The Grammar of English Grammars, Goold Brown [ebook reader for manga txt] 📗

time of utterance, whether long or short. It is commonly spoken of with reference to syllables, because it belongs severally to all the distinct or numerable impulses of the voice, and to these only; but, as vowels or diphthongs may be uttered alone, the notion of quantity is of course as applicable to them, as to any of the more complex sounds in which consonants are joined with them. All sounds imply time; because they are the transient effects of certain percussions which temporarily agitate the air, an element that tends to silence. When mighty winds have swept over sea and land, and the voice of the Ocean is raised, he speaks to the towering cliffs in the deep tones of a long quantity; the rolling billows, as they meet the shore, pronounce the long-drawn syllables of his majestic elocution. But see him again in gentler mood; stand upon the beach and listen to the rippling of his more frequent waves: he will teach you short quantity, as well as long. In common parlance, to avoid tediousness, to save time, and to adapt language to circumstances, we usually utter words with great rapidity, and in comparatively short quantity. But in oratory, and sometimes in ordinary reading, those sounds which are best fitted to fill and gratify the ear, should be sensibly protracted, especially in emphatic words; and even the shortest syllable, must be so lengthened as to be uttered with perfect clearness: otherwise the performance will be judged defective.

OBS. 10.—Some of the vowels are usually uttered in longer time than others; but whether the former are naturally long, and the latter naturally short, may be doubted: the common opinion is, that they are. But one author at least denies it; and says, "We must explode the pretended natural epithets short and long given to our vowels, independent on accent: and we must observe that our silent e final lengthens not its syllable, unless the preceding vowel be accented."—Mackintosh's Essay on E. Gram., p. 232. The distinction of long and short vowels which has generally obtained, and the correspondences which some writers have laboured to establish between them, have always been to me sources of much embarrassment. It would appear, that in one or two instances, sounds that differ only in length, or time, are commonly recognized as different elements; and that grammarians and orthoëpists, perceiving this, have attempted to carry out the analogy, and to find among what they call the long vowels a parent sound for each of the short ones. In doing this, they have either neglected to consult the ear, or have not chosen to abide by its verdict. I suppose the vowels heard in pull and pool would be necessarily identified, if the former were protracted or the latter shortened; and perhaps there would be a like coalescence of those heard in of and all, were they tried in the same way, though I am not sure of it. In protracting the e in met, and the i in ship, ignorance or carelessness might perhaps, with the help of our orthoëpists, convert the former word into mate and the latter into sheep; and, as this would breed confusion in the language, the avoiding of the similarity may perhaps be a sufficient reason for confining these two sounds of e and i, to that short quantity in which they cannot be mistaken. But to suppose, as some do, that the protraction of u in tun would identify it with the o in tone, surpasses any notion I have of what stupidity may misconceive. With one or two exceptions, therefore, it appears to me that each of the pure vowel sounds is of such a nature, that it may be readily recognized by its own peculiar quality or tone, though it be made as long or as short as it is possible for any sound of the human voice to be. It is manifest that each of the vowel sounds heard in ate, at, arm, all, eel, old, ooze, us, may be protracted to the entire extent of a full breath slowly expended, and still be precisely the same one simple sound;[103] and, on the contrary, that all but one may be shortened to the very minimum of vocality, and still be severally known without danger of mistake. The prolation of a pure vowel places the organs of utterance in that particular position which the sound of the letter requires, and then holds them unmoved till we have given to it all the length we choose.

OBS. 11.—In treating of the quantity and quality of the vowels, Walker says, "The first distinction of sound that seems to obtrude itself upon us when we utter the vowels, is a long and a short sound, according to the greater or less duration of time taken up in pronouncing them. This distinction is so obvious as to have been adopted in all languages, and is that to which we annex clearer ideas than to any other; and though the short sounds of some vowels have not in our language been classed with sufficient accuracy with their parent long ones, yet this has bred but little confusion, as vowels long and short are always sufficiently distinguishable."—Principles, No. 63. Again: "But though the terms long and short, as applied to vowels, are pretty generally understood, an accurate ear will easily perceive that these terms do not always mean the long and short sounds of the respective vowels to which they are applied; for, if we choose to be directed by the ear, in denominating vowels long or short, we must certainly give these appellations to those sounds only which have exactly the same radical tone, and differ only in the long or short emission of that tone."—Ib., No. 66. He then proceeds to state his opinion that the vowel sounds heard in the following words are thus correspondent: tame, them; car, carry; wall, want; dawn, gone; theme, him; tone, nearly tun; pool, pull. As to the long sounds of i or y, and of u, these two being diphthongal, he supposes the short sound of each to be no other than the short sound of its latter element ee or oo. Now to me most of this is exceedingly unsatisfactory; and I have shown why.

OBS. 12.—If men's notions of the length and shortness of vowels are the clearest ideas they have in relation to the elements of speech, how comes it to pass that of all the disputable points in grammar, this is the most perplexed with contrarieties of opinion? In coming before the world as an author, no man intends to place himself clearly in the wrong; yet, on the simple powers of the letters, we have volumes of irreconcilable doctrines. A great connoisseur in things of this sort, who professes to have been long "in the habit of listening to sounds of every description, and that with more than ordinary attention," declares in a recent and expensive work, that "in every language we find the vowels incorrectly classed"; and, in order to give to "the simple elements of English utterance" a better explanation than others have furnished, he devotes to a new analysis of our alphabet the ample space of twenty octavo pages, besides having several chapters on subjects connected with it. And what do his twenty pages amount to? I will give the substance of them in ten lines, and the reader may judge. He does not tell us how many elementary sounds there are; but, professing to arrange the vowels, long and short, "in the order in which they are naturally found," as well as to show of the consonants that the mutes and liquids form correspondents in regular pairs, he presents a scheme which I abbreviate as follows. VOWELS: 1. A, as in =all and wh~at, or o, as in orifice and n~ot; 2. U—=urn and h~ut, or l=ove and c~ome; 3. O—v=ote and ech~o; 4. A—=ah and h~at; 5. A—h=azy, no short sound; 6. E—=e=el and it; 7. E—m=ercy and m~et; 8. O—pr=ove and ad~o; 9. OO—t=o=ol and f~o~ot; 10. W—vo=w and la~w; 11. Y—(like the first e—) s=yntax and dut~y. DIPHTHONGS: 1. I—as ah-ee; 2. U—as ee-oo; 3. OU—as au-oo. CONSONANTS: 1. Mutes,—c or s, f, h, k or q, p, t, th sharp, sh; 2. Liquids,—l, which has no corresponding mute, and z, v, r, ng, m, n, th flat and j, which severally correspond to the eight mutes in their order; 3. Subliquids,—g hard, b, and d. See "Music of Nature," by William Gardiner, p. 480, and after.

OBS. 13.—Dr. Rush comes to the explanation of the powers of the letters as the confident first revealer of nature's management and wisdom; and hopes to have laid the foundation of a system of instruction in reading and oratory, which, if adopted and perfected, "will beget a similarity of opinion and practice," and "be found to possess an excellence which must grow into sure and irreversible favour."—Phil. of the Voice, p. 404. "We have been willing," he says, "to believe, on faith alone, that nature is wise in the contrivance of speech. Let us now show, by our works of analysis, how she manages the simple elements of the voice, in the production of their unbounded combinations."—Ibid., p. 44. Again: "Every one, with peculiar self-satisfaction, thinks he reads well, and yet all read differently: there is, however, but one mode of reading well."—Ib., p. 403. That one mode, some say, his philosophy alone teaches. Of that, others may judge. I shall only notice here what seems to be his fundamental position, that, on all the vocal elements of language, nature has stamped duplicity. To establish this extraordinary doctrine, he first attempts to prove, that "the letter a, as heard in the word day," combines two distinguishable yet inseparable sounds; that it is a compound of what he calls, with reference to vowels and syllables in general, "the radical and the vanishing movement of the voice,"—a single and indivisible element in which "two sounds are heard continuously successive," the sounds of a and e as in ale and eve. He does not know that some grammarians have contended that ay in day is a proper diphthong, in which both the vowels are heard; but, so pronouncing it himself, infers from the experiment, that there is no simpler sound of the vowel a. If this inference is not wrong, the word shape is to be pronounced sha-epe; and, in like manner, a multitude of other words will acquire a new element not commonly heard in them.

OBS. 14.—But the doctrine stops not here. The philosopher examines, in some similar way, the other simple vowel sounds, and finds a beginning and an end, a base and an apex, a radical and a vanishing movement, to them all; and imagines a sufficient warrant from nature to divide them all "into two parts," and to convert most of them into diphthongs, as well as to include all diphthongs with them, as being altogether as simple and elementary. Thus he begins with confounding all distinction between diphthongs and simple vowels; except that which he makes for himself when he admits "the radical and the vanish," the first half of a sound and the last, to have no difference in quality. This admission is made with respect to the vowels heard in ooze, eel, err, end, and in, which he calls, not diphthongs, but "monothongs." But in the a of ale, he hears =a'-ee; in that of an, ~a'-~e; (that is, the short a followed by something of the sound of e in err;) in that of art, ah'~-e; in that of all, awe'-~e; in the i of isle, =i'-ee; in the o of old, =o'-oo; in the proper diphthong ou, ou'-oo; in the oy of boy, he knows not what. After his explanation of these mysteries, he says, "The seven radical sounds with their vanishes, which have been described, include, as far as I can perceive, all the elementary diphthongs of the English language."—Ib., p. 60. But all the sounds of the vowel u, whether diphthongal or simple, are excluded from his list, unless he means to represent one of them by the e in err; and the complex vowel sound heard in voice and boy, is confessedly omitted on account of a doubt whether it consists of two sounds or of three! The elements which he enumerates are thirty-five; but if oi is not a triphthong, they are to be thirty-six. Twelve are called "Tonics; and are heard in the usual sound of the separated Italics, in the following words: A-ll, a-rt, a-n, a-le, ou-r, i-sle, o-ld, ee-l, oo-ze, e-rr, e-nd, i-n,"—Ib., p. 53. Fourteen are called "Subtonics; and are marked by the separated Italics, in the following words: B-ow, d-are, g-ive, v-ile, z-one, y-e, w-o, th-en, a-z-ure, si-ng, l-ove, m-ay, n-ot, r-oe."—Ib., p. 54. Nine are called "Atonics; they are heard in the words, U-p, ou-t, ar-k, i-f,