Читать книгу The Etymology and Syntax of the English Language Explained and Illustrated - Alexander Crombie - Страница 3

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Language consists of intelligible signs, and is the medium by which the mind communicates its thoughts. It is either articulate or inarticulate; artificial or natural. The former is peculiar to man; the latter is common to all animals. By inarticulate language, we mean those instinctive sounds, or cries, by which the several tribes of inferior creatures are enabled to express their sensations and desires. By articulate language is understood a system of expression, composed of simple sounds, differently modified by the organs of speech, and variously combined.

Man, like every other animal, has a natural language intelligible to all of his own species. This language, however, is extremely defective, being confined entirely to the general expression of joy, grief, fear, and the other passions or emotions of the mind; it is, therefore, wholly inadequate to the purposes of rational intercourse, and the infinitely-diversified ideas of an intelligent being. Hence arises the necessity of an artificial or articulate language; a necessity coeval with the existence of man in his rudest state, increasing also with the enlargement of his ideas, and the improvement of his mind. Man, therefore, was formed capable of speech. Nature has furnished him with the necessary organs, and with ingenuity to render them subservient to his purposes. And though at first his vocabulary was doubtless scanty, as his wants were simple, and his exigencies few, his language and his intellect would naturally keep pace. As the latter improved, the former would be enlarged.

Oral language, we have reason to suppose, continued long to be the only medium by which knowledge could be imparted, or social intercourse maintained. But, in the progress of science, various methods were devised for attaining a more permanent and more extensive vehicle of thought. Of these, the earliest were, as some think, picture-writing and hieroglyphics. Visible objects and external events were delineated by pictures, while immaterial things were emblematically expressed by figures representative of such physical objects as bore some conceived analogy or resemblance to the thing to be expressed. These figures or devices were termed hieroglyphics[1]. It is obvious, however, that this medium of communication must not only have embarrassed by its obscurity, but must have also been extremely deficient in variety of expression.

At length oral language, by an effort of ingenuity which must ever command admiration, was resolved into its simple or elementary sounds, and these were characterized by appropriate symbols[2]. Words, the signs of thought, came thus to be represented by letters, or characters arbitrarily formed, to signify the different sounds of which the words were severally composed. The simplest elementary part of written language is, therefore, a letter: and the elements or letters into which the words of any language may be analyzed, form the necessary alphabet of that language.

In the English alphabet are twenty-six letters.

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

a b c d e f g h i j k l m n o p q r s t u v w x y z.

Of these there are six vowels, or letters which by themselves make every one a perfect sound. The remaining twenty are called consonants, or letters which cannot be sounded without a vowel.

This alphabet is both redundant and defective. It is redundant; for of the vowels, the letters i and y are in sound the same: one of them therefore is unnecessary. Of the consonants, the articulator c having sometimes the sound of k, and sometimes of s, one of these must be unnecessary. Q, having in all cases the sound of k, may likewise be deemed superfluous. W appears to me in every respect the same with the vowel u (oo), and is therefore supernumerary[3]. The double consonant x might be denoted by the combination of its component letters, gs or ks.

It is to be observed also, that g, when it has the soft sound, is a double consonant, and performs the same office as the letter j; each having a sound compounded of the sounds of d and the French j. Thus, g in general has the same sound as j in join. J, however, is not, as some have supposed, resolvable into two letters, for we have no character to express the simple sound of the French j, of which, with the consonant d, the sound of the English j is compounded. To resolve it into dg, as some have done, is therefore an error; as the soft g, without the aid of the other consonant, is precisely identical, in respect to sound, with the consonant j. The letter h is no consonant; it is merely the note of aspiration.

Our alphabet is likewise defective. There are nine simple vowel sounds, for which we have only six characters, two of which, as it has been already observed, perform the same office. The simple vowel sounds are heard in these words,

Hall, hat, hate, met, mete, fin, hop, hope, but, full.

Some of these characters occasionally perform the office of diphthongs. Thus, in the word fine, the vowel i has the diphthongal sound of the letters â è, as these are pronounced in French; and the vowel u frequently represents the diphthong eu (e-oo), as fume (fe-oom).

There are, besides, four different consonants for which we have no proper letters; namely, the initial consonant in the word thin, the initial consonant in then, the sibilating sound of sh, and the final consonant (marked ng), as in the word sing.

Consonants are generally divided into mutes and semi-vowels. The mutes are those which entirely, and at once, obstruct the sound of the vowel, and prevent its continuation. These are called perfect mutes. Those which do not suddenly obstruct it are called imperfect mutes.

Semi-vowels are those consonants which do not entirely obstruct the voice: but whose sounds may be continued at pleasure, thus partaking of the nature of vowels.

The nature of these consonants I proceed briefly to explain.

A vowel sound may be continued at pleasure, or it may be terminated, either by discontinuing the vocal effort, in which case it is not articulated by any consonant, as in pronouncing the vowel o; or by changing the conformation of the mouth, or relative position of the organs of speech, so that the vowel sound is lost by articulation, as in pronouncing the syllable or. It is to be observed, also, that a vowel may be articulated, not only by being terminated by a consonant, as in the example now given, but likewise by introducing the sound with that position of the organs, by which it had, in the former case, been terminated, as in pronouncing the syllable ro.

In pronouncing the consonants, there are five distinguishable positions of the organs[4]. The first is the application of the lips to each other, so as to close the mouth. Thus are formed the consonants p, b, and m.

In the second position, the under lip is applied to the fore teeth of the upper jaw; and in this manner we pronounce the consonants f and v.

The third position is, when the tongue is applied to the fore teeth; and thus we pronounce th.

In the fourth position we apply the fore part of the tongue to the fore part of the palate, and by this application we pronounce the letters t, d, s, z, r, l, n.

The fifth position is, when the middle part of the tongue is applied to the palate, and thus we pronounce k, the hard sound of g (as in ga), sh, j, and ng.

In the first position we have three letters, of which the most simple, and indeed the only articulator, being absolutely mute, is p. In the formation of this letter, nothing is required but the sudden closing of the mouth, and stopping the vowel sound; or the sound may be articulated by the sudden opening of the lips, in order to emit the compressed sound of the vowel.

Now, if instead of simply expressing the vowel sound by opening the lips, in saying for example pa, we shall begin to form a guttural sound, the position being still preserved; then, on opening the lips, we shall pronounce the syllable ba. The guttural sound is produced by a compression of the larynx, or windpipe; and is that kind of murmur, as Bishop Wilkins expresses it, which is heard in the throat, before the breath is emitted with the vocal sound. B, therefore, though justly considered as a mute, is not a perfect mute.

The mouth being kept in the same position, and the breath being emitted through the nostrils, the letter m is produced.

In the first position, therefore, we have a perfect mute p, having no audible sound; a labial and liquid consonant m, capable of a continued sound; and between these two extremes we have the letter b, somewhat audible, though different from any vocal sound.

Here, then, are three things to be distinguished. 1st, The perfect mute, having no sound of any kind: 2dly, The perfect consonant, having not only a proper, but continued sound: and 3dly, Between these extremes we find the letter b, having a proper sound, but so limited, that, in respect to the perfect consonant, it may be termed a mute, and in relation to the perfect mute may be properly termed imperfect.

In the second position, we have the letters f and v, neither of which are perfect mutes. The letter f is formed by having the aspiration not altogether interrupted, but emitted forcibly between the fore teeth and under lip. This is the simple articulation in this position. If to this we join the guttural sound, we shall have the letter v, a letter standing in nearly the same relation to f, as b and m, in the first position, stand to p. The only difference between f and v is, that, in the former, the compression of the teeth and under lip is not so strong as in the latter; and that the former is produced by the breath only, and the latter by the voice and breath combined.

The consonant f, therefore, though not a mute like p, in having the breath absolutely confined, may notwithstanding be considered as such, consistently with that principle, by which a mute is understood to be an aspiration without guttural sound.

Agreeably to the distinction already made, v may be termed a perfect consonant, and f an imperfect one, having no proper sound, though audible. Thus we have four distinctions in our consonantal alphabet; namely, of perfect and imperfect consonants; perfect and imperfect mutes: thus,

p is a perfect mute, having no sound.

b an imperfect mute, having proper sound, but limited.

m a perfect consonant, having sound, and continued.

f an imperfect consonant, having no sound, but audible.

In the third position we have th as heard in the words then and thin, formed by placing the tip of the tongue between the teeth, and pressing it against the upper teeth. The only difference between these articulations is, that like f and v, the one is formed by the breath only, and the other by the breath and voice together[5].

Here also may be distinguished the perfect and the imperfect consonant; for the th in thin has no sound, but is audible, whereas the th in this, there, has a sound, and that continued[6].

In the fourth position there are several consonants formed.

1st, If the breath be stopped, by applying the fore part of the tongue forcibly to that part of the palate, which is contiguous to the fore teeth, we produce the perfect mute t, having neither aspiration nor guttural sound. By accompanying this operation of the tongue and palate with the guttural sound, we shall pronounce the letter d, which, like b, of the first position, may be considered as a mute, though not perfect. For in pronouncing ed, the tongue at first gently touches the gum, and is gradually pressed closer, till the sound is obstructed; whereas in pronouncing et, the tongue is at once pressed so close, that the sound is instantly intercepted.

2dly, If the tip of the tongue be turned up towards the upper gum, so as not to touch it, and thus the breath be cut by the sharp point of the tongue passing through the narrow chink left between that and the gum, we pronounce the sibilating sound of s. If we accompany this operation with a guttural sound, as in b, v, and th in then, we shall pronounce the letter z; the same difference subsisting between s and z as between f and v, p and b, tħ and th.

3dly, If we make the tip of the tongue vibrate rapidly between the upper and lower jaw, so as not to touch the latter, and the former but gently, we shall pronounce the letter r. The more closely and forcibly the tongue vibrates against the upper jaw, the stronger will the sound be rendered. It is formed about the same distance from the teeth as the letter d, or rather somewhat behind it.

4thly, If the end of the tongue be gently applied to the fore part of the palate, a little behind the seat of the letter d, and somewhat before the place of r, and the voice be suffered to glide gently over the sides of the tongue, we shall pronounce the letter l. Here the breadth of the tongue is contracted, and a space left for the breath to pass from the upper to the under part of the tongue, in forming this the most vocal of all the consonants.

5thly, If the aspirating passage, in the formation of the preceding consonant, be stopped, by extending the tongue to its natural breadth, so as to intercept the voice, and prevent its exit by the mouth, the breath emitted through the nose will give the letter n.

In the fifth position, namely, when we apply the middle or back part of the tongue to the palate, we have the consonants k, g, sh, j, and ng.

If the middle of the tongue be raised, so as to press closely against the roof of the mouth, and intercept the voice at once, we pronounce the letter k (ek). If the tongue be not so closely applied at first, and the sound be allowed to continue a little, we have the letter g (eg). Thus ek and eg bear the same analogy to each other, as et and ed of the fourth position. If the tongue be protruded towards the teeth, so as not to touch them, and be kept in a position somewhat flatter than in pronouncing the letter s, the voice and breath passing over it through a wider chink, we shall have the sound of esh.

If we apply the tongue to the palate as in pronouncing sh, but a little more forcibly, and accompanying it with the guttural sound, we shall have the sound of the French j. Thus j is in this position analogous to the letters b, v, th, in the first, second, and third positions, and is a simple consonant: j in English is a double consonant, compounded of d and the French j, as in join.

If we raise the middle of the tongue to the palate gently, so as to permit part of the voice to issue through the mouth, forcing the remainder back through the nose, keeping at the same time the tongue in the same position as in pronouncing eg, we shall have the articulating sound of ing, for which we have no simple character.

The only remaining letter h is the note of aspiration, formed in various positions, according to the vowel with which it is combined.

The characters of the several letters may be seen in the following table:

Perfect Mutes.	Sounded,or Imperfect.	Imperfect Consonants.	Perfect.
P	B
			M
		F	V
		tħ	th the
T	D
		S	Z
			R
			L
			N
K	G
		Sh	J French
			ng

What effect the compression of the larynx has in articulation may be seen by comparing these pairs of consonants:

Withcompression.	Withoutcompression.
B	P
G	K
D	T
Z	S
Th	Tħ
V	F
J	Sh

These, as Mr. Tooke observes, differ, each from its partner, by a certain unnoticed and almost imperceptible motion or compression of or near the larynx. This compression, he remarks, the Welsh never use. For instead of

I vow by God, that Jenkin is a wizard;

they say,

I fow by Cot, that Shenkin iss a wisart.

The consonants have been distributed into different classes, according to the organs chiefly employed in their formation.

The Labial are	eb, ep, ef, ev.
Dental	ed, et, etħ, eth.
Palatal	eg, ek, el, er, ess, esh, ez, ej.
Nasal	em, en, ing.

The association of two vowels, whether the sound of each be heard or not, is called a diphthong, and the concurrence of three is called a triphthong.

Of diphthongs there are twenty, viz. ai, au, ea, ee, ei, eo, eu, ie, oa, oo, ui, ay, ey, uy, oi, oy, ou, aw, ew, ow. Of the diphthongs seventeen have a sound purely monophthongal; hence they have been called improper diphthongs. It would be idle to dispute the propriety of a term almost universally adopted; but to call that a diphthong whose sound is monophthongal is an abuse of language, and creates confusion. The only proper diphthongs in our language are eu, oi, ou, in which each vowel is distinctly heard, forming together one syllable. The triphthongs are three, eau, ieu, iew. Of these, the first eau is sometimes pronounced eu, as in beauty; sometimes o, as in beau: the other two have the diphthongal sound of eu.