  Tilbury  Fort. 

LlandafF,  Right  Rev.  Lord  Bishop  of.  Deanery,  St.  Paul's,  London. 

Lee,  Rev.  Professor,  D.D.,  Trinity  college,  Cambridge. 

Lloyd,  William  Horton,  Esq.,  1,  Park  Square,  Regent's  Park,  London. 

London,  Right  Hon.  Lord  Mayor  of,  1839-40. 

Mechanics'  Institution,  The  Chatham,  Rochester,  and  Stroud,  High  Street,  Chat- 
ham, Kent. 

Montgomerie,  Miss,  Puttenham  Priory,  Guilford,  Surrey. 

Nichols,  J.  B.  Esq.,  25,  Parhament  Street,  London. 

Norfolk,  His  Grace  the  Duke  of,  Fornham,  St.  Genevieve,  Bury,  Suffolk. 

Northumberland,  His  Grace  the  Duke  of,  Northumberland  House,  London. 

Okes,  C.  Esq.,  Travers'  Naval  College,  Windsor,  Berks. 

Okes,  Rev.  B.,  Eton  College,  Windsor,  Berks. 

Ouseley,  Right  Hon.  Sir  Gore,  Bart,  41,  Upper  Brook  Street,  Grosvenor  Square, 
London. 

Parker,  Rev.  J.  T.,  21,  Bedford  Place,  Kensington. 

Patterson,  James,  Esq.,  M.  D.,  Downham,  Norfolk. 

Pearce,  Rev.  Thomas,  Folkestone,  Kent. 

Peterborough,  Right  Rev.  Lord  Bishop  of,  Palace,  Peterborough. 

Phipps,  Hon.  Edmund,  Mount  Street,  Park  Lane,  London,     2  copies. 

Powerscourt,  Viscountess,  Sandgate,  Kent. 

Ripon,  Right  Rev.  Lord  Bishop  of,  Bishopton,  Ripon. 

Robinson,  Frederick,  Esq.,  Southery,  Norfolk. 

Rule,  WiUiam,  Esq.  Upper  Bedford  Place,  London. 

Rushbrook,  Lieut. -Col.  Robert,  Rushbrook  Park,  Suffolk. 

Saumarez,  Hon.  Mrs.  T.  Lemarchant,  Milford  Villa,  Lymington,  Hants,     2  copies. 

Scott,  Capt.  Charles  Rochefort,  R.  S.  C,  Cheltenham. 

Strode,  Mrs.  Col.  Chetham,  Milford  Villa,  Lymington,  Hants,     2  copies. 

Sumner,  Richard,  Esq.,  Puttenham  Priory,  Guilford,  Surrey. 

Tarver,  Mons.,  Eton  College,  Windsor,  Berks. 

Tattam,  Rev.  Henry,  St.  Cuthbert's,  Bedford. 

Taylor,  R.  Cuninghame,  Esq.  63,  Baker  Street,  Portman  Square,  London. 

Thompson,  Charles,  Esq.,  Jesus  College,  Cambridge. 

Tulk,  Charles  Augustus,  Esq.,  Duke  Street,  Westminster. 

Uppleby,  Rev.  George,  Bardney  Hall,  Barton  upon  Humber,  Lincolnshire,  2  copies. 

Usko,  Rev.  John  Frederick,  Orsett,  Essex. 

Ware,  Martin,  Esq.  New  Bridge  Street,  London. 

Yorke,  Mrs.,  Prospect  Place,  Woolwich  Common,  Kent. 


EIGHT  SERMONS, 

ADDRESSED    TO 

THE  ROYAL  REGIMENT  OF  ARTILLERY, 

IN  THE  BARRACK-CHAPEL  AT  WOOLWICH. 

To    which  are  annexed,  copious  and  interesting  Notes,  illustrative   of  the  lawful 
extent  and  limitation  of  Military  Discipline,  and  the  importance  of 
Religious  Principle  in  the  Soldier. 

By  the  Rev.  WILLIAM-HENRY  HENSLOWE,  M.A. 

London  :     Published  by  J.   Hatchard  &  Son,   187,  Piccadilly.   183G. 


NOTICES  ON  THE  SERMONS. 

From  the  Atlas  Newspaper  of  Sunday,  Tth  August,  1836. 
rr"  There  is  always  something  peculiarly  impressive  in  spiritual  teaching  addressed  to  men  in 
the  harness  of  war.  What  can  be  more  grand  than  the  contemplation  of  a  soldier  of  truth  ? 
And  such  is  really  the  chaplain  in  the  midst  of  a  military  congregation.  The  proud  are  to  be 
humbled,  the  valiant  to  be  put  down  ;  the  strong  must  be  overcome,  the  weak  supported,  the 
faint-hearted  cheered ;  and  the  battle  against  ourselves  must  be  led  with  vigour,  to  secure 
triumph.  But  there  is  something  unusually  interesting  in  the  discourses  before  us  ;  they  are 
written  by  a  younger  brother  of  the  chaplain,  during  the  illness  of  the  latter,  generally  on  the 
night  before  the  day  of  preaching.  The  discourses  were,  by  military  authority,  forbidden  to 
exceed  twenty  minutes  in  delivery;  and  yet  these  hastily  composed  '  sermon  essays'  created  a 
sensation,  which  proves  the  courage  and  spirit  with  which  they  were  written  and  delivered. 
The  absence  of  chaplains  from  regiments,  the  horrid  practice  of  flogging,  and  other  points  of 
deepest  interest  to  the  soldier,  who  is  spoken  of  as  a  *  sheep  without  a  shepherd,'  are  treated 
with  great  boldness  in  one  of  these  discourses,  in  consequence  of  which,  the  military  autho- 
rities interfered,  and  the  preaching  of  this  ardent  Soldier  of  Truth  was  suspended.  The 
present  volume  is  the  result,  and  the  Sermons  are  dedicated  to  Lord  Hill,  in  a  spirit  of  con- 
fidence which  shows  the  author's  zeal,  and  promises  a  happy  result." 

From  the  SPECTATOR/or  Saturday,  20ih  August,  1836. 
=  *'  The  contents  of  this  volume  do  not  sufficiently  differ  from  the  twenty  or  thirty  thousand 
sermons  (at  a  moderate  computation),  that  are  weekly  delivered  in  Great  Britain,  to  require 
much  criticism  for  themselves  ;  but  they  maY  be  noticed  for  the  singular  simple-mindedness 
of  the  author,  and  an  unpleasant  result  which  their  delivery  produced.  They  were  originally 
preached  to  the  Royal  Regiment  of  Artillery  in  the  Barrack  Chapel  at  Woolwich  ;  but  the 
ruling  powers  of  that  distinguished  corps  stopped  the  sacred  orator  after  the  eighth  hortative. 
Divines  have  established  for  themselves  a  perfect  freedom  of  speech  in  the  pulpit ;  but  they 
usually  exercise  it  in  general  terms.  William  Henslowe  was  too  personal  to  be  pleasant ;  he 
not  only  charged  the  corps  with  being  of  little  faith,  and  much  bad  practice,  but  he  drew  his 
illustrations  and  evidences  from  passing  events,  using  the  death-bed  scenes  of  the  military 
hospitals  as  a  proof  and  a  warning,  and  hurling  in  the  teeth  of  the  living  the  fact  of  their 
frequent  floggings,  as  testimonies  of  their  unworthiness  not  to  be  gainsaid.  He  touched  upon 
a  tender  part,  when  he  hinted  (so  we  understand  him)  that  soldiers  ought  not  to  obey  orders 
to  render  honour  to  a  rival  creed.  He  perhaps  put  forward  an  opinion  of  questionable  sound- 
ness in  a  military  point  of  view,  when  he  declared  he  would  rather  face  an  enemy,  with  a 
force,  however  small,  from  whence  every  '  wicked  man '  was  removed,  than  have  the  entire 


1*24  NOTICES  ON  THE  SERMONS. 

English  army  with  the  'wicked'  in  it.  But  the  soldier-authorities  seem  to  have  alleged 
doctrinal  objections  to  the  seventh  sermon,  on  '  Providential  Warnings  and  Divine  Visitations,' 
from  the  text,  '  Shall  the  trumpet  be  blown  in  the  city,  and  the  people  not  be  afraid  ?  Shall 
there  he  evil  in  a  city,  and  the  Lord  hath  not  done  it  ?'  We  may  lack  the  acumen  of  the 
military  divines,  or  have  not  examined  the  discourse  with  the  attention  they  gave  it,  but  we 
have  perceived  nothing  very  uncommon  (for  sermons)  in  the  argument ;  perhaps  it  was  in  the 
instances  selected  for  the  illustration  of  the  special  providence,  that  the  offence  lay.  Here  are 
the  warnings  without  the  comments  ;  the  italics  are  the  author's. 

"  *  I.  First  of  all ;  since  the  last  Sabbath-day  dawned  and  darkened  over  our  heads,  a  soldier 
has  committed  murder  in  the  day-time  ! 

II.  "  '  The  trumpet  of  God's  providence  has  also  been  sounded  by  another  evil,  of  recent  and 
lamentable  occurrence.  I  allude  to  the  case  of  a  poor  soldier  who  is  at  this  moment  suspended 
between  life  a7id  death,  in  consequence  of  an  injury  he  sustained,  whilst  engaged  at  work  on 
account  of  the  monthly  amusements,  the  celebrated  periodical  festivities  of  this  place  lately 
begun.     [An  officer's  ball  we  infer.] 

"  '  III.  There  is  yet  another  and  a  third  evil  which  has  taken  place  of  late,  and  whereby  the 
trumpet  of  God's  providence  has  blown  a  shrill  and  shrieking  blast  around  the  walls  of  the 
Academy.  Year  after  year,  for  three  years  in  succession,  has  a  similar  blast  been  repeated  in 
the  ears  of  the  cadets  ;  and,  it  is  to  be  feared,  from  the  circumstance  of  that  repetition,  with 
but  little  pious  regard  on  their  parts.  But,  what !  Shall  the  trumpet  be  blown  in  the  city,  and 
the  people  not  be  afraid  ?  Shall  there  be  evil  in  a  city,  and  the  Lord  hath  not  done  it  ? 
[The  evil  was  three  accidental  deaths ;  or,  as  we  should  rather  consider,  three  providential 
ones.]'  " 


From  a  Critic  to  a  Friend,  November,  1836. 

=:"  The  Sermons  are  beautifully  written  :  really  some  passages  are  so  awakening,  that  they 
make  you  start  with  conviction  and  admiration.  I  much  admire  his  holy  boldness  in  advo- 
cating the  cause  for  which  he  will  not  compromise  the  truth.  I  shall  endeavour  to  make  his 
discourses  circulate;  already  I  have  interested  my  cousin,  the  member,"  [Mr.  P ]. 

Fromthe  Gentleman's  Magkzi-^-e,  for  December,  1836. 

=  "  Of  the  zeal  and  piety  of  Mi-.  Henslowe  we  have  ample  evidence  ;  but  one  of  his  sermons, 
the  fourth,  gave  such  offence  to  the  officers,  that  the  pulpit  of  the  Chapel  was  closed  against 
him.  The  chief  cause  of  complaint  was  grounded  on  his  allusion  to  the  punishment  of 
flogging.  Upon  reference  to  the  passage,  we  can  find  nothing  that  ought,  in  justice,  to  have 
offended,  since  the  punishment  is  only  mentioned  incidentally  as  a  consequence  of  the  de- 
gradation which  rendered  it  necessary.  The  author  has  both  talent  and  piety,  such  as  would 
adorn  the  profession  to  which  he  belongs.  The  present  volume  is  certainly  not  learned,  nor 
very  eloquent  [for  learning  directly  applied  to  £uch  an  audience  would  be  misplaced ;  and  the 
eloquence  of  Chrysostom,  or  Basil,  would  have  fallen  on  ears  that  could  not  drink  in  those 
strains  divine],  but  it  is  very  well  written,  animated,  forcible,  perspicuous." 


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