mmm:' 
 
 mm-- 
 
.^ 
 
 -^ 
 
 
 .0 
 
 
 
 .^' '/>, 
 
 
 ^ ' -i 
 
 ?:^ -^^ 
 
 
 
t PsK, 'XT.' - -^ > 
 
 
 
 
 
iXk- 
 
 I 
 
 THE 
 
 PHONARTHRON. 
 
 i/- 
 
 2 
 
 C^ 
 
 '-^r. 
 
 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 
 
 
 — 
 
 n 
 
 n 
 
 /#r 
 
 O 
 
 ▼ 
 
 ^ 
 
 \j 
 
 £SS£A/r/AL 
 
 SUBST/IAfrML 
 
 TV 
 
 h- 
 
 C\ 
 
 3 
 
 iw 
 
 O 
 
 V 
 
 rv 
 
 u 
 
 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 
 
 
 
 .a 
 
 £ 
 
 B 
 
 o 
 
 J 
 
 I. 
 
 Cr 
 
 r% 
 
 jr 
 
 M 
 
 c 
 
 T 
 
 r 
 
 vT 
 
 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. 
 
 0/f/ILS. 
 
 FcflaMiZ 
 
 -Lui^imZ 
 
 ZcLbiM 
 
 
 Palais 
 
 Zwi^^izM 
 
 ZaJ>i^ 
 
 A . a 
 
 J . Sr. 
 
 M . o- 
 
 Jfa^br 
 
 ^ . y 
 
 .r. n. 
 
 jr. 727. 
 
 £ . e 
 
 Jt . r 
 
 O , o 
 
 Jf€d:uU^ 
 
 c . c 
 
 T . t 
 
 z . p 
 
 I . t 
 
 X . I 
 
 ir . to 
 
 J^7tor 
 
 _,T^_j_ 
 
 S . J 
 
 K. V 
 
 2. 
 
 PULMO/VALS 
 
 OPALS. 
 
 Vei^i -TabrwTzals 
 
 0nZtil?rjj>7iaZj 
 
 TldJnJO?^ - Orcds 
 
 Vert - OraLs. 
 
 TaZ. 
 
 ZtTV. 
 
 Zoub. 
 
 FaZ. 
 
 Zzrv. 
 
 ZaZ. 
 
 FaL. 
 
 Zirv. 
 
 zca. 
 
 FaZ. 
 
 Zirv. 
 
 ZaZ. 
 
 A. d^ 
 
 J. 9^ 
 
 Jl..^ 
 
 A.<L 
 
 3. i 
 
 Jl.rr 
 
 C6 ?7 
 
 J^.TV 
 
 JZjtl 
 
 ^. ?? 
 
 ^rf^ 
 
 Mr^ 
 
 Z.e 
 
 Jt.r 
 
 0. 
 
 Z.6 
 
 R.T 
 
 0. 
 
 &-g 
 
 z. ^ 
 
 Z.h 
 
 C. c 
 
 T. 7; 
 
 P.p 
 
 I. i 
 
 Z.l 
 
 ir.u 
 
 Z^ 
 
 Z.l 
 
 ir.ii 
 
 J-.f 
 
 Z.x 
 
 Kv 
 
 JJ 
 
 S.s 
 
 V.y 
 
 3. 
 
 SO/VALS 
 
 
 
 yOCALS. 1 
 
 /CTALS 
 
 ' 
 
 
 
 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 
 . 
 
 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 
 
 
 
 -=. 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 
 
 
 
 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 
 
 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 
 
 - 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 
 
 
 
 
 
 
 
 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 
 
 
 
 
 — 
 
 . 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 c Jib i d e g A 
 
 gedibJlcotupA 
 
 AputocJlbideg 
 
 edihJlcotupAg 
 
 g A p u t c Jib i d e 
 
 d i b J2 c t u p A g e 
 
 e g A p u t c Jib i d 
 
 i b J2 c t u p A g e d 
 
 degAputocJlbi 
 
 bJlcotupAgedi 
 
 i d e g A p u to c Jib 
 
 JlcotupAgedib 
 
 J2 
 C 
 
 T 
 
 U 
 P 
 
 b i degAputocJl 
 
 cotupAgedibJI 
 
 Jib i d e g A p u t c 
 
 otupAgedibJlc 
 
 c Jl b i degAputo 
 
 t u p A g e d i b J2 c o 
 
 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 
 
 u 
 
 A 
 
 G 
 
 A 
 
 u 
 
 
 
 Jl 
 
 b 
 
 d g 
 
 e i 
 d b 
 
 Jl c t 
 
 C u 
 
 V 
 A 
 
 9 
 e 
 
 E 
 D 
 
 9 
 
 e 
 
 p 
 
 A 
 
 t 
 u 
 
 c 
 
 
 
 Jl 
 
 c 
 
 i e 
 b d 
 
 i J2 
 
 b c 
 
 t p 
 t u A 
 
 9 
 
 e 
 
 d 
 i 
 
 I 
 B 
 
 d 
 i 
 
 9 
 
 e 
 
 p 
 
 A 
 
 t 
 
 u 
 
 
 
 t 
 
 Jl i 
 
 c b 
 
 JX 
 
 u p g 
 
 d 
 
 b 
 
 Jl 
 
 b 
 
 d 
 
 9 
 
 p 
 
 u 
 
 Jl 
 
 c t 
 
 p A e 
 
 i 
 
 J2 
 
 C 
 
 Jl 
 
 i 
 
 e 
 
 A 
 
 p 
 
 t c 
 
 u 
 
 A g d 
 
 b 
 
 c 
 
 
 
 c 
 
 b 
 
 d 
 
 9 
 
 A 
 
 U 
 
 t p 
 
 u A 
 
 9 ^ 2 
 e d b 
 
 c 
 
 
 
 t 
 
 r 
 u 
 
 
 
 t 
 
 c 
 
 i 
 b 
 
 e 
 d 
 
 9 
 e 
 
 p t 
 
 A u 
 
 P 9 
 
 d i J2 
 
 
 
 It 
 
 p 
 
 u 
 
 
 
 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 
 
 
 
 P 
 
 A 
 
 u 
 
 
 
 c b 
 
 d 
 
 e A 
 
 9 d 
 
 i 
 
 Jl 
 
 
 
 t 
 
 A 
 
 G 
 
 P 
 
 t 
 
 Jl 
 
 i 
 
 d g 
 
 e i 
 
 b 
 
 c 
 
 t 
 
 u 
 
 9 
 
 E 
 
 A 
 
 u 
 
 t c 
 
 b 
 
 i e 
 
 d b 
 
 Jl 
 
 
 
 u 
 
 p 
 
 e 
 
 D 
 
 9 
 
 p 
 
 U 
 
 Jl 
 
 b d 
 
 i Jl 
 
 c 
 
 t 
 
 p 
 
 a 
 
 d 
 
 I 
 
 e 
 
 A 
 
 p t 
 
 c 
 
 Jl I 
 
 b c 
 
 
 
 u 
 
 A 
 
 9 
 
 i 
 
 B 
 
 d 
 
 9 
 
 A u 
 
 
 
 c b 
 
 Jl 
 
 t 
 
 p 
 
 9 
 
 e 
 
 b 
 
 Jl 
 
 i 
 
 e 
 
 9 P 
 
 t 
 
 Jl 
 
 c t 
 
 u 
 
 A 
 
 e 
 
 d 
 
 Jl 
 
 C 
 
 b 
 
 d 
 
 e A 
 
 u 
 
 t c 
 
 u 
 
 p 
 
 9 
 
 d 
 
 i 
 
 c 
 
 
 
 Jl 
 
 i 
 
 d g 
 
 p 
 
 U 
 
 t p 
 
 A 
 
 e 
 
 i 
 
 b 
 
 
 
 T 
 
 c 
 
 b 
 
 i e 
 
 A 
 
 p t 
 
 u A 
 
 9 
 
 d 
 
 b 
 
 Jl 
 
 t 
 
 U 
 
 
 
 Jl 
 
 b d 
 
 9 
 
 A u 
 
 P 9 
 
 e 
 
 i 
 
 Jl 
 
 c 
 
 u 
 
 P 
 
 t 
 
 c 
 
 Jl i 
 
 e 
 
 9 P 
 
48 
 
 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 
 
 
 
 t 
 
 u 
 
 9 
 
 e 
 
 d 
 
 
 
 t 
 
 u 
 
 b 
 
 J2 
 c 
 
 9 
 
 e 
 
 d 
 
 9 
 
 e 
 
 d 
 
 i 
 
 b 
 
 Jl 
 
 
 
 t 
 
 u 
 
 9 
 d 
 
 i g 
 t b e 
 u Jl d 
 
 i 
 b t 
 
 p 
 
 A 
 
 i 
 
 b 
 
 p 
 
 A 
 
 
 
 t 
 
 i 
 b 
 
 I 
 b 
 
 c 
 
 
 
 p 
 
 A 
 
 i 
 b 
 
 pel 
 A b 
 
 J2 u 
 
 9 
 
 J2 
 
 9 
 
 u 
 
 J2 
 
 Jl 
 
 t 
 
 9 
 
 Jl 
 
 g t Jl 
 
 c p 
 A 
 
 t 9 
 u e 
 
 p d 
 
 e 
 d 
 i 
 b 
 J2 
 
 c 
 
 
 
 t 
 u 
 
 p 
 
 e 
 d 
 i 
 b 
 J2 
 
 p 
 
 A 
 
 9 
 e 
 
 d 
 
 c 
 
 
 
 t 
 
 u 
 
 p 
 
 c 
 
 
 
 t 
 u 
 
 ! V 
 
 u 
 
 p 
 
 A 
 
 9 
 e 
 
 e 
 
 d 
 
 i 
 
 b 
 
 Jl 
 
 c 
 
 
 
 t 
 
 u 
 
 p 
 
 e u c 
 d p 
 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 
 
 A 
 
 9 
 
 A 
 
 
 
 b 
 
 9 
 
 9 
 
 i 
 
 A 
 
 9 
 
 A 
 
 
 
 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 
 
 
 
 i 
 
 i 
 
 c p 
 
 d 
 
 I 
 
 d 
 
 p 
 
 c i\ 
 
 b t A 
 
 i 
 
 b 
 
 i 
 
 A 
 
 t 
 
 b 
 
 b 
 
 A 
 
 i 
 
 b 
 
 i 
 
 A 
 
 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 
 
 A d 
 
 c 
 
 
 
 c 
 
 d 
 
 A 
 
 
 
 
 
 p d 
 
 c 1 
 
 c 
 
 d 
 
 p 
 
 t g I 
 
 
 
 t 
 
 
 
 i 
 
 9 
 
 t 
 
 t 
 
 A i 
 
 
 
 t 
 
 
 
 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^^. ^^ 
 yru^^^^.^/e£</y aJ ^ ;4lu^, y^^Uy/- aJ d^^^c^^i/AeJ ; em^ a.c^:^^t^ynJ- o/'^xAmu^^ /^nM^n^y 
 
 /^£Jd y/n.ayyiy^^-^^^'^'<'<y<^^ {z/ ' ^ yJ/u-ecA y; ccyf^L^ Oy-'^^/i^-c^c/icyy/iyn^-u^ ^y/n£y' 
 
 ji^i/nyC<Ay^ c^/^LyPu-c^^^;, c^^^te/thi^^, ayru:^ ^lyCzAyrp^-^y^TfyUy-^ clJ y^yOy^urn-^Oyiy, oyriyc/y 
 
 ty^ y^L£-cc^ ayrt^ ^,i^-(yfriy^y!^6y/€e^ ^x:^!^^ c^ o'^}{^-/ky/urny ycJ yy?-z,cH.c^ i?^;M&4.£^^ 
 oyru/y^ ^x>^^^ ay c<?rnyA^.y4yu>-o^iy y/y?'i.J-^y/^^ 
 
 y^yr?y C-(7^1y?^.y77'ty'..i-C<i^. 
 
 (_J^/y<J y-c^Tfy^i^Hyi^^^L^^ y^ crt/tiMyi^^ yi^^^--<^^^yiynyy/^iey Ccc^-ey^ o^y/nycJ tyK£,cc^ 
 7^n£ynx:H^ yC(-&iyri^ ay<yu?Ay/kccyj y'r/7j&y y/t€i^'rt^:^-6a.-^4y(^^ 01^ a^^^ yryt.zx.J-(y(y c^i^c^ e^^ 
 y/njeyAyteJ-eyyv-A^J-^y-c&yyy^^ c^-i^yOcHy^ (;>'Cc-ay^k^O'f^yyrzye^ayte^€iy/- 
 
 jgyi/ yAy<:hiyy-^/teyy^/^4yaynyy^ c^^^u^ ^^TtZy^je^ny y^!^ ^A,^^^ 
 
 ^^4yC^/7'i^ cm^eyy^ce^^ a^ y -^f^pz^-a!^ , ycynyA>' ayn-^r/nsyty, y^^^,e^-Uy0^y</njeyy/i^cyi4>nya7^ 
 -^Z^f^LytyAy^cc-CaA^^yC-z^-A^t-cy^^^ ^^iyy" ^yi/t^-CCeJ . 
 
 yiyriyfytpAiAeJ o^y^njex:£ji^-^yn^ ceAyAu^yvy' tZyAAyt-€iyAy<Trt^yiypzy ceAyAiyyny tATJA-^^y-rruynA' 
 ^ ey^v£iycJ-i^ ^Ay^tytyAy>iyyAaytAz^ yCyny^Anjey c^CctytAy^ co^n^ C^T^yzyt^^iJ^^t^/LcH^ (?iy 
 ^^i<^-'ny?- <J&±^y ^x^yA,c^y/iy y^aJ^^eyiy^ c^^yi^^ a^ .-■Aiiyy-T'n.^d^y /^yyriyCyCcoAy 
 
 ciyn-o^ y^yT-zy c^m^iy^^-TytTTiyyC'cJ-e''^ Oy iAeJ^-lyy/iA-trf-zy ay?^L^ Aje^i^t^te4£y^iy^4z.^Ac^7^y £r^ 
 
 y/nx-d^ ay'^^AeyUiy/iy?^^^^ yC-T^y ycyA, oAje^^ oyAf-tP-- y>^^<?^y^ /ii£j~eynyAe^-A^,yA^ 
 
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 u^ E I jx u^ E I Ji o\u ^ E I Jl 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. 
 
 n 
 
 UtRe^J&FoASolZcL 
 
 D 
 
 F 
 
 &i> .M.Bi> 
 
 T 
 
 FcASol 
 
 f\g- 
 
 n 
 
 Sv 
 
 B^ .Fj/f 
 
 n 
 
 B 
 
 &/> .A^.BJ> 
 
 Bl>.F:i> 
 
 m 
 
 SotZoy Si- 
 
 F^.G/f.AJ^B^ 
 
 Crl^ AliBb 
 
 m 
 
 SoZ La Sry 
 
 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. 
 
6'. J^vc- /icUy^<u-<y^4y dc^^^yU<nyC£j j^auJ^^ y^~^y4^^€£yny ^^^ y/A^rru^^Cu^f^ Jte^- 
 
 .nt€(yz/. {!U^ a^t/^UJ-e-i/y y^-^e^zuz-TTi^cyyuyn^ .y^4-^My/UJ/ve^>1^^c/^ cA^iUX^^, aJ ayf^^ 
 
 (:^£^!^^^ay?^.e^^ ayrc^ /zyti^ aJ f^iyC-o-c^" — 
 
 Z 'jLy./i4^ &m^n^o^7y.^^yn^- Jc^-ty^y./^^J^'i^ri/-^^^^ ayUy a^/i^^Aypaz^>myiy/e/^^ 
 
 cjiyty/ey, .y'^y^yyt/-y;4^eyuJ aAjzyy/fyozy^^y^-e-^ ay^^Ay9z^ay^ ^^cc^/i^ y/n.^y'C^^ 
 (f. t-'^-ty y</^y (^^^;^^^x?^^^-f'7^_/^ :^2.<>^^- i,^£^ .yi'^eAjey aytey\,Aeyi^e^ y(!yrnya^ y4.e^u^^ ay<n^ 
 
 /^^^ayroi:^- tJMy^y //[e-t^ ayt^ y^ux> . y^y?iny7,,/^£yuJ gy^^u/y ^Jt^^x^ ^ 
 
 y-ny^ 
 
 .//icy ^h^^/iZyv^ £/y>J/i^n^yyyJn£y/yyi:!yyy ceyt<4zy:.-rcy,j/ie.(U-c-/c^zyt^^ 
 
 z^c/oayUy/ieJ ayte- Oyiyf^/utytyi^^ ayn^Ly ^^T-ruzy^ ,y<:^ c<^yz^J^c^^n.£^y/€^ 
 ./A^' g^/y/fy^rzy ayrL</^ y/Oy^/ey (^ ./n.e^ ^y^'^T^ciyri^c<.^/iiy>Ayyt£yt^^ 
 
 ./cez^^ ^?^^^-^ y-^-ey yi^?ty^ayy/y yU'^iy/ny cyr^-i^e^ yOt^^yt^, c^ty^z^^ytyiy y^kyzyty/:<>€yyCaAy ^Xyu^yfn.^iy^ 
 ./^ <^<U■ih4^^^^MyJ/^Ju/< /^ (^^'C^-ny . .-t^^/eytayy ynyzyf^'ie y yyny^yzycCy c^^eyi^-eyty^ crn£y^y/n£y 
 
 J-cypcy ^ym^ . K£yuJ /?7Zyzyj/. .-^ACy -^yny^^tc^Tty.yy^ ^^ {^-com^^ a^^ytytoAytyyzyi^ co/<?^y ymyyy^—- 
 
 A ^ /te^.^ ^tayn^y. ^_ M/^^ch^. ^_ ^^^^^^-. _^_ y/^/uj^. _^ y^y^^^^ty^. 
 tirty <^ a^ ,^7/^zy!.ce'/C. c^ .^ /^yrn y^tymyy^Ay yZ-^Cay^^ ciyrukyMytyy/n.£y^.{^tZ'^r?Z£y,.£yn^ 
 y. J^tynyfyUyiy- . J^-i^J^^i^^^yCcO y^^eyA^ey^'^Ty^^ aJ cuayte^^ ay:fyv't^yrt^/k^^y^n^ 
 
 aJ yC-?^^ </i4jRy Ct^^T^zyrrvc^y y<y:v-ny?--<^y'cyty/ey, yMjey^J^^^/y^eynyy^ e^J^e--^ ^^yn^^gyiy^e^tyiy /^e^tyyz^- 
 '^/^Zy<yy (?^ty ^eyf^<y/i€^ytyrny?-nyyiy ^y^ ''li'^4y77z.c>^y.oi7riy<^yzy?zyr-- 
 
 (i>^^^^ .y^^^,^i<i^^:<^^^?z^^x^y' ,<^x'^:.^ Oy^ ayey4£y ,- ,J-<y.. 
 
 i^rLe-' J^eyUe^ y^ ,^iny?^-<yy^ ;%^y^i^<5^t.e't/>C^^:^^^-^?^-^^^^:^ ayU. a^/f^ yey>^€^-iyyny. 
 
 
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. 
 
 (^^:/. t^yiy.-Zi^ y^^h.cci/' /m£yMy/^(/^ ^^cA^i^iJunty, y/njey ^yl'luJ^^cci^O' 'Jo^'ZjeJ //t 
 
 />^rbe/4^-i^, y/n^ (^iA^o'?^'ULy/uy yJxyU^ y^^e<yn^ c-A^J-eyf'iy^ ./n^ .Vs??-^ co7r^o/ea:. M^^y^y 
 
 JorbeJ xyrt^ _j^y/^My ^dMyoeJy yU^^^eA^e^cJ ^x.<fyiy yM^-^ .'^^^^^^y" /9-r?yC-/n^r/.- 
 
 . y^<A/rzyr?x:^y y. 
 
 ■ri' €>^- 
 
 yo-ny 
 
 A-ye<oc/y <7f^ t^' </^c<p^AM.^ffyey?'^i^''rL/T' 
 
 
OU. 
 
 THE ROYAL ANTHEM, coTrvnvorv 
 
 IN THE OLD AND NEW STY LI 
 
 SA 
 
 ^.D.lOSd. 
 
 Ood. 
 
 3i=3= 
 
 Gr-e^it^ 
 
 JCCTTI^^ 
 
 JS^ , 
 
 f 
 
 i 
 
 
 i 
 
 JiOTL^ 
 
 ^ J^7i<7, 
 
 Qfcif: 
 
 ■^ 
 
 ^^ 
 
 ^^. 
 
 tJve. 
 
 ^^ 
 
 .^>?>/ . 
 
 
 ^^m 
 
 ; >: tt £ :^ - 
 
 Tvorri' 
 
 vjsRjSje it. 
 
 CoTv/v7A:rLoL tfvezyr pOlCtl-(UT 
 
 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 
 
 
se 
 
 MELODY 
 
 ^ 
 
 OU 8 
 
 PHONODION - HARMONICON* 
 
 
 J'e. 
 
 f ' f '^^ 
 
 ^z^ 
 
 
 
 
 .£. • 
 
 -1U^^-ft-^:± Egg ^^=4^F^^^^:;J^ 
 
 
 m 
 
 \^ 
 
 Cp . TcL- 
 
 
 Jit . Cp 
 
 To. 
 
 Fe 
 
 lo. Cp 
 
 
 Jit 
 
 Cp . jiJb 
 
 ^ r 
 
 Up .To 
 
 t^^^yA yyvc^M^ '^^.^ctA' y^o^^'i 
 
 /m^ (yL-<ny^ p^z,-^. 
 
 yAA^.y?^c. ' yAt?- A-e-AuruA 
 Oyf-vcA C-OyriyfA y-Tt^crA yAo-c^ ^^^A^^I^Tu- y^^ 
 
 '-yvM^'t^Airte^-^ yAA^e^Tf.-'^ yAo^7A-e<!:h^ '-A^cH^y- y^eA^i^TTy yAA-e-^m.^ AAi:;tyA cAe..a,A ^^Ate'a^cAyeAy?-c<jAu/^ 
 ct^n^yAi^uAejA AAyyy yAma,cc^ A^A^^n. AAe^ ^^^y'-ocA^e^ cAeyiyi?iycA£yAA -AA.^ yrriyz/ny^ 
 yAAyx^A yj yrn^cHj^ yi^fyxAAe-^H^ yAAyxy^^ yA.^ . __ 
 
 U ^A^AiyA^ . yAy?^.cy yA.yZy^ (rUAcLyy?^vc^ y/A^^^^^ ^^^ ayrcyAy^ 
 
 (^ /ATlui-Ayn/y ,.^-(A^. AAy?cc-' .'Ayx^ ^^eyh4t-AAcym^eyA AAoe^nty f^ c(?iA-S^Aymy. \1 ^'' 
 
 (A^A^y ''^^A^m^c'tAiy^^y iALctAyryi.^rnyeyurny ycJ ayf^ y{yrtJAiyyfyr?t.0-rhA- (TyAy-T-^z^cyL^f^-oc^ 
 cuAyi^.'AfA yA^-yAA^e^ yA^Ay:^ri,otAcy^y7^-'" 'A9?.eAAy?^ (^ A^9Zi^uf-(y>^ yC^»zy yAA.ey yz^ye^tzAy ayA<n/~€y 
 /ryLeynyAcyrn..e^Ay / AutyZ/ ayn-cA^ ^J-AyAA- yyn^., AA^e^ cy^UyAA-c^^ yAu^JJ&JJcc^^^t^ 
 
 £/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 . 
 
 . 
 
 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 
 
 . 
 
 / . 
 
 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 
 ' 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 
 
 
 .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 
 
 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~ 
 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 : 
 
 
 
 
 
 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 
 
 
 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 
 
 
 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 
 
 
 
 
 ♦ ♦ 
 
 ^ 
 
 ♦ ♦ 
 
 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." 
 
 « 40 
 

■?:".»\/;..., 
 
 
 
 
 < 
 
;i't[!u!il 
 
 LIBRARY OF CONGRESS 
 
 lllllllil 
 
 003 020 482 7 % 
 
 ifiin.i! 
 
 
 
 
 11 
 
 I 
 1 
 
 I 
 
 ■iilliiiiii 
 ^■ii a iff 
 
 
 
 
 lliii