A HANDBOOK OF

ENGLISH
INTONATION

HEFFER · ·CAMBRIDGE
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----·

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A HANDBOOK·OF

ENGLISH
INTONATION
by LILIAS E. ARMSTRONG, B.A.
and IDA C. WARD, D.LIT.

W. HEFFER & SONS LTD

CAMBRIDGE
 First Edition •
Second Edition.
Last reprinted •

Printed in Great Britain by

Lowe & Brydone (Printers) Ltd., London

~----,-. -----------
 TO
PROFESSOR DANIEL JONES
 Preface.
In preparing this book we have purposely avoided consu\tbg
any other works on English Intonation, and have made our
analysis from personal observations only. We have to acknow-
ledge, however, that we have used Professor Klinghardt's 1) system
of notation with some modifications. We have represented stressed
syllables by lines, and unstressed syllables by dots. By this means,
the connection between the stress and intonation of a sentenc~ is
more easily grasped than by other methods of representation;
and the rhythmic scheme, which is of great importance in English
speech, is clearly indicated.
Our thanks are due to Mr. Robert Lynd and the "Daily News"
for permission to use extract No. 25 (Section B), to the auth~ress
of "Love" and "A Solitary Summer" and Messrs. Macmillan~ Co.
for extracts No. 17 and 27 (Section B), and to Mr. E. V. Lucas
and Messrs. ~Iethuen for extracts No. 19 (Section A), and No. 26
(Section B). Numbers 25, 26, 27 (Section ll) are recordcrl on
the third gramophone record.

University College. L.E.A.

London. I. C.W.

1) Ubungen im engliscben TonfoU. French Intonn.tion.

 CONTENTS.
Intonation. . . . . . . . . . . . . . . .
Method .of iudfoating intonation . . . . . :!
Connection between Stress and Intonation .
English intonation analysed . . . . . · 4

SECTION A. Unemphatic.Sentences.
1. Tune I . . . . . . . 4
Unstres~e<l syllables . . . . r,
Rhythm . . . . . . . . . 7
1''urt.her analvsis of Tune I. 8
Use of Tune· I 9
Examples 1. Tune I 1t
a) In Statements . 11
b) In Questions. . . . 14
c) In r.ommands . . : 16
d) ln ExC'lamatioue . . 17
Method of treating long J!roups. 18
Tune I in long groups . 19
II. Tune II . . . . . . . . 1\)
Use of Tune II . . . . . 20
Examples II. Tnne II 22
a) In sentenceH in which something is implied 22
b) In Questions . . . . . . . . . . . . . . 23 \

~
c) In Requests . . . . . . . . . . . . . . .
III. Sentenc!'s containing more than one sense-group .
The Troatm1mt. of Parentheses . . . . . • . 27
Rxa111ples III. 8cntences containing more than one
souse group . . . . . . . . . . . 30
a) Tune I repeated . . . 30
b) Tune I repeated more than once 32
c; Tune II followccl by Tune I , . 33
d) Tune I! followed by Tune I (more than two
groups). . . . . . . . . . . . 34
e) Tune I followed by Tune ll . · . 36
IV. Longer sentences and connected texts involving the use
of the two· unemphatic intonations . . . . . . 36
Armstrong-Wan!. lntonlltlon. 2. Auft.
 SECTION B. Emphatic Sentences. page
Emphasis. . . . . . . . . . . . . . . • 43
I. Tune 1. with Intensity . . . . . . . . . , 44
Examples I. Tune I with Intensity . 47
II. Variation of Tune I due to special prominence being
given to one or more ideas . . . . . . . . . . . . • 48
a) Last stressed word specially prominent: rest normal •9
Examples Ila. . . . . . . . . . . . • . . 49
b) One word specially prominent: rest unstressed . 61
Examples lib. . . . . . • . . . . . • 62
c) Two or more words specially prominent . . . . . 64
Examples IIc . . . . 64
On~ sente.nce (Tune I) wit~ different emphatic
intonations . . . . . . . . . . . . . . • . , 66 . / '
Ill. Variation of Tune II due to special prominence being 7 '
given to one or more ideas. • . • . 66
a) One non-final word emphasised . . . . . . . • . 68
Examples Illa.. . . . . . . . . . . . . • . . · 68
b) Two or more non-final words emphasised, the rest
normal . . . . . . . . • . . . . . . • • . . • 61
Examples lllb . . . . • • . . • . . • . • . 61
c) Emphatic Questions requiring the answer "yes" or
"no" • . • • . . . . • . . . . . . . . • . • • 62
Examples Ille. . . . . . . . • • . . . • . • 62
d) Last stressed word emphasised (in addition to one
or more other words) . . , . . . • • • . . • 63
Examples IIId . . . . • . • . • 66
I. Fall-rise spread over a number of syllables. 66
II. Fall-rise spread over. two syllables. • • . . 66
III. Fall-ri1e compressed into one syllable ending
in a voiced sound • . . . . . • • . . . • . 67
IV. Fall-rise compressed into one syllable ending
in a voiceless sound . . • . . . . . • . 69
IV. Emphatic Tunes I and II with Additional Emphasis 69
Examples IV • . • . 70
I. Rise-level • • 70
II. Rise-fall. . . 71
Ill. Rise-fall-rise. • . . . • . . . . . • . 72
V. Sentences containing more than one sense group. • . • 74
VL Longer sentences and connected texts involving the use·
of both tunes with and without emphasis . . . . . . . ·. 76
SECTION C. Orthographic text of examples . \ 9S

.VI X
 Phonetic Symbols used.
The ph.onetic alphabet used is that of the International
Phonetic Association in its "narrow" form. This differs in tho
following particulars from the "broad" script which is used in
many books on English pronunciation:
1. Length marks (: long and half-long) are used to indicate
length only and not difference in vowel quality.
2. New symbols are used for

Narrow Broad
the i as in sit I instead of
II e set c
II II II e
II 0
"
,, not
II D II II 0
u put u II " :u
" ir " II

bird a a:
II
" II
" II

Alphabet with Key Words.

Vowels
i .seat s set a half o all
I Sit re sat o not u put
u soon a bird
A but a about, china
Diphthongs
e1 play OU go a1 my
au now :n boy m here
ea there oa more u3 poor

VII
;/
I

Consonants
p put ,m man 9 thick r run
b but n not then
«'} h hat
t ten !J sing s see tl" church
d dog I leaf, sell z zeal <f3 judge
k come f fun s ship wwas
j
g go V very 3 pleasure yes
, placed under I or n indicates that the consonant is syllabic.
The pronunciation recorded is that which the writers use in
fairly careful speech. No alternative pronunciations have been
indicated, although, of course, many such c~uld occur in individual
words and in the use of strong and weak forms.
' indicates that the syllable following is pronounced with un·
emphatic stress.
" indicates that the syllable following is pronounced with em-
phasis.
Gramophone Records.
Three double-sided gramophone records have been made to
illustrate the principles set out in this book. These are available from
Linguaphone Institute Ltd., 207-209 Regent Street, London, W. I.
No. I Re cord, 1 st side, contains sentences illustrating Tunes I.
a,nd II. in their simplest form ( taken from Section A. Examples
I and II).
No. I Record, 2 nd side, contains short extracts illustrating
'l'unes I and II. (unemphatic) in connected speech.
No. II Record, 1 •t side, illustrates Tune I. used with varying
forms of emphasis (taken from Section B. Examples Ila and He).
No. II Record, 2nd side, illustrates Tune II. used with vary·
ing forms of emphasis (taken from Section B. Examples Illb
and Illd).
No. III Record, 1 •t side, contains text No. 25 (Section B)
showing unemphatic and emphatic intonation in connected speech.
No. III Record, 2nd side, contains further connected texts
{Nos. 26, 27, Section B).
1
VIII
\
 Intonation. / / .....
~· f.,,'J.,..,-,.-;.,_
By intonation we mean the rise and fall of the· pitch ,of 'the
voice when we speak. Intonation as an element of speech has
been generally neglected or left to chance in the teaching and
learning of a foreign language. It has been expected that a stu-
dent living in a foreign country would gradually "pick up" the
correct intonation. But in practice this does not often happen.
In intonation and stress, as in the pronunciation of sounds, the
student is apt to introduce into the new language the habits of
his own. And as it has been found that a careful and scientific
analysis of pronunciation difficulties is a valuable help in over-
~oming these difficulties, so it is hoped that an analysis of Eng-
lish intonation may help towards the acquirement of that import-
ant element of speech. If students realised that correct speech
melody is as important as correct speech sounds, they would
devote more time and energy to this essential characteristic of
our language.
Intonation varies from locality to locality and from individual
to individual. The writers are aware that there are other varieties
and greater wealth of detail than nre here recorded. Such
1 variations, however, are not essential for correct and good Eng-
lish speech, and their absence would not be missed by any one
who had not made a special study of intonation. For this reason,
these more elaborate schemes of English melody have been omitted,
and attention has been concentrated on the simplest forms of
intonation used in conversation and in the reading of narrative
and descriptive prose; so that the foreign student may have the
npportunity, without undue confusion, of learning one type of
intonation that is essentially English.

1
 Method of Indicating Intonation.
The intonation of the model sentences in each section is mark-
ed in the following way. The mark over the vowel of a
syllable shows its relative pitch. The signs , and ./ show
respectively that the pitch falls or rises in the syllable so marked.
Stressed syllables are marked with~ line, and u.astressed syllables
with a do t. 1) It should be noted that though the pitch is shown
by a series of disconnected marks, the wb~le of one intonation
group is continuous, and might be represented bv a continuous
line. It is the experience of the writers, however, that these
disconnected marks are easier for the (oreign student to interpret
than a continuous line, and that the connections between them
are made quite natur~lly. No attempt bas been made to record
the intonation with mathematical precision, but the relative pitch
of the voice on each syllable is shown with sufficient accuracy
for all practical purposes.
Attention is here drawn to the representation of the intonation
of the gramophone records. This has been more or less normalised.
Several slight variations in stress and intonation are to be observed
which would not occur in quick speech. Some of the syllables,
, which would normally be unstressed in quick speech, have some
stress, and consequently lose to a certain extent the even into·
nation of unstressed syllables. Many of thf'se variations have
not been indicated, for the following reasons:
1. They are not essential.
2. They might add unnecessary confusion.

1) The eign ../ occurring fi~ally may indicate an unstressed,

eyllable on which the pitch rises, since it is impossible to show this'
rise by a dot. \

2
 3. The general effect of the tune is what has been indicated,
4. Students usually make these variations without having their
attention drawn to them.

Con.nection between ....§,tresyn.!UJ!.ton~-~

It is customary to consider stress as the breath force which
we use in speaking. In a sentence, those words are said to bti
stressed which are pronounced with greater breath force than the
others. These are the words which are felt by the speaker to be
important; if he feels one idea only in a sentence to be import-
ant, he stresses the word embodying that idea; if many ideas,
he stresses many words. 1)
e. g. 'John 'came 'early 'yesterday 'morning.
"Writing wouldn't have been any good.
In addition to stress, other elements go to make a word more
prominent than its neighbours, the chief being a change in pitch
or intonation. These two elements, stress and intonation, are very
closely connected. So close is the connection, indeed, that it is
often difficult to decide whether stress or intonation or a com-
bination of the two is resp9nsible for certain effects.
For practical purposes, however, the student will do well to
remember that if the intonation is right, the stress does not greatly
matter, for the result is English; whereas the stress can be right
and the intonation wrong, and the result is not English.ll)
1) Here sentence stress only is being eonsidered. Words of more
than one syllable pronounced in isolation have their own word
stress; but in connected speech this word stress is often dropped or
changed under the influence of rhythm.
2) A German who speaks English very well was not understood
by a bus conductor when he asked for a ticket to Queeri's Lane
with the Rtress and intonation 'Queen's Lane"'\ . (instead of - "'\ ),
although his sounds were perfoct. This shows· the important part
that these two elements of speech - stress and intonation - play
not only in a good "accent'' but in making for mere intelligibility..

3
 e. g. The 'North 'Sea . :. -··-·. ·--~--· .... .. is correct,
The 'North Sea
.:•.... ::\ ......• ··· ·····}"' wro,g.
The 'North 'Sea · "'\...... - .........
... .....
A 'Railway Company . . .:~. . . ~--•. •. . . . .Jare right,
A 'Railway 'Company ' " . ." " " " ' ' \ . .• .. - .O oA, • .J
A 'Railway 'Company ...~ ..............~..-~............ is wrong.

English Intonation Analysed ..

English intonation can be reduced to two tunes, with variations
of these due to special circumstances. The examples given are
divided into two sections:
A._.!Jnemphatic sentences in which the two tunes are used
in their simplest forn;;-
B. ~ where the intonation expresses a spe-
cial meaning in the speaker's mind.

A. Unemphatic Sentences.
I. Tune I.
The ffrst tune may be• represented as follows: -

- .. - . """'
cle1 'ke1m ta 'k:>:l 'jcstad1 'O'fta'nu:n
and is interpreted in this way. The stressed syllables form a
descending scale. Within the last stressed syllable, the pitch
of the voi<'e falls to a low level. It is the correct relative pitch
of these stressed syllables which is most essential. The pitch
of the unstressed syllables occurring between the stresses matte\·s
little, so long as it is not for removed from that of the previo~s

4
stressed syllabi!'. The pitch of initial and final unstressed syllables
is important. The student will find the following observations useful:
1. The pitch of initial unstressed syllables may either rise
gradually to the pitch of the first stressed syllable, or be
on a mid or low level note:

.. . - .
....................... ...................... .....~ .......~ ....•
lle1 hrev a' d3oh htl 'bout on (la 'nva.
or . . - ..

or - ... - .
................................. ....~ .....~ ....
2. Those occurring between the last two sti·esses generally des-
cend gradually.
3. Those occurring between other stresses may either descend
gradually to· the next stress, remain level, be on a slightly
higher or n slightly lower level. From our experience we
find that it is more usual for the pitch of these unstressed
syllables to descend gradually to the next stress:

. . . . .. . . .-. . . .· · · · .. . . . .=. . . . . . . . .
. ~ ~ ~
'rehs w~z bi'glm!J g5t 'vm 'tarnd.
fa
If the unstressed syllables rise, there seems to be an element
of surprise, cheerfulness, enthusiasm or more interest intro-
duced:

"":\ ............... ..
a1 'w,\Oda wot lle1 'e1ok about 1t.
5
(

wot a 'p1h hi d1dnt 'kA.m ..~....~ .. :::~:~.~ .• .::-... or ·....· -.· ...·..·.. ·.'\..
..

hi '81oks
,
ai m 'd3ouk10, • :-: . ~ ... ".':\ ...... or
. .·......... - ............""\.........
wi did wot wi wa 'tould. : ..... - .. •.... • ... .. ""\.. or ............-.: ............."'\_
Note that in these cases the first etressed syllable has a low
-pitch, and that the unstreued syllables preceding it may be higher
in pitch.
4. The pitch of final unstressed syllables is most important.
These must be either on a low level, whi~h is the most
usual, or must begin very low and descend a little lower:

..
..~ ..............................
'wot a ju 'gmo ta 'du: abaut it?

or • •
................................................... ~...... ~...........~....... ~...............
Note the following examples, where, in the final syllables (name
of the person addressed, "he said," "he replied", etc.), some stress
might be used; this would, however, make little difference to the
tune, so that these expressions, which are in the nature of paren-
theses, can be treated as final unstressed syllables:

· . - -
.... .......................................................... ':\.. ............................................................................ ...... ............
"31 'dount 810k 3I 'kren,'' hi S5d famah (or hi 's5d 'famah.)
.
-
...................-.................. ~ ................................................................. ............. ........ .
'w5ar a ju '9010, m1sta br3un? (or 'm1sta 'braun.)
-
·31 m 'kAm10. at. 'wAns, sa (or 'sa:.)
·.-
........................... .................................................. ""'\ ............·.................... ........................

6.
 .Rhythm.
One other general factor is important. In each sense-group the
stressed syllables occur at more or less regular intervals of time,
and the unstressed syllables, whether many or few, occupy the
time between the stresses; it is this factor that gives English its
characteristic rhythm. Such regularity is not monotonous, however,
because of the pauses that are made between the groups and the
I'
varying intonation of the groups.

e. ~· a1 'dount 'e1ok ai kan 'du· 1t.

- . ·.... ""'.........
·........................................
a1 'Judnt av 'e:rt hi kud 'du· It. · - ....·.....·.....- ..: ·.. :"\....•
... ..

ar Judnt av e:rt 1t 'pos1bl ta 'du· It. ·....- ..·.·.·.·.·-.·.·.- "\ ... ..

These three sentences, each with the same number of stressed,

but with a different number of unstressed, syllables may be said in
the same time, although in the first sentence ·no syllables occur
between the first two stresses and in the last there are four.
Generally speaking all the grammatically important words in
a sentence receive the stress, i. e. nouns, adjectives, principal verbs
and adverbs. But in actual fact, these words come under the in-
fluence of the rhythm of the sentence and the rhythmical rather
than the grammatical principle often seems to regulate the stress,
and consequently the intonation:
I I - •
all the way ....................::'.:\........ _ •
but 'all the way 'there and 'back .....................~..........=. . . . .: ~. . .
~
Similarly, compound words, which in isolation would have the
stress ' ' and the intonation - ""\ come under the influence of
rhythm an~ their stress and intonation may vary according to
this principle:

7,
'hand-'made ..............~ but 'hand-made 'paper ....................,°'\......•..
.
'over-' ripe .... ,.~···" an 'over-ripe 'pear ...........~ .....~ ....~.

'pre-'paid ,. " a 'prepaid 'telegram .~.....................~ ..•....

.
{an 'unknown 'warrior~. :::::···~ . ::'.\ ..•..•
'un'known ..............:::\ ... ,,
he's 'quite un'known ~ ....... ~..... :'.:\ . .
{a 'djsconnected 'story.~.
'disc on'nected ........ '\. ,,
~ =·· ~·~. . '.:\.
it was 'very discon'nected~<~.~~'..'.'.':I..
'hard-'working.='.::\.• ,, a 'hard-working 'boy .. ~. =. . ~. '...'.:\.
Among these are those verbs which have an adverb attached,
such as "take off", "put on", "set about", "make up":

'Put your 'hat on .=:. ~.: :\ ..... but 'Put it 'on. ........ :"\ .... .

He 'm~de up his 'mind ..... =:-.. . ~... ~ ~.

buthis 'mind was made 'up...~.. ~.~ =··~ . .
'Make your'mind up~..~ ":'\ .•. but 'Make it 'up.··=····~·······~······
- ..
He'setabout his'work·................~.'.\ ,, 'Set a'bout it...............:'.::\ ......
- .
'Eat up your'podding .. ~ ~ =:. . . '.".'.'\. ,
'Eat it 'up. ............. '.:::\ .
.

Further Analysis of Tune I.

to show Its application to shorter sentences.
It will be seen that in the example given on p. 4 there are
five stressed and a number of unstressed syllables:

- .
······································
c)e1 'ke1m t.l 'k:>:1 'jsst.ld1 'a·ffa' nu:n.
.~ ...::.... ~..~ ....
8
 This is a long group and the outline of the intonation is:

·
... .. ·-~·. ··~······ ....................... - · - .. ·.:'\...
..•.... .....

Shorter sentences are represeu~ed by a portion of t.his outline.

Sentences containing four stressed syllables.

a1 'ha:d him' ple1 .,t eh'relb.,t 'ho:I. .... =..................". .... =:. .~----~---·=--: ".'.'\.
~entences containing t~ree stressed syllables.
a1 'hrevnt 'si:n 1m sms 'mAnd1. •.. - : .....- .... • ... •...... "'\.......... _.
'wot ., ju 'gmo t., 'du· abaut 1t? ··=-.. ~. -~. . . . =. . .:. . ::':I. ........... .

Sentences containing two stressed syllables.

a1 'kO'nt si cl.,t 1t 'mretaz. mAtJ. :........
It s 'ta1m ta gst 'Ap. . ·.~.,
=
.- ".·. . ._.·. '.:\. . .
~
....... ........ -·· "'\...........--···-·

Sentences containing one stressed syllable.

gud 'm:rnio ....... ...... "'\....................... .. 'nau• .. ............. """'\....... .
'plsnh. ......... ""\ ..... . a1 'ka·nt. .......... .. "'\_ ·
Use of Tune I.
The intonation of Tune I. is used in the following types or
sentences: -
(D Ordinary, definite, decided statements (word, phrase or
Rentence):

9
 wi 'did wot wi wa 'tould. • ............. : .... ~...."'.
ta'morou. .. .. ~.........:'\ .•
m a 'mm1t. ..... ~ ................

@ Questions requiring an ap.swer oth~r than "yes" or "no".

These begin with some interrogative W?rd: how, when, where,
what, who, Jiow many, etc.:
'wc:a? .. ""'\..... 'wot 'fa:? -.'\... 'wot kan-ju 'si:? .........~... ~....~ .
'wot s jua 'ne1m 1 max gud wuman? ........... -:'.:\
. ..
'wax d1dnt ju 'famd aut 'su·na? - .. •.....~.--~--.. ·=······-~··,-·.~---,........
·Note that questions requiring the repetition of an answer other
than "yes" or "no" are said with Tune 2:
'wcn a ju go1u ta du· 1t? .~L ... ! ...... ~ ......~ .. --~---··-~ .............. ..
[You have told me once, but I have forgotten.]

'hau mE[~e~a~! ::a~~~ I didn't catch ~,;:t ·;;~\;l©. . . ~.:. . . . . .

@ Commands:
·'oupan oa 'd::ia. .............."::\. ... .

'ri:d cia 'fa·st 'prerngmf. =. . . . . . ~ A ... , .. & .. .

© Exclamations:
'wot a 'kould 'dexl ..................................... :'.::\...........
'wc:lkam 'houri1 ageml ....: ........:..........'.::\ ..............
Note. Commands and exclamations could be classified unde!!,
emphatic intonation, and as a matter of fact, they generally are\
emphatic. But it is often possible to say them without more em· 1·
phasis than is usual in an ordinary statement.

@These are really emphatic qnestions. See p. 62.

10
 Examples I. .Tune I.
~~::.' ..-::::=1'tnt.a

Sentence stress is marked in all the examples given. In Sections

I(a) and (b) examples are arranged according to the number of
stressed syllables in the sentence.

a) Simplest kind of statement

(word, phrase or sentence).
One stress.
'jss •....~ .... a1'ka-nt ....~... ~ ..... gud 'm:rmo. .... ~.~ .......... .
'nou.... ""\... wi 'did.... ".,"'\..... ai 'wont tu. . . ~.. ~ ........ ,....
'ju: .....~. av 'k:>as. . ~:,~. ... it s a 'nju: WAn... •./ . ~ ............
'mi: .....~.. 'plsntI..~ ....• ai 'faund It Osa..... ~.... ~ ....... .

'Osa....""'\.. 'fr-ta1m .. ~ • ... ai k,m 'si· It. ..~ ...• ~ ....... .

'oupan ....~ ... a1 m ma 'hAn. :.. ..~ .....~ . ~ ...•
'8reok ju...~ ...... .
Two stresses.
I - o
gud 'a·fta nu:n. . ~.................. :::'.\ .. 'kwa1t 'ra1t. .......................:::'.\........
'tu: 'Joo. ...................... '.':\ " 'not at ':>:I. ................. ....""\. ......·
'not 'bred. ......................~. . 'vm 'd1fiklt. .............•. ""\. ........
Oret waz 'bredlI pra'naunst..~ ...:....: .. ~....~ .."'\.....................................
d s 'ta1m fa gst 'Ap. ..· ...•. "'\. ....................................
It 'woznt 'rsd1. ·...............·..~
· .. ..........................
'8ri' a 'faa. . ·... "'\
...................
- ......................
a1 'dount 810k a1 'kren. ... · ·
........................ ····""'············

11
( •.··
·,i

ar 'dount wont fa 'gou.

ar 'wAnda wot lJe1 '810k abaut rt. ·.~~. ~.. -: ...~ ..:'\.....•.•..
hi 'e,oks ar m 'd3ouk10. .
.'"'· .......... -~ ...... .
hi 'kwait a'gri:z w,lJ mr. .
-~.......................~ ......... .
wi ':>:I went ta 'kju:. ..
-· .......................> .... .
oa 'flauaz wa 'bju·hful.
.
.: ..................~..........
ar 'ko·nt Anda'strend rt. • Houn,••,·,,, .. ·,,,J...... ,,,
lJret s a 'vm gud 'buk.
a1 'ko·nt si lJat rt 'mretaz mAtJ.
•

- ...
O h . UO,OO,o •OOO OOH O H . , , ' " ' " " ) , . u H

~-••oh•-••••••••••••~, ••,. ... ,,

a1 m hrevro a'lc.sn a'de,. ~.....:..~--~·-···········~ --~-.. :":\ ....~.

"ai v 'lost mar 'hrendbreg",Ji sc.d m d1strc.s. .
-~•.••. •• •--~.a ... .-,_&,,L•. , A••

a1 '810k rt kosts 'srkspans. ·,,-,,. •••• ·,_.,.., :-'\.u_,a,_

ar v 'd3Ast b:rt a 'hret.
.
.' .................. :... ""'\.... .
It waz 'kwart 'tJi·p. ................
. . '"'\... ........ ..
wi 'did wot wi wa 'tould.
lJa 'baus rznt 'lo:d3 mAf.
- .. ~--····
.............................:-:-:..
. ~ .......................
- .
. - .. . : ..
.:....~.................... ~ ... ..':':\
a1 Jud 'la,k s.,m mfa'me1Jn.
a, JI 'si: wot a1 kan'du· abaut 1t.
hi waz 'strendro wear a, 'le.ft 1m. . . ..
: ............................ - ~ ...... ill.

..........................., ...•..
'

- .. .
~

.•..:...................:.~!1. .
- . -...:'\........\\
hi· z az 'hrep1 az hi dr 'za: vz fa bi. 11

a, Jud 'la,k ju fa 'mH him. .:.............

..
- ..
WAD kan 'nc.va b, 'Jua. .~ ...:..................~..... .
"a1 'dount 810k a1 'kren'', hi sc.d famah.
- .... ....... .
~................. , ~

12
Three stresses.
1t '1znt 1g'zrekth wot a1 'wont.
. . - ...
a1 'hrevnt 'si·n him sms 'm,md1.
-. ~. '.
·'- ..
• .•. ,".'\. A

1t s a've:n 'na·sh 'de1. ...............'."\

l)a 'haus 1z 'ould-'freJnd. ·-

.. .................'.:'\ ...... .

it s ifa 'famast '010 m c)a 'wa·ld. ·. · ·- •. :

........................... ..:"\ .. .
hi waz 'vm sak'se:sful m h1z 'we:·k. .• .:..~-~. ~-~..~-~- -~-- '--·
a1 'wont a 'tikit fa 'ba·m10.lm, pli'z. . ······-....... •. ·.~ ..•.. ~...
-··=-~.'
-~~
.. ...
lli' z a've:n 'wAndafl 'p1amst.
· 'nau a1 m .lZ 'fit .lZ a 'f1dl .lgem.
-. -~--::\..a.....a
.: ........ t,.~
.,,....-')· ~"
l1e1 ':>:I 'br:rt ·os.l 'krem.lraz w1a <')am.
ae1 hrev a'd3oh htl 'bout on cfa 'nv.l.
.- ... _..
..:...............-.~- ..:\................. .
. .-.......................... ..•.
,,
.. . ······· ':'\.

oe1 hred 'dlf1klh m 'famd10 .l,koma'de1Jn. .. . ·--~---~-~-~~~-~.

"a1 'wont ta 'ba1 a'p1ktfa", hi 1ksplemd,_ ·..... -~--~---~ ~ ~--·'· .,.....
luk10 ve1gh raund c)a wJ: lz. . ................. #.,-A. ••..•

Four or more stresses. 1)

.a1 'ha·d 1m 'ple1 at <')1 're Ibat 'hJ: I.
'rehs waz b1'g1mo ta ge:t 've:n ta1.ld. 1
-·...........·.- .. - .. ·.,
···----~-=~~-~-·.-:-.·.'
-._ .
it s a1 'a·h 'ba:d aat 'kretJ1z l)a 'wa:m. ·.. :.............~.~-~ ..~ ·'- ..

'tu: me:m 'kuks 'spJ1! c};) 'bro0. . ~-~..~... :::.. ~ ":\. ...
a1 'wont l.l'tyk l.lju.lbaul.l'vm 'pra1v.lt'mreta: .. ~.-=-~--~-~. '. '.°::'.'.'.".'.-,..
• • ·.~. ."..~.~-~ ".\ ...
Ji hrez .l'vm 'smJ:1 'praivat 'mkAm.
1t waz c)a 'lo-st '010 a11ks'pe:khd t.l'famd de:.l. • •
1) l!'or different treatment of these somewhat long btatements,
:~=. . . ~ ~ =--~-~:-...,

see p. 18.
2 Armstrong.Ward. Intonation. 2. Aufl.
13
a1 h red a' loo ' lEfor abaut ' la·st ' naits 'kon sat • • •·•···= . - . .•. ·.• - .' :'. '. . ::!,..

cfa 's1h. ..... , .•..

. ..............~ ~....
hi 'wa·ks 'o:l 'de1 m
-.
Ji pr1 'tcndz Oat a1 'dount nou'cn1810 a'baut it..~. ~..... · - ·- · · · "·
.. -.
hi WEnt'o:l l!a we1 'oEar an 'brek man 'aua. ~-~ ....................... :::..~~ . '.\.
-.
a1 m 'vEri 'glred 'ha·bat 'd1dnt 'kt.m will m1. ~-··- .....:_:..~.:-'. . ~., .••
.
· 't u: 't1k 1t s f a ua
a1 m 'sEn d10 JU '8mta. . •...................................
- • • • , ..•
'wot a'p1h hi 'kudnt kt.m 'su·na.
:it
---. ........~.:: '..'...::'.\.•.
~. . . . . . =. ~. ~.: :- . . ~. . ~
hi 'ke1m fo .'ko·l 'jgsfod1 'o·ffo'nu:n.
-·-

b) Questions requiring an answer other than

"yes" and "no".
One stress.
'wEa? -·~····················
'wa1? .......... ~ ................

'hu:? . ~............ .

'wIIJ? ................. -:) .................... .

'wEn? ..........:::'.:\ ......................

Two stresses.
'hau 'mEm? ............. ~ ............... ..

'wot 'fa:? ..................... ~ .....................

'wot 'kamd? ............... :'.:'\ ....:.......
'hau 'nfn? --~ .. .
'wnt !<an ju 'si:? ....... --:-.......
. . 1\....
'wEa Jl wi 'gou?
'wnt s on l!a 'te1bl?
- ........'"'.\°'.:'.'l .•...
...

14
 'wcn wd ju av 'fm1Jt? ··
.............. ... ...• ·····'··········-
'wear av ju 'put 1t? ..- ·.....·......~...........-
.....

'wa1 kO'nt ju 'si· It? ..- ·...... ·.... , .........•.-

.......

·················•···.......... ""\. ..........--

'wot s <la 'ta1m?
'wcn a jti 'g010?
- .. ,""\.·......._
...............................

'we.a kan ai 'famd It? ... ··

-- .. ....... ..... ....... :'\......... _

'wot kamd d ju 'Ja1k?

'wa1 dount ju 'otter It?
- ..
.................................... ""\........ __

...... ······ .................""\..........._

'hu· 'scz sou? .......................'.::\ .......................
'hau mAtJ dAZ It 'kost?
. . ·
............................... ... '""\ ....
'wot s jua 'ne1m, ma1 gud wuman? ...........
. ~
:...... ........................._
'hau d ju 'du:?
- .
........ ·.................. , ....................
'wot s 'cl1s? .................... "'\.......................... ..

'wot daz "'hAmbl" mi·n?

.
......................".'.:\ ...................
....................."\ ...... ~ ..............
'hau 'ould a ju?
'we.a Z jua 'mAoa?
. '.:'.:\....................
-......................
Three stresses.
. . -.
.....................................'-...........
'wot a ju 'g010 ta 'du: abaut 1t?
'wear a ju 'spcnd10 jua 'hofod1z?
- .. -.·..·.,........
'hau mcn1 'ta1mz av ju 'bi:n <lea?
- .
.......................

...................·.. - ..· -:'\.......

.. ..
'hau d ju '010k hi z 'Juk10?
- .
.................... - ..... "\............
'witJ av cli·z 'buks av ju 'red?
- .. - ..
.............................................. ~-
..- ..·.._· ...-.·.· , ........
'wm a ju 'go10 a'br:>:d agem?
'wa1 d1dnt ju 'famd aut 'su·na?
- .. . ..

......................... - .... '-·- .,

2*
15

/
/
1,
 'witJ 'we1 did c!e1 'gou?
'hau d ju 'nou It s 'roo?
- . , ......
.-. . ... =. ~. ~. . . . . . .
........................

"'wot s 1t 'o:l a'baut?" hi a·skt reognh.

"'hau 'loo av ju bin 'we1ho?" hi mkwa1ad
- .. .
................ ....................
palaith.
'hau mem 'pemz a· Oar m a 'J1ho?
- .. _·..~.~--~- · ..•..
.. ~

........................ ... .:".\.

'wot d ju 'ko:1 ;c!,s. 810? ... ...... - ."'\

... .............

'wot 'kAlar a juar 'a1z?

Pour or more 1tre11e1.

_,,_ -···
'wear a ju 1ks'pekho ta 'ste1 djuano c>a
'holad1z? - .......... ................."'\....
-._. .~..............
- ,
'hau d ju 'la1k ma1 'nju: 'hret?
JU I
- .. __.._..-,,_•..
............................. .... ,_
' wa1 doun t · '1'rv it t 1 ta ' morou ' mo·n1n? ............·" ~ •.
"'hau 'fo·r rz It ta 'wo·talu 'ste1Jn"? hi sed,_
lukro reoJash at c!a klok. -=~-'.. '..::.:.~:'.\...........
I .- • • - •
wot 'kAlar 1z 'meanz 'he~? ...................... "'\........

c) Co.:0.mands.
'klouz c!a 'doa.
'stop c!a 'bAS.
- . "\
...............""\..······ ·······-·

. "\
................. ......................

'te1k lla 'tju: b.

'let mi 'Jou ju.
- . "\......................
............
.
····•· ........
.......................

.
'o·sk rm ta 'kAm 'hra. ....,... •. •... - ..,1',, .....
'send It 'brek at 'wAns.
-.
..............- • __ ,,-,i.._, __ ,,

'fetJ mi mar 'glAvz, mean. ...........~---~--~ ........ ,a.e-, ..--

'

16
 'rAn an 'fetJ a 'hrema, tom.
.
·-·······- .•.. °"'--··· --·
'dount 'we1st sou 'mAtJ 'taim.
'let mi 'Jou ju 'hau ta 'du· 1t.
-._ · - .. ~--
............. ..

'oupan jua 'buks.

- ..
·······---····· •. - ·."\.J

·····••·• ····-····:':\ .......... .

1
famd 'pe1d3 'twenh 'nam. ·- ·-········-········ •.•:'I......
'ri:d <!a 'fa·st 'preragra·f.
.-
................... - --~-J-··-·
'put jua 'hrendz Ap. --···· ..• - "'\........_........
d) Exclamations.
'wot a 'kould 'de1 I ---·--·--··-
'wot a 'na1s 'faml
- . .....•.~ ····· ......
·······-··-··--- •.•...~.........•
'hau 'IAvh it :rl luksl -.........-..~- ......................
.
'welkam 'houm agem I ----.................. :\..................... ..
'wo t a 'g1:r nas ' vJu:
• I
- . - ·- .-···· ""'\....
........ ··-·-·
'hau 'Jeit ju a:I
'wot ·a 'tmbl 'trred3ad1!
-.
·-·-·······-.:'.:\·-············· ..•
.................... - ......·'-....
'hau ':>:fll ---··---~-~-·-··--·-
'gud 'gre1Jasl ·····-·····::~........... ·- ·-·· .
'h1a z a pnh ketl av f1JI ••~ _ ,__ .................. _A.. •. 1111.. . . . . .

'nevar a'geml ...•..•.•... ·..........""'\.... ···•· ..

'puar 'ould '810! ······· ................ ~------ ..
'wel a1 'neval ·.
·-·-· ........... ... :-'\........ -----
'wot a 'kwestJanl ·········· ..... ""'\............
17

' r'
:;
 Method of Treating Long Groups.
If a long sentence has so many stressed syllables that a gradual
descent would bring the voice to its lowest limit too soon, at a
convenient place, i. e. o~ an important word, the pitch is moved
up so that the long descent is broken. The first sentence given
- They came to call yesterday afternoon - might be treated in
this way:

·
- - .. - · ""'\
... .............................................................................. .... ... .......
<Jer 'kerm ta 'k:>:l tiostadr 'a·fta'nu:n.

Longer sentences are usually treated in this way:

.. - . . . , ...... ..
.............................................................. .. ....................................................................
ar 'wont far a 'w:,·k 0ru i'la tkwaratast 'pa·t av c}a 'taun.

Note: a) This simple change in Tune I. gives a slight effect of

emphasis to the word on which the pitch is lifted up. It is ex-
tremely common and prevents the reading of narrative and des-
criptive prose from becoming monotonous. b) The pitch of the
syllable on which this change occurs is generally not so high as
that of the first stressed syllable. An arrow t is used to show
where such variation in the tune is advisable. As this change
of pitch always occurs on a stressed syllable, the ordinary_st:ress-
mark is omitted. c) If the subject-matter is considered im-
portant enough, the sentence is broken up into two (or mo:r;e)
separate gioups. For example, the idea of "calling'' is mo\·e
strongly expressed if "They co.me to call" forms one intonatio~
group (Tune II.), and "yesterday afternoon'' another group(Tunel.).

18
 Tune I. in Long Groups.
The intonation of most of the sentences ( with four or more
stresses) on p. 13 can be modified in this way:
a1 'ha·d 1m 'ple1 at lh trelbat 'ho: 1..
. - . . . "'\
It s eh 'a·h 'ba:d i'lat tkretJ1z i'la 'wa:m.
. -. . ...................

'tu: me.m 'kuks tsp:>11 l!a 'brn0.

- ..····=·~······· .: '.'.\
. . . ...... ~ .'.::\
·.~==··~·=.:. ~ . ~.
It waz l!a 'la·st '010 a11ks tpe.khd ta 'famd lie.a.~..
a1 bred a 'loo 'le.tar abaut tJa·st 'naits 'konsat.~~.~ .....:~~.~. =:::=,.
h1z 'waif waz lla 'do·tar av a tntJ 'fa·mar
- .. -· .. - .
m'da·b1Ja. , .......................................
.- ... - ..
~...

ma1 'brAlla bred an 1ksttri:mh 'mtrnsho

1ks 'prnrrnns 01 Alla de1. .•.. , ..................................
.. .
a1 'foloud him tu a 'tam1 a'pa·tmant at lla ........... ~ ~.=. .~= ··.
tbrek av lla 'haus. .~ .. .............. ·,
Itwaz'te.na'klokonatkould di'se.mba'm:,·mo.·· :-· ~.:.~ .:.·~·~"·
lle1 'set aut fa 'houm az tfO'st az lle1 kud 'gou.. • . . . -:::'..~.-:.~ ~..~."'
..
'e.vn 'mren iz trept ta '010k h1z tne1ba hrez .~·=.~~~:'."':':'~.:-··
an ti:z1 'ta1m av· 1t. · -·
.. ............~ .............. ~ .... . "

II. Tune II.

.The second tune can be represented as follows: -

- ..
..... , ........ __ , ... ~
.
.. .
a1 m 'son tu av 'ke.pt ju 'we1ho.
19
 The outline of the first tune is followed until the last stressed
syllable is reached. This is on a low note, and any syllables that
follow, rise from this point. Foreign students should note, however,
that the rise is very gradual and rarely reaches as high a note
as the first stressed syllable.
In the sentence given above, there are three stressed syllables,
and the. last is followed by one unstressed syllable. If the last
stressed syllable is final, the rise, which is an essential. of this tune,
occurs within the stressed syllable it.self:
- · · - - · - · · · · · · · - · · · · - ....... , h . . . . . . . . . - ......... .

I)
• 1t 'wount 'te1k 'loo .

Use of Tune II.

This. tune is used
0, In sentences in which the statement made is not so definite
as in the cue of Tune I. Either something in the mind of
the speaker is implied but not stated, or the way is left open
for further comment on the part of the speaker or hearer.
Unless emphasis is used such a sentence gives the impression
of indifferen~e anll casualness.; the speaker shows little en-
thusiasm and not much feeling. For this reason complete
statements of the above type are not so frequently pronounced
with unemphatic as with emphatic Tune II. Students should
compare the examples given under Ila with those of the
conesponding section in emphatic intonation, where it
will be seen that the special prominence given to one or
more ideas removes the impression of indifference and lack of
feeling. All the sentences in this section could be made emphatic.
1t 'si:mz 'rm'.lar a 'p1h.
a1 'nou wot ju 'mi:n.
-.. :=...·. ·. .....~---..
......
............... _ , / ...
'!.

20
 A modification of Tune II. may be used, in which the
pitch of all the syllables preceding the final stress is lowered
to a more or less level note. By this means the implication can
be rather more strongly expressed:
a1 'dount 810k hi: z 'ven 'ki:n abaut It •.~.. =-~-~. : -. :. :.=.:_.~..'.._ ..
1t 'woznt a 'gre1t di: 1 av 'trAbl. .. •. - ·: .. - .•• ... •...- .. •
'kO'nt ju 'du: It b1'faa ta'morou 'm:rmo? ... ~.. :.::":".'.. ~-~..-.-. '.'.'.::". ~ =-"
'hrev ju bin 'steno hm 'loo? .... - ... · - ....· ·•... _.,,,, ...
... .•.

a1 'beg j:,a 'pa·dn. -···-· .. ····-····-·-- ... •............ .

·ereoks vm 'mAtJ. . ..... - ....·.... ......-,,, .......-
• ........

(j)1n questions which may be answered by "yes" or "no:"

'O' ju 'kwa1t 'Jua? ............~....=....... ../. . . . . . . . . ..
'ka·nt ju 'si· 1t? ................. ----· ~
.
............ , . ~-"'......... ..
"'dount ju '810k It wud b1 'ju·sful?" ·-·-=····:· . -=.-~. .~. .·. . . . . . ~.
Ji a·skt kouks1oh. .. •....' .... ~... -~....:.___....._.- ...-...
Note. Certain questions requiring the answer "yes" or "no",
bowev r, take the intonation of Tune I. Theae are generally in
tb ature of a statement or command, though questions in form:

'hrev ju 'bi:n ta cJa 'zu:? =--~. =. ~ . :.

'.::'\.=Tell me if you have
been to the Zoo.
'dujuAnda'.strend1t'nau? ~ -=: . . . .:.~_.: : :_.:_: '\
=.You ought to under-
stand it now.
wel,'kren a1 hre v cJa 'ta1mz?: - ...• .."..". '-· .. ..,, Give me the Times.

'wd ju 'kAm ta'm orou? .. - _". - ..' "'\...~ = Come to-morrow.

'1z c)a 'mren a 'fu:l?

-.
----·· - .." .""\...=The man isnotafool.
Qin requests. This is the typically "polite" and encouraging
intonation. It often.denotes a somewhat formal politeness,

21
 i. e. casualness and indifference may be present as under 1.
It is, however, more polite than Tune I., but not so polite as
Tune II. with emphasis.
. .
'dount 'trAbl tu 'a·nsar It. - .. . .
'IE.t mi 'nou hau ju 'gE.t 'on.
- . -. ·- ..
•··············· .~ ..........~ ..

_./

'khm an 'si· mi 'su:n. -.

A sentence which with Tune I. is a command becomes a
request if Tune II. is used.
e. g.
'no mi 'hp at 1'IE.vn. ..~.· -::.~ ~--'······ [Conimand]
'no mi 'Ap at 1'IE.vn.' ··= -~--~·~--~[Request]
=.·:~ .· . , ...
'wd ju'pa·s lfa 'solt, pli: z? .. [Command]
\ 'wd ju 'pa·slfa'solt,pli:z? .. ~.. ·-:: -~--~ [Hequest]
E)In incomplete groups.
For examples, see Section 1II b. Students should note that
apart from questions and requests, the chief use of Tune II.
is in incomplete groups.

Examples II. Tune II.

a) Sentences in which something is implied.
d s 'nou 'ju·s 'smd10 fa lJa 'dokta. - ...
31 'wI,f a1 .kud 'tE.l ju :rl a 'baut 1t. .. - ..
31 'd3mrah 'mremd3 ta b1 'OE.a.
- .. - .
........................................~ ..... ~ . d
wi 'wount kan'tmju lJa 'st:rn. - . . ..
a1 '010k d s '~:l 'rad. -.
...................................

-
.. ............................ __,,
......."!"!"!'!'!'!.•

a1 'wI,f a1 kud 'spi·k '1oglI,f la1k 'lJret.

- .. _
.~...................... .....
, ~- ~---~--~
22
I
\
31 'dount 810k hi z 'vm 'ki:n abaut 1t. • . ·-. . . .
it 'woznt a 'grert di:l av 'trAbl.
-. .. - . . - . ..........

ju 'ni·dnt '010k abaut snta'te1mo him. .-._

-.
....·······""""'············
..
..... ........... .

31 'dount sa'pouz hi· I a'ra1v td 'd3Ast • - • • - ·----~- .. .

b1faa <la 'mi't10. .-.~-~----· • ....................

. . .__,,.......................
it 'wount te1k 'loo. . .......................... .
a1 'Ja·nt 1kspskt ju ta 'mi't mi.
. . ·~---~·-·.....
1t 'si:mz ra·llar a 'p1h.
a1 'nju: ju wudnt 'du 1t.
. . . ····""""'····..... ~... ~

<la 'dsnhst 'wount 'ha·t ju vm mAtf. -. - ......... . . .

.................
.........

~ ,, ...............

'31 nou 'wot ju 'mi:n. -·-

'dount bi 'fraitnd.
- . ~ ............ .

.........................--. .. • .......................
~i wa 'sou 'son 'not ta b1 'e1bl ta 'kAm ..·.~-
- ·...
=--~=-~.".. .=:·~--~
-.
- . - . --~-- ..•-~-
a1 m 'son tu av 'kspt ju 'we1ho. ............................................. ...... .
ai 'w1J ju 'wudnt mta'rApt. ~
'llret s ~rl 'ra1t. . ....,
..................... .................................
'<Jret s <la 's~rt av 'mren hi '1z. . . -·-
. . . . . . . . . . . . . . . =. . . . . . .
~ ~ ~
'0reoks 'vm 'mAtj'. .. :-.: :. . =. ~-- -~·-· ·- · · · ·
b) Questions to wh.ich the answer may be "yes"

'a- ju 'kwait 'Jua?

or "no."
-.
................................. ~ ......... .
- . .
'ka·nt ju 'si· 1t?
'kO'nt ju 'du· it b1fa· ta'morou 'm:rmo?
-. ........ ~

- .. ··-. ~..
......................... .

................................................
"'d1dnt <Je1 'prom1s ta 'du· It at 'wAns?" --~~-~~--~-~---=--~ . ~. . ~
hi a·skt md1gnanth. . .. . . .
23
'hrev ju bi·n 'steno i')i;a 'loo?
- ..
···-·······--·.. ••.. fr""' ..
'hrev ju bi·n ta 'wi:mbh?
...
-·- ---·..- ··- ......... -":"---'"' .

'du ju sa'pouz i')i:a z 'm1 'tfO'ns av -·-·

'mi·tio him? - •...·........................ .
"'dount ju '810k 1t wud b1 'ju·sful?" ·-·······-······-···"·····-~·-·-··· .
Ji O'skt kouks1oh. . . .. ---·----
..... ......................
'd,..z c>1s 'trem 'stop at 'klrepam 'd.;AokJn? =--~--=---::.:..=-~--==-~-
"'1znt it ''pos1bl ta get a'dokta?" -···-· ....·~- - .
.......-... -....................... ,.. ., .... -
hi mkwaiad m an reoJas toun. . . . . . . ..
................. ..--------------··· .. ··

c) Reques·ts.
'let mi 'nou hau ju get 'on.
-. .,-:::_:. :...:._ ---'--·--·
________

'dount gou 'brek l\JAS( 'jct. -·-

...................~---·······-·
-·-.
__ ...............--"
'me1 a1 'fctf jua 'kout?
'se1 gud'ba1 ta 'grrem fa mi.
-._
...................... - . . .
, ........... .
.................... .
·'let mi 'hrev a n 'si't. .-. - ..
.................. _... --:'_ .........

'dount 'trAbl tu'a-nsar 1t. .. . .....- ..

......................... """"""··-··. .
'kAm an 'si· mi 'su:n.
. - : ... ........ .
-.................. ~
......

-.
'smd c>a '81oz az 'su·n azju 'kren, w1l ju? ........ :::-:-..:..~.::...= . ~.·.
'dount let 1t bi a 'trAbi tu ju.
- ... .
.................... ,,,,.. .. ....'....... ~ ~
'dount put juasclf ·aut abaut 1t.
- ... - . .
let mi 'nou wm ju 'get c>ca.
-. - .. ......................... .. •................ ..

........................... ------~ _.. __

1ks'kju:z mi 'wAn 'moumant. .
........................ .
·- - .................
'

. ..
,-·••

'dount let mi dis 'ta: b ju. ..

........................... - ........
'dount fa'gct ta 'ra1t tu 'a·nh. -. -. - .. \,---
. ................ .•,.
\
24
 III. Sentences containing
more than one sense group.
Connected speech consists of sense-groups ( either one or a
series), each of which is an intonation group. Sections I and II
describe the intonation of one sense-group. The following section
deals with the intonation of a series of sense-groups. Certain
points should be noted in connection with this:
I. Different people divide their speech into different sense-groups,
and there is a corresponding difference in their intonation groups.
II. A speaker varies his sense - groups and consequently the
rhythm and intonation of the passage he is reading or speak-
ing, according to the style of his subject matter and the
speed or deliberation with which he speaks.
III; In conversational style the sense-groups are longer than in
description or narration. The more deliberate the speech
the more groups are made. In the gr.amophone records,
because of the slow delivery necessary, more pauses are made
than would be observed in a familiar reading of the same
passages.
IV. In a series of sense-groups, with either Tune I or Tune II ..
variety is obtained by change of pitch, i. e. the pitch of one
group may not descend so low as that ol the next, and the first
stressed syllable of one group may be higher or lower than
tha.t of o. neighbouring grnup. (Compare change of key
within a. group, p. 18). In the connected texts ,vith the
intonation marked, these changes of pitch have been noted.
The student will do well to practise them, as in this way
he will avoid a slavishly mechanical repetition of the tunes
which makes for monotony.

25
 a) Tune I. repeated.
hi 'strould 'e1mfash 0baut lfa 'roud, I . . .. . I
...................... ~ .........

'k1k10 'stounz aut 0v h1z p0'0. - • .'.:'.'\...... ... • ........

Ji 'Juk 'hrendz I 00 se:d Ji w0z 'glred ~ ..~. .:::'\ .J. ~. . . ~. . . · ..~. :-
hi 3d 'kAm. ·
.. ..... ".... '.""\................................. .
Sentences of this type are, for the most part, co-ordinate
sentences or phrases with a logical, though not necessarily a
grammatical, dependence on each other.. If in the speaker's
· mind the logical connection is very close, the first intonation
group may be said with the second tune. But there are so
many cases in connected speech where we have to rise at
the end of the first group that it is a relief to fall when a
choice is at all possible. 1)

b). Tune II. followed by Tune I.

'wen lJe1 0'raivd 0t lJ0 'stetj"n,

'faund lJ0t lJ0 'trem h0d 'goo.
I lJe1 --~·.=.·.~. . . . . . I...•... .
..-.. •.. • .. - ..•.....""\. ...................
~

Sentences of this type are those in which the first intonation

group is incomplete. This is found in a large number of simple
sentences which must· be divided into more than one intonation
group, and in complete sentences in which the subordinate clause
comes first. This use of Tune II. in non-final intonation groups
is extremely important.
0t 'ells 'ge1m, I w1lJaut 'em 'tre1mo o
'prrekhs, Ihi w0z· 0'pa·hkt 'ma·sfa.
...=.~.J.
. . . .=~·.. L~.\.:-. ~.~=.....:. ·
~
~
~~
1) We do not raise the voice at all commas!
\
26
 c) Tune I. followed by Tune II.
a1 'dount 810k hi :rt ta 'gou I wm hi ..~~ ~ ..~ ~ .. •. '.'.:\ .. J. . . . .
z sou 'b1z1. ........... -
... •.............................................

Sentences of this type are not very common. It will be seen

that the examples given under this heading divide themselves into
two groups - a) those in which the subordinate clause is added
after the main clause,
e. g.
ai JI 'td 1m :rl a 'baut It I WED .. • . .•.. , .....
I
'kAmz on 'sretad1. ..-.........- .., ....~.......................,.,.......... .

and b) those in which some word or phrase is added to the

sentence, suggesting a kind of reservation _or limitation of the
original idea,

e. g.
a1 'gou 'houm at 's1ks, I '~mrnh. .~. =. .=. .~. .' .:\. l.
These sentences share the ·characteristics of Tune II. - i. e.
- . ! ..... .. ~
lack of definiteness, a possibility of adding other remRrks. Many
of them could, however, be inverted, the second part (Tune II.)
· could be said first; they would then come under the hea.ding of
the previous section.

The Treatment of Parentheses.

When a parenthesis is inserted into the middle of a sentence,
it breaks up the intonation group into two groups, and can itself
form another group. For practical purposes, however, it is con-
venient to consider the parenth1;1sis as part of the preceding group.

27
-
r- -· -

a) In the following sentences, the parenthesis may be considered

as the final unstressed syllables of a Tune I. intonation group:

----~ - ----~·-·······--·---*-····· -----

3nd 'nau, ~sntlman,
I.I-i>1s
·~. . .1z.~·-·-.!_·---=------~-----
ma1 'faml wa:d.
_ : ".\_ _____ -
- -. I.-.
................. -~...... ........ -• ___ ... ____________ ........................... ~- ................. ·--•-------
·------~---- ... . ............ - _

"a1 v 'kJ: Id 'sEvrnl 'fa1mz''; hi ssd, I"and 'ntva 'faund ju ()sa.''

...... ""\.- .......-• .. - . ·- -··-----•-----'------~---------=-- ~----~-- ....... -·-

"nou", hi std sta·nh, I "a1 v 'nsva 'bi:n ()53,"
.. -...................
"""~............... .. ...............................I-....... ....................-.................................
"
• . ":\...........
,

"av 'kJas", hi sEd abrApth, I "'i>ret 'gouz w1l)aut 'seuo.''

~ • 0 ., , O t .........,,o,M ••~,O, .. •Ooo,,oooa, ... ,, .. ,NOOO! .....~0,0 .. ,,• ,o,Oooo•••='~"'•O~UO,•O .. ,~ooooo .. ,,,~•••••••O••On=H .. oo,.'~""'''•••oo,

'sa·tnh, m1sta braun, I ju JI 'hrev 1t ba1 ()a 'fa·st 'poust.

~--. --------·- . . -.. -·--··-'----~------··---·=-----: -------=----~ -----~--

'Juah, ma1 d1a, I a1 v 'tould ju 'i>ret b1 'f:>a.
Compare those sentences on R· 6 which ha Ye similar phrases
as final unstressed syllables.
b) In the following sentences, the parenthesis forms part of the
rise of the preceding Tune. II. intonation group.

. . . . . . . . . . . . . . . . . . . . . . . -.. . . . . . . . . . . . . . . . . . . . . . . . . -. . . . . ,. ... . . . . . . . . . .-.. . . . . . . =. .

~ '.°:"..
'd ju ~i'mtmba, stm8, I wi d1s'kAst i>1s 'kwtstfan 'ta·st 'jm?
~ ~
.... ......... ~ ~
...... , ..... ... -~-..... ......•. ____ __!____
h1z 'rensasfaz, 1t ap1az, I had 'hvd fa ~sn3're1Jnz 111 'c)~t
~--=--~---~-..:. .:-::. -~ . J. .~. . . =. =. .~- .~. . . .. ~
'pa·t av i>a 'kAntn•
...... .~ . •. ··---~......... • .... ~---··1, .... ~.,--··-···-~" ........ ~ .....~ ......................
'''grrenma", sEd nrensi, I "wi: v a 'gre1t sa'pra1z f:> ju."
. . . ~ . . . -~· ·- ~ . . ., ~ . . ,. . ~. . . . . .~ . . . -..~. . . . .!. . . :-~- ·- ······~······=·: ···-~·-· ..........
"'pa·st;tah", hi hAnd on, ; ''a1 pn'fa· 'd1kmz."
28 \
 - I

i1·;~~ti;ie;d1°;a~ g~cl:d, \·;~Z ;V l:~E~S \~~0·.

;,;re~ t~ 'cl~'< ~~.n~i~:d,\;,;,·~ '~ot ~i.'o~'J~.;;

~; 't;:;0, h;u;;;;·\ ;i~1~ b:;tw.i:~·d~·ft~: 1~~;t'r~~.

Ji '0ru· h1z i~,~~:~.· t; sou spi~k, \ 1: h1:· ;~~-

;~°;t s;·t .lV 010., a1 k~n;1d:, \ 'Judo: ~i ~·1~:d.

Compare those sentences which have similar phrases as final
unstressed syllables.
c) In the following sentences it is better to consider the paren-
thesis as a separate group with the intonation of Tune I
Many of these parentheses could be said as final syllables of
Tune II, but because of the somewhat emphatic nature of
the word or phrase, it is more natural for them to be said
with Tune I.

. ::'.'\.........~ . . .~···I· ~. . ~. "::'. · ·[· · ·=· .. ~ . .:'."\ .

'cvnbod1, 1t 1z 'tru:, 'wudnt 'laik it.

J;·~~··\ ~;;··\ ·~~·;~~~j·;··:···;-k·;:rt.lr .lV :··;~,1 ·:;~;,,

.cl<l~ .....'iAO
-:= . .'mren,
. . ~······1···~···· .~ ..~..... ~ .. ···
hi 'nju· ms'hokhvh,
11··· ~ ~
... . . :'\ .... .
'wudnt 'laik aret.
.~. . . ~ . . . ~ ~.,/.:I ~..~ . ~····IJ·"·~········=·· iJ.l. .-:-:-: . . . ·. . ,'.:'\
it wud b1 'beta, a:ft<lr 'o:l, fa 'drop 'houl a'fca .
. ~. . . . =. . . .:::V........ t·····~·······~ ...... =~. = -~· · · . . .../.
~ ...... J. •....
1t s 'nou 'ctouk a1 k<ln 'tcl ju, I fa 'du· a '010 Ja1k 'oret.
3 ArmstronR· WBtd, Intonation. 2. Aufl.
29
r

()5:-~--~··;i:--i~--h:-~- ·;:uk~: +~:. ;~; l··ii~i- ~\v-:; \v~e··,~;~~

~(~;;-~:k~d, h~~. --~~~--;~~tJ;~ ~~::.
f

d) When the parenthesis is too long to be treated as a series of

final unstressed syllables, the latter part ofit can be made into
one or more separate groups. But the range of pitch in such
groups is so narrow that they strike the ear as having the
tune of final unstressed syllables.

... ............. . - ... ..........

. -_.......-. ~-.-..........__........................L---···-··-···-- . '.
- ..1-·······.................
"bat a1 'mAst 'famd 1t", sEd lJa b1Jap m d1strEs, and 'trmo
aut h1z 'pok1ts az hi 'spouk.
-·-. l- l - J-·
..;;····;;1;~~~----;~~-· ..b;~·-·;;1~/b~\· · si ~ ~;~cf;~i~1ii. ·;·t· ~ii~~-- ·;
'moumant I az sam 'pi·pl puJ10 'pa·st I '8ru· har a'gemst him .
...........--.. - ... · ....- .... · - ~.·.. · .......- .. ·····-·· ..• _1 ...•. -r···· ·. .·. . ·. . . . ../. . . ..
''1z 'lJ1s lJa'we1 ta'w:>"talu 'ste1Jn?" hi o·skt, luk10 'reoJash
at <Ja 'klok.

Examples III. Sentences containing more than one

sense group.
a) 'rune I. repeated.
. . - .. -.""/· - .. ....__
Oa ·· 'haus··· m -

. - ... ,,
'J~~-d;~·-·;-;,;~···fo;~~-·:;~p.··· ····~~·-·;~~~~·t · ;;· ·;~
'konfants 'sould .

~~~~·-·;~···:~~~-t ··t~···;b~d,·· f~~ . .It

... -.
·;·;~·~g~t-;h· ·;j~~:
-30 \
 -- ---i
I

. ··----=-··· .~--- ···=-··· .~ ...> ....~ . . -\· ...bat~........hi~ ...'kudnt

a1 'a·skt him ':rt a'baut it,
·-=---·~....'tsl::'\.___mi..... .
cm810.

... ............... ... . "~·····-~·····\"···~·····

~. -~ ...... ~.... :-::-................ .
a1 'wontid ta 'si· ju, sou 'hmr a1 'rem.
_•. ~ ....••,• ..•. . . •· · - - ... •... •.............. l.. . •.......:.....- ....•..... - ...-~ .
ela'fa1ahad bi·n a'laud tagou'aut,I andoa'ru·mwazjvm'kould,

-~· "'" .~ . . .~. ~ . =. ~ . . ~ . .:~... ~. . \-· -~. . .

·~·-····=·······~··---~-·-- .:".\....
a1 waz 'vsn 'reoJas ta'si· him, . sou a1 'b:ld at h1z 'haus.

·el1...,....'emJnt
-=-·-~·····=···~--· ·=·········-:\ ......!···-~·······=·····-· .·.....:.... :::~..............._.
'bntnz 'woa 'pemt, an 'probabh hred 'freJnz m It.
•.....- .......- . •.. "'\ ... •.. .l....- ......- .... •... •....: ....... - ....:.· .... - ...... ""\..
ela 'dt.tf ar 'a·h 'ra1zaz, \ and 'set abaut elca 'wa·k m jgud 'ta1m.

~--.............. . . . . .... . -.. =-· . .'. . . ~. . ~. . ~. -~ . . ~. . \. ~.. . . . . ...... -~- -:.":\ ......•. -
elca z 'ounh 'wt.n 'we1 av 'du'IO sm0IO, ! an 'oret s ifa 'ra1t we1. .
.. . . . . ' . . l.... ·. . . . - . . ·. __. . . -""'··. ····· . . _..
hi 'stopt r an 'pomhd It 'aut ta mi.
·. . . . ·. . . ·. . . . ·. '··. ·l· . ·.......·. . .- ..... '), .~
a1 waz ma 'ht.n, 1 sou a1 'tuk ~'treks1.
· - ·· - · · ·
........................ ...... ..... ........... ...... ............ ......... ·-· ..
ela 'haus 'stud on el1 tautska·ts av ela 'taun,
"" ··-\·. - 'i->o..- ·: .......
'a
.
'we1
fram ela 'roud .
. . . -. ··-·.
.. • ........ ......................... ............................................... • ..... '
1-- .
•........ , .............. • .. °'\ ...
aI v te1kn a 'tfa: nuo htl 'kotI<l3 m oa 'kt.ntn, 'tu: 'mallz
fram ela 'ste1Jn.
.·. . . . : ...... )\, ..,..,_,.. ,..l.. ·....- ......········. _.. ""'·····
It waz 'dma taim 'i b(fa· ele1 had 'fm1Jt.
3*
31
 . . -
;;;~--~i1<1 ji. ;-k~~- ;n~; -;~n -;:-- ~
f
-~i~ -;bd1?
--~------~--
ju ---------~-----=··-->
mast 'J:1 b1 1vm 'kamd..... ~----,---~-- ~------~--·~ -~····~--~-
fa ha, an du '::,:·I ju 'kren ta 'hslp.
. - 1 -
~i---i;-i~;~c1-o:i ii-;~~---d;~+p;~~d·-b~~ ;a-~;.v;t;--, "i{~-\~"'a1t
0

.- 'ouprth m'sAlhd ha·

~1 \revnt____ 'ta1m---;a---,:.--1~- -s~u -a1° I-- 'li:'v---;:----i~-;--t:-;;~~~.

l -
. - . ' I. . . . - .
·-··--- ----·---------·---------------------·-------- ---------------------------- ------------·-----·-------- ·---- ··--· ·--··· .......... """·········-··
hi 'kudnt 'kAm, az hi waz a'we1 fram 'houm.
........ .......................................................
:':
- . , I - ... .
~ .............. ~........................................................ ~ ....... .
tla 'sAD waz 'Ja1mo, and 'svn810 lukt 'brad.

b) Tune I repeated more than once.

I

·=-· . :- ~.- . .-..::-= --~··-- ~··!-··-~ ~--···-·=· ~..~...':. . . '.::'. . , -.. .~ .

'~on ssd 'sAm810 'm;,a. w1tf cJa 'tfildran kudnt 'kretf an 'vremJt.
·a1 --·-····-··-
......
. - · · - · ·'··· ..l ·...· -. · - _.· --~1.............
.............................
'ju·st ta 'si: him m tksnziotan 'ga·dnz wsa hi 'kexm m
-. :. - · - ' ............................... .·, .. ..

_ lh 'a·fta'nu:nz I a'kAmpamd ba1 a tvm 'sm::>:I 'ga:I.

~. . .:. . . .~---=·· ·~---=··-~---~---~-~--~---~---.1.~. . : . . . ~. . .~----~----~. ~~l. ~. . ~....= . .:. ~. . =.~--=-~. ~. . .
hi 'JAt tla 'd::,ar .az tkwaxath az 'pos1bl, 1 m'tsnd11) ta gou
tstreit ta 'bsd J and a'v::>1d sm 'fa·cJa ,konva'se1Jn.
- ·1
~--·· . . . . . . .~---·····=---·. .~. .~ . -~---~- ···=--~ - ~- -~- ~. . : .:. ::\..!·-~--~---=-~. ~--~---~--·. ~. . .~ ..............
Ji ~stopt 'J::,·t m 'wot Ji ad bin 'seuo, 'noutlSIO tlat i·twoznt
'hsmo I and waz 'luk10 at ha wit! 1ktstri:m 'a·nastnas.
32 \
. . . ~ ... =· . .~. J.~ .~ . ··=···1 .=. . :'.::\.I. :...:-. ~ ..~...~.. ~.. ~ ··1
1t wez e 'fjuenes 'wmd1 'm~rmo, w1<l e 'ska1 'mhtj' 'khed,
end 'loo 'mtevlz ev 'shnJam .
. . . . . . . . . . . . . . . .·. ..=:. . . . .~ . ~ . . . ~.J.~.1= .~J~. . . . : ...~...~I. . .=. . .:':\. . . . . . ..
a1 1 'khm en 'sit ba1 <le 'fa1e en 'gst 'wJ:m, en 'elm a1 JI
'fi'l 'kAmfatebl.

a~·;e~u· ,:~~· . ·;;:;~;i·~; h~/t~ti ;~1l:r;~~: \~;,{(;;~;

'khle I ~ 1t wez 'dsd.

· . >. \· . . ~. . . . .
a1 mast 'g1v 1t 'Ap end 'stra1k 'aut fa mai'sslf, end 'hreo
=. . . :-.:- . . . . .L:. =. .~.1..:'.\.. . . . . . . . . ..
~
<le 'kons1kwens1z.

c) Tune II followed by Tune I.

. . . . . . . . .~. . . . .~. . . . . .~. . . . . .~. . . . .=. .~.\ . . ~. . . . .~. . . . .:. ~ ..

'rez a1 wez m e 'hhr1, a1 tuk e 'treks1 .
... · ........ - ......... · .......... - .. · ... 1.... · ..... · ...... · ......· ....... · .. - ....· .... "'\ .....
hi 'spent h1z 'mm1 ez If hi were 'miljen'se.
- . . . ·. . . . ·........- . . . .· . . .·. . . . . .- . . ·.1...................- . . . .·. . . . . . ·. . . . . - . . . . ." . . . . "'\. . . ..
'wm <lei e'ra1vd et <le 'ste1Jn i)e1 'faund <let <le 'trem hed 'gon .
.~. . . . . ~. .·. . . .- . . . . ·. . . .·. . . . .·. . . . .<. . . \. . .·. . . . . . .·. . . ._- . . . ·. . . . .·. . . . . , . . . . . .
wot'sve 'ms0ed hi ed 'traid, 1t wez 'klm hi hed 'feild .
.=. . ~. . . . .=. .~ . ~. ~. . . .~ . ·~1...~. . . . ·=-...... ~......~......~.......': \. ...
'1f hi· d 'ste1d enh<le 'fa·tna1t, <le 'wa·k wud ev bi·n 'dhn .
· · ·
. ........... ......... .......
far ebaut 'tu: 'madz
- ....... .,/ ........ \... ·........... - .................- ..............
<le 'roud 'kla1mz hpw.~dz.
1
:'.\. ............

33
 . ~.......·....- . ·.... ·.. __ _,, __. ·I- ......- .....·..... - .........."':'\.......
az a 'mretar av 'frekt, a1 'famd 1t 'ro·<la 'd1f1klt .
............................ - ..·.....- ......· ·-·]·····....... "'\ .···-················· ·...
..
_ 'vsn 'wsJ, <lsn, a1 I 'gou .
....... ......... ........•.• • ...•..• • ................- .. • ..•... , ............. • .•... '"'\ •• .> ·-·

'nskst 'ta1m ju ar m '1Ai1dan, 'kAm an 'si: m1.

d) Tune II. followed by Tune I.

(more than two groups).
- _,, , l.- l - .. .I - · ·-· ·1 .. - .. 1

;~~~ \t3ou~~-... rh~ ·-,t~~~···;~;d:···ranct. . h;··i~;r· -~~--i;;·;;:~-~- I

./..

'rsskju·d ha 'propah I and n'ta:nd ta 3a 'te1bl.

•..... •.........--:- . . •.... _,, . .L. •...... - .... - ....•....•.... _. / ··l-· · ......- ...""\ ..... .
a1 v bin 'a•;t av 'wa·kleru 'nou 'folt av ma1 'oun fa 'tu: 'mAn0s.
· '
....... ...•....I..,,,,_ 1 - •,, ..·-······-
--·· ..•.......... - l - - •·-• · .•.
- ..........
,._,]"'"' ...... ........... .. ~...·.,
a 'grrem.::ifoun w1<l sAm 'nah 'gud 'rtk:rdz 1z a 'greit 'e1d ta
<l.::i tfrtf10 av mto'ne1Jn.

·~~ . ~:i~~~-~~~·: ') ··,;j:f·t:i ;· ~;~~~- ~(~~ ~-,ti:· i~·h·;~~1 .;;~:~~;d

auar 'a·moz m J1'ka·gou, J wa 'brek at eh 'ould 'kremp I
_ 'si·k10 1m'plmm.::int.
·I ·
. : ....................... - ......... •..··r·······-···.: ......./. l•.• .. • ............
- ..,-..... -: ..: ···'1 • .
w,<l 'nju: 'mtrasts, 1 and 'konstant 'ko: Jz on ha 'ta1m, Ji Jsd
a 'ju·sful and 'bIZI 1g'z1stans. .
-. •
1
- · • !... - . . .. - _ . - l , / .I - . - , __ ...
I - "'f
...................... l. ........•••.•.•...•..., ................. ···•···•········ ...............................- , ...........
'not vsn 'Joo agou, djuano a 'hulad1 m · <la twsst 'kAntn,
a1 'wE.nt 'aut I WAn 'fam bat tro·<la 'kould 'ma·tr'\'m:>'m{J I
far a 'Joo 'rrembl.
34
 e) Tune L followed by Tune II .

.·. . . . . .- ----......·. . - .............. __""'\._. . ____ J______ •. . .

hi 'gouz far a 'wo·k m lh 'ivmoz, I '<te.nrnh.
. •• •- . • l
a1 JI a'ra1v m 'lh~·dan at '~k~·:r:t;;··;;;·hk-~
.~. .·=. . . . .~ . . .~. .-: . . ~-. .: \..J ......... "·--· ·····-·
a1 'dount 810k hi 'o·t ta' gou, I WED hi· z sou 'bm.
··=· ..~

.~. . . ~. . . ~ . =.....·----=-----·-·:·-~--~--t--···---~·--··
a1 'wont ta 'famd a tkAmfatabl 'si't, If 'pos1bl.

- ·=-· -~----::);.·-···I· ....................... _______ ~··-~----~

. ~. . . ~- ·. =. . . . . . \. . . . . '. . . ,.
hi 'kretf1z <Ja 'tED tu 'eit,
~ ~
hi· I hrev 'nA810 'le.ft, If hi 'spe.ndz h1z 'mhm at '<Jret reit •
we.n hi· z 'a·h mAf .
~
""°""''""" ... ......... - ......... - - .. -~--. ·-

. ~. . . 1. . 'tEI
ai
-=-----~--..·= .· · · · · · .,. . . . . . . . . . ,.-.. . . . . . . . .-~.
~
1m wot a1 '810k av 1m, we.n hi 'khmz ta'moro:1,
.. -- ....... ~ .. .· .... .. . . . .. ~ ~ ~
· I· .. - .... -- --·- .... ·-- __ ,. ..................- .. ....
a1 I 'O'sk har If Ji 1 'khm wm a1 'si· har on 'sretad1
.-. .. ~. . . . . ~ ... '.:\ . . I. . . ..--. -.. . . . ~--
hi 'nju: wot it 'me.nt 'moar a 'Je.s •
. ~. . . ~. .=· .~. .~ . ,. . . . . . . .- . .-.__. __ _ ~. .
wEI hi 'd1dnt 'khm az a 'mretar av 'frekt.
. ·----,__ --- ·"'\............... ------1--... ----···-. ___.
a1 'dount 'la1k <Jret Whn pa'hkjulah.

·... -... - ...........~--...···----·······f ...--. .. •....· .

a1 'dount 'gou <Jret we1 'ju·3uah.
35
IV. Longer sentences and connected texts involving the
use of the two unemphatic intonations.
Note. Some of these extracts could be said with a ce.rtain amount
of empha$is.
1.

... '.':'\.. ....

.......... .... ,- .... ~.....~ ...................................................... '.. ".::'\. ..
h1z 'mAm - fa w1c'J 'c'Ji:z 'tu: a 'mren ka'ma:ndz c'Ja 'wa:ld.
,

2.
- . . .
..... .. ~ .......................,.... ....... " . .. . . ····· ... .. ................................... . ....... .
lla 'skotf 'daialskt 1z 'ntf m 'ta:mz av n'proutf agemst (}a

............:... . ....~ .......... ~--·· .. ~- ,, ..... •'•'"'••

../
.. ,.........
..
....................... -~· ........................... ..
'wmta 'wmd. c)e1 ar 'o:l 'wa:dz c'Jat 'kren a 'J1va w1c'J c'Jam.
3.

. .. . ,•.'• . ~ .
-· .
'nou s1tju'e1Jn kud b1 'moa ka'mO'nd10 fa c'Ja 'hsd 's1h av

:
~ ......::-. . . .... . . .. .......... ...... .... ... .
. . . .'."\. ... . .

a_'k1odani; 'nAn 'bsta:tfouzn fa 'noubl 'prospskts.

4.

.·.:. . ~ . . =·. ~. . . . . . .
hi 1z c'Ja '<tolmst av kam 'prenjanz Iand lJa 'stsd1ast av\'frmdz, J
7= .. : ... I. . ~. . . . :. ~. .~. . ~ . ~'. . '.: \. . . . ,
36
 . -.·---·-·"·····················....-.......................... -·-·-· .·.-·-·
········-·····""··--
1
- .
. ····--·-···· .··------
··- ··-·
. ""'--· ·-- .
and pahreps aa moust (61mium 'buk-1.war m 'IAndan. ·
5.

.• .........- ... • .......- ......•...........- .... ·., ... .. : ..•

hi 'm:va 'rEd Oa 'pe1paz hi eh 'i'vmo;
~ ........ -.-... ' .... :...... ~·····=·····~·
'pa·fh b1koz i 'hrednt

. ../ .. j_............ - .....·...... · ................ ·········· ..........- ....·......................... - . ··-....'.:'\................

1
'ta1m and 'po:th b1koz hi sou tsEldam faund Em810 'm aam.
6.

-- . - - --~ - -l·-.- ---· . -·. ~--~- -~- . - ~· . . . .

la1k 'moust 'ould 'pi·pl, 1 hi waz 'fond av 't:rk10 abaut 'ould

. '"'.\.. ••••••••••••••••••••••"'"
.
0•,,,,., ...... , ....... ___ ,,,.0000•0• ··----~··· .. -•Ho.,,,,'"'""'"
- ..
••MoO••••••••-•••"'" '"''"' .,., ........,

'de1z; and 'rez hi had noun thousts av 'mtrnstio and

. -. l . . . . -· . . . .
1m'p>·tont 'mED, - bred
_./

O !o'ne<f,s 'm<miri, ond spouk···a;

- -·- - -· · -.·---.. ·I ·_,. . ·-· . -__._ . -.. . . _ _._ _-.. . . . _. . . ..

moust 'fm1Jt '1oghJ, it waz a'plE3a ta'hsan tah1z,rEm1'msns1z.
7.

;;;;;;d:o-;;;;;~:,i-~,,; ~~i-,p;;;;J ;;-;;;;;;;;-~J:;-;;;;;;,;;~:

37
·. . . · · · · ·""'-· · · i'·······--···-··-"'. .j. ""\...............•. . .·. . . - . ·. . •. . . . . -
ta lla 'doum; a1 'so: 'llms 'l,\Ddan, will its 'riva, and its

.-..:. . j. .·. . . . •. . ., . ~. .
'bn4>1z, and its 'tf:~·tr1z;i a1 'so· ren'frk 'w£stmmsta, and
1. •._. - .. •..... - .. -.. ~---···..·-···- ....•.. ·
·------------·---·-
.
.•... • .•. -,.,H .. - ...·----·--··-···------~-...-- ..... ---· .. ··---·--~_ .......... •-----·A·-··-..----....,.,
lfa 'gri:n 't£mpl 'ga-dnz w10 ifa 'sAn apon <Jam.
8.
- .. .. - ..
.... ,_, ........... ,............ • ..,............................ .., ..., ................. ,_, .....
lJa sju'pr£mas1 av h1z po'hhkl '4>i·mas waz m'tarnh

.· ........ - ~
..........""\... ........ j ..... • ....... ...... · ..... ---------·--............· .... ,
b1'jond 'kwistfan. hi waz Oa 'fa·st 'ste1tsman av lh 'eu~~·-J
J
-._ _- . . . . ·. . -..:. . .·_ _ _-__·_ _. . . . _ _. . . -.. . .-:J
hi 'gAvand lla 'preJnz and 's£nhmants av a tgre1t 'neJ~"j
- . .
•- ·-··- ...··-···-·····---------··~···-····-·-·-·-··--······-·-····.. -------··· ................................. -----
az 'If lJe1 had 'bi:n bat tki:z and 'ko:dz av WAn 'va·st

' . " " \ . . . . .J .•• ....._ •• : •••••• • ........-

---

-
............... ,·-·
•

,...,, f · I -

• • ••• • ......... - - . ~ ... • .•. • I

'mstrumant, and h1z 'hrend tnah 'feild tu 1'vouk 'ha·mam

, , ---······-····-~-~----~----:.....:......=.----~-... -~ . .. -\ . . . . . . . . . . . . .
'i·vn aut av lJa jwaildast 'sto:mz.
38
 9,

· ..... - ........ --·-· _.,,, .. 1.. - - • ... •.......- .... : ..... ....... - .: .._................._
1
hi 'wEnt '8ru· 'lad 'bE,mo Oa 'loud av a tpi·plz 'sorouz

·..... •....... · ·-····--·····- ·.\.. •....: ...'--·· ..... ""\ .._.. ···-----· ·..... ·.---~-- ·1
apon h1z Jouldaz w10 a 'sma1ho 'fe1s. az 'loo az hi 'hvd,l

. . . •OOOO .Ooo••o•··
.
--~O,ooo,OOOOOoo•OOOo ~HOOOH.00 .....•
-
, o o O - - - · - - - :-:"\ ......... _,_ - - - •
-
,o,~OOuo•OooOO•••••Oo:

hi wez Oe 'ga1d10-'sto-r ev e tbre1v 'nei.fn, and 'wEn hi

·-·-······-····· / .... .,._•______ - ·. - ·

__ ... ..... --.- --:-. - ~--- . -~..........-:'.:'\. ....... ------·----
'da1d, <fo 'htl 'tfddrnn 'kra1d m Oe 'str.i'ts.
10.

_. -··· - . . ·. . . ·. . - . . . . --'.'. 1.-. ·: ........ -. ·. . - . .·. . . . . ~ .....-:-1

?fa 'lads ev Oe 'fo·m 'haus i'Jon on ]}1 tA0e 'said ev Oe thtl 'frld I

·b1'hamd
.................... ~ ........ ··-····
. - . _,,,,, -·-·· ..
- ···-·······-----
................. ~, ................................................ ........
'ladak buJ1z. Oe 'fo-mhaus 'pAmp 'ge1v aut e 'kra1

- .
..•..'":'\ . . . . . . A ••••••••• .-,. _ __., .. , .... •••••••••-••••••• .••• ,....., .. ,.,,.,.,.,,,,.,~=-·••••••·=~ .. ,, ...~,.,
la1k e 'gm1 faul far ·e fju m1mts. 'i)m Oe 'lalls 'wEnt 'aut.
11.
kAm10 aut ev lfa '81ate, I wi faund it 'Aiah 1m 'pos1bl ta gst
1

a 'treks1kreb; I end 'Oou 1t w.:,z 're1mo sla1th, I 'w:>'kt eru

'lsst.:1 'skwse l m Oe 'houp ev 'p1k10 WAD Ap I ez rt n'ta:nd
1

daun prke'd1h. I et 'p1kad1h 'sa·kes, I 'lu·z10 'pe1Jns I wi

'bEkand tu a 'fa''wi:la I end n'zamd auasdvz I tu e 'loo
'slou '(\3a·m.
39
12.
hi 'ke1m daun'steaz j at 'eit 'ea·h, I az 'ju·3ual, I and 'faund
'brekfast red1 I m .()1 'emph 'dam10 ru·m: I '()1s 'pli:zd him, J
b1koz ()a waz 'nA810 m. 'la1f hi the1hd 'm:,a I ifan ta b1 'hAnd.
13.
wi had bi·n 'wa·kin 'faa 'de1z, I and on ()1 'i'vmo av ()ret 'fa-0
1
'de1 I 'wi: 'eri: j ond a 'nAmbar .>V Aoaz j wa 'reshu auaselvz j
m a 'kwaiat 'ple1s nm ()a 'kremp.
14.
'wAn 'nait, I m mdl'a-na, j wen 1t had 'remd 'mah eru'aut
I
oa 'de1, a1 'me1d ma1 'fa1a ·1 an 'krempt Andar a te1k-frvd
'tri:, I wea oa 'graund waz tdrarn oan m lJ1 'oupan.
15.
I I
'wailst 'si·hd oea, 'smouk10 an 't:, k10, aea 'ke1m a 'loo jfaa
I
'stremctaz, hu 'si·hd aamselvz j at 'sAm 'd1stans from as,]
bat w1om 'rnJot .>v aua ,konva'se1Jn.
16.
Ji 'tould mi tvm 1ks'phs1th, I ta 'folou ifa 'pa-0 I anhl a1
'ke1m ta 01 'end av cla 'wud, I and '<Jen a1 Jud 'si: aa 'v1hd.3 I
I
b1'lou mi m ()a 'botam av oa 'vreh.
17.
"a'kha 'fa1a, I a'kli:n 'ha-0,·I and 0.1 'ngar av cla 'ge1m".. I
I
'()1s waz oa tsehbre1tid 'w1fl av 'ould 'seara 'bretl, 'nau w1lJ
'god, J 'hu:, j 'nekst tu ha d1'vouJnz, J 'lAvd a tgud 'ge1m
at 'w1st.
18.
()a 'prelas av 'hohru·d I haz bin 'left a'sa1d I m oa. 'groue 'JV
'edmbrn, I and 'strendz J 'gre1 and 'sa1lant Im a 'wa·kmanz
'kw·:,ta I and amAO 'bruanz and 'greswa·ks. j 1t ,z a 'haus

40
I ..

av 'msm 'msmanz. J'gre1t 'pi·pl av 'j:>a, I 'k1oz and 'kwi:nz, I

ba'fu:nz and 'gre1v rem'bresadaz, I 'ple1d osa tsteith 'fo·s I
fa 'ssntfanz I m 'hohru·d. ·
19.
'le1t WAil 'sretad1 'i·vmo I a1 'wotft m a 'milk Jop I at 'bri:da I
a ,konJ1'snJas 'dAtf wuman I at 'wa·k. I Ji ad (6ASt 'fm1Jt
1

'skrAh10 oa 'fl:>ar I and 'poh.f10 oa 'bra-s, I and waz 'nau

m'ge1ctd Im 'leuo 'htl 'pa:oz av 'pe1pa Im 'ke1s sm ttfa·ns
'kAstama Jud .kAm ID I 'ouva 'na1t I and 's:>Il oa 'b:>adz I
b1faa 'sAnd1. ·
20.
.hi 'nju: oat hi kud n'la1 on 1z toun 'ctA<tmant,J and''nsva
'skru·pld ta 'g1v 1t I tu a 'pAbhk '\V1tf 'nsva 'ta1ad av 0'sk10
1

far 1t.
~l.
and 'ctAst 'osn / 'sAm010 mast av 'sta:d m him, I fa hi 'ta:nd
AP h1z 'swoulan 'nouz I and 'stsad at ma1 kam'prenjan; I
and a 'htl 'leita I 'rAbd oa tdra1 'p1oknas av h1z 'tAo I agemst
ma1 '0Am.
j2.
w10 'oret I a1 'Juk ma1sslf, I 'got WADS 'm:>ar mtu ma1 'bu·ts
and 'geitaz, I and 'bre1k10 Ap oa 'rsst av oa 'brsd fa oa
'dook1, I 'strould a'baut I ta 'si: ID 'wot 'pa·t av oa 'wa:ld :
a1 had a'we1kand.
23,
a1 'st sam 'tfoklat, I 'swoloud a 'mau0ful av 'brrend1 I and
1

'smoukt a s1ga'rst I b1faa oa 'kould Jud hrev 'ta1m ta d1tse1bl

ma1 'f1ogaz. J and ba1 oa 'ta1m a1 had got t:>:l 'chs 'dAn, I
and had 'me1d ma1 'prek I and 'baund It on oa 'prek-sredl, I
l)a 'de1 waz thp-tou on oa '0rsJould av lh 'i'st.
41
 24.
'sAm av c!a tven 'best av '<llefnz 'J:l·t 'e.se1z J a d1'vouhd
ta 'IAndan 'si:nz; I far 1g'za:mpl I 'c!ouz on ··"sAnlait m a
tIAndan 'skwea", I "'vm1s m c!1 'i·st 'end", J and lla "'p1<llnz
at <la 'bnhJ mju·'zmm". I 'nou 'ri:da kan teva fa'get I <la
'wAndaful d1s'knpJn av an ta·h 'sAma 'm:l:mo J on 'IAndan
'bn<ll, i av l)a 'vlZlts ta l)a 'p1ktfaz at <la tnreJQal 'grefon, I
and l)a 'gri'k 'stretju·z at l)a mju·'zmm; J and .a'bAV ':l:I, I av
<)a 'stri:mz av 'hju:man 'lad Im 'frAnt av l)a 'r:l1al 1ks'tfem<ll,
25.
'Anda <la 'ka:vaz 'hrend, / 1t si:mz ta 'J<At la1k 'kle1, I ta
'fould la1k 'silk, I ta 'grou la1k thv10 bra·nJ1z, I ta 'li·p la1k
'llVIO 'fle1m. I 'krenap1 'kraumo 'krenap1, I 'pmakl 'pms10
'pmakl, J 1t 'Ju·ts and 'ri:clz Itself mtu an mttfa·nhd 'gle1d, I
m 'ekstnkabl, I1m' penJabl,; 'fular av 'li'f1<ll clan tm1 'forast, I
and 'fular av 'st:l·n clan tm1 'buk.
26.
ta 'lad a 'fa1arJ 1z cl1 m'shokt1v and ntz1stant 'rekt av 'mren, I
'wm, I at l)a 'wmtar 'mgres, i <la 'ka·fju 1z 'saund1d 8ru'aut
'ne1tfa. I Ii 'md1keits a spon ttemms, pro'mi:81an n'behasnas I
agenist cla 'fa1ret I clat cl1s n'kArant 'si:zn I JI bno 'faul
'ta1mz, I 'kould 'dO'knas, I 'm1zan and 'de8. I 'blrek 'kems
kAmz, I and l)a 'fetad 'godz av cl1 'a·e 'se1, I 'let c!ea b1 'lait.
27.
1t waz l)a moust 1k'str:l: dman luk10 htl '<llmtlman I hi ad
'eva 'si:n m h1z 'lad. j hi hred a 'vm 'la:<ll 'nouz, 1. 'slaith
'bra·s-kAlad, I h1z 'tfi·ks wa 'vm 'raund I and 've~l 'red, !
and ma1t av 'wornhd a ,sApa'z1Jn I clat hi ad bi·n 'blou10 a
r1tfrrektan 'fam I fa <la 'la·st 'e1t .an 'fa·h 'auaz; I h1z 'a1z
'tw1okld 'mmh I 8ru 'loo 'sdk1 'a1-lreJ1z, I h1z mas'ta·J1z
42 \
 'ka: Id ttwa1s 'raund I la1k a ·,k:>"kskru I on 'i·tf 'said av 1z
'mau0; I and 1z 'hEa, I av a 'kjuanas 'm1kst 'pEpar an 'solt
kAla, I d1'sEnd1d 'fa·r 'ouvar 1z 'Jouldaz. I hi waz abaut
'fa: 'fi't 's1ks m 'h~It, I and w:>ar a 'komkl 'p:>mhd 'krep I av
'mah lfa 'se1m 'relhtju·d, I 'dEkare1hd w1cl a 'blrek 'fEcla I
sAm 'eri: 'fi't !Joo. 1 h1z 'dAblat waz prn'lood b1'hamd I mtu
'sAm810 n'ztmbho a tva1alant 19,zre<t;a're1Jn I av wot 1z .
'nau 'ta·md a "'swolou tell", I bat waz 'mAtf ab'skjuad I ba1
cla 'swEl10 'fouldz av an itn:>:mas 'blrek 'glos1-luk10 'klouk, 1 ·
w1tf mAst av bi·n 'vw 'mAtf 'tu: 'loo m tka:m 'wEcla, I az cla
'wmd, I 'w1sho raund cla 'haus, I krend 1t 'kli:n 'aut frnm
cla twEaraz 'Jouldaz I tu abaut 'fa: 'ta1mz h1z 'oun '1Eo0. I

B. Emphatic Sentences.
Emphasis may be defined i,,s an all-round special increase of
effort on the part of the speaker to express
1. Some added meaning or intensity.
2. Some extra prominence which he attaches to particular
words or sentences.
Emphasis which adds intensity to the meaning already con-
tained in a word or sentence may be called Intensity. In the
following sentence i" n:>:mas may be pronounced in such a way
as to express to a very great degree the idea of size, i. e. to
intensify its meaning:

. . . . - - . .
'
.... .
................... _. _____.._,.......................... _., .. , ... _. ~--- ..--- '\ .
oEa waz an 1"n:>:mas 'kju: 'we1ho at cla '81ata.
The ways in which this intensity is effected are described below.

43

I
 Emphasis which is used to bring one or more words into special
prominence, generally for contrast, may be called Special Pro·
minence. The intonation of the sentence given above may be
as follows:

~~······
l!sa waz an 1"n;,:mas kju: we1t10 ~t oa eiata.
With this intonation the speaker is contradicting some such state-
ment as "There was only a small queue waiting at the theatre."
He has no idea of intensifying the meaning of m:>:mas, but only
of expressing a contrast. Other words in the sentence are neglected
so that the contrast-word may be specially prominent.
Emphasis is effected by various devices, among which two of
the most imp'ortant are the use of greater stress and a variation
in intonation.
Words pronounced with emphasis are marked thus",

I. Tune I 1) with Intensity.

The meaning of words or sentences can be intensified

I. By simply increasing the stress on the normally stressed,
syllables, the intomiti~n remaining the same as for unem-
phatic utterance ..
Ila. By widening the range of intonation of the whole sentence
(in addition to increasing the stress):

1) Tune II can also be intensified in the same way as Tune I.

This is not very usual, for emphasis of Tune II is generally effected
by giving special prominence to one or more ideas. See p. I'>~.

44
 Intensified.

Range normal Range widened

(Stress increased.) (Stress increased).

.....·.~
"plcnh.
..... ~........................
................•.......... _.....................
"pie.oh .

........ ~....... .................... -..... ~ ...........................

"ereok ju. "ereok ju •
. .

......................... ........ ·.... _····""""'" ·

.............. ........................................ :'\.. ..
1t s "pa·f1kth ab''sa:d. 1t s "pa·hkth ab''sa:d.

- .· -. .
.
. ................... ~ ............................ ...:'\. .............. ................................................' .............. ""\...............
hi "wount "hsn ta "ri:zn. hi "wount "hsn fa ''.ri:zn.
-·. - . -. -·-. ·- . - . . .
..... .. .. ............. ·. ~ .. "".\ ...
"wot m lla "ne1m av ''f:>"tfan
,,_. ................................
"wot m <'la "ne1m av "fa·tfan
,.
a ju "dmo? a ju "dmo?

............................... ... -.- ~...: ~ ...................

........ .... ~ ~ ........................
.......................... .....
''hau "ve.n m"~i:nmsl "hau "ve.n .m" ~i: mas!

lib. By widening the range of intonation from the intensified

word to the end of the sentence, the rest of the sentence
being pronounced with normal stress and intonation:
4 Armstrong-Ward, Intonation. 2. AuO.
45
 · ··
........................ ............................... ...... ................... ~ ........ ~ .... '
a1 'ka·nt si a "s1ogl 'klaud .

.- · .
................................................ ........................................... ~ ..... -......... , .. --•
ju v 'nou a1 'd1a hau "dif1klt a1 'faund It,
-.
. •
···········································································
lla 'imen waz a 'sted av "b:)lho md1g'ne1Jn.in
. ....................... ,......... ~ ....... .

. - .. - .. .
······················ ....................... ····· ......... ,.......... ···············-··-'············:::::x....................
'o:l <Ja 'wedaz 1ks'p6khd 1"no:mas tips.
III. By lowering and narrowing the whole r11_nge of intonation
(in addition to increasing the stress). The pitch of the final
syllables is sometimes so low that whisper takes the place
of voice:

Intensified.
Range normal Range Narrowed and
(Stress increased). Lowered (Stress increased.)

__ ............... ~ ................................... . ...................................~ ...............................................

"j6S. "j6S .

.......................-... ~ ........................... .. ....... -, ... -~................ ~ .................. .

"plE.nh. "plEnh .

. ··-·· .. ·--·····-"'\. ...........·-··· ............... ......... ".':\ ..............................................

"8reok ju. "8reok ju."
46
 - ..
........... ....... ........•..... :-i.............. .. . - .. .
....... ·.....................................................................................
1t s "pa:f1kth ab"sa:d. Its "pa:f1kth ab''sa:d •

·
......... ........_.................·....
hi "wount "hsn fa "ri:zn .
- ··
... .... .... ~ ............... - ··
........• ............................... ... ... ......'-..............
hi "wount "hsn ta "ri:zn.

·
... .............................
a1 "wount "strend it
- ·.....- .....·.....~........ ..• ..............................- · - ......·...... """"-....·····-
.....
1
'sm a1 ·"wount "strend It ·"sm
.. ...

''looga. "looga.
- ..
······························ ......~. . . =···-~---·~·-···~---~..... . .....- ··-
..... ..... .... .... ·....:... .. ... ... ...... . .· · · ,
"wot m ifa "ne1m av "f:rtfan "wot m Oa "ne1m av "fa'tfan
a ju "dmo? a ju "dmo?

- ..
..........................................................~ .................... . ................ - - ...• ....• ....., .........................
........
"hau "vsn m"cti:masl "h
. au II vsn m11,1.,,•
U.)1:nms;
Other devices include the lengthening of sounds, the shortening
of sounds, the use of the glottal stop, repetition, gesture, facial
expression, special kind of voice.

Examples I. Tune I. with Intensity.

(Range widened and stress increased.)
av "koas. .. .....~ ... ~ ..............................-
1t s "wA11daful. ........ ~.....~ .........,............
wi "did wot wi wa "tould.
..
- . . . ~ ........

It s "pa·f1kth ab"sa:d. ~ ... .

4•
47
 - ..
<la mren z a "w,mdaful m"8ju·z1rest. . . : -
.·.. ... ..... ........................ . :::'.:\..~

a1 "wount "hmr "cm810, 3"b3ut 1t.

ai "wount "strend It "cm "10093,
~
-. .= . :. :.:. ~.
. - . ....
......................................................'.'.\
ju 3 cl3 moust k3 "re1ct3s "kri'tf3r 3I . -.
"cva "met. •• •••••• •o••••HoMNo•""'''''',OO>•o .. Oh'o'"'''" '

.·... ... ... .. . . . . . . . . . . . -. . . ...=.~-~~

cl1s 1z cl3 moust 3"me1z10 "teil 31 "cv3
"ha: d m m31 "l31f.
31 m "hreod If 31 k·an ",md3"strend it..~... =. -~ . ~.. .~. =. ~. -~. .
31 m "f313d 3V "weifIO, .. ~..... .-.................~ .................

"wai on "a·8 did ju "mt3"f13?

-. - .. - .
.....................................
...... ~
- ..
"wot m cl3 "ne1m 3V "f:rtf3n a ju "dmo? .............. : . :..::.~. ~-~--~ ....
- .. - ..
"wc3r -1n. cl3 "wa: Id kren hi "bi:? ...................... -......... ~-------- .. -·
"du: "stop "t:rk10. .. .............................. "'\.................. ..
"h3u "kud ju! ..................:'.\.............................

"hau "splendid it 1z I .............. ~ ............ , ................

3"pon ma1 "wa:dl

.
--~·-····----······-----·~ .....................

II. Variation of Tune I., due to special prominence being

given. to one or more· ideas.
When the speaker wants to pick out a .certain word (or words)
and distinguish it from others in the sentence by making it special-
ly prominent, he does it chiefly hy a· change in intonation.
Increase of stress often accompanies this c\10.nge, but it does not
ever appear to be essential. \

48
a) Last stressed word made specially prominent, the
rest pronounced with normal stress and intonation.
The effect of emphasis on the last word is obtained by making
the pitch fall from a greater height than when pronounced un-
emphatically:

. . . . . ~ ..
a1 'dount '810k hi 'n6uz (noue ul)emphatic) .

· "'\.......................•.........................
.. ..
a1 'dount '810k hi "nouz (noue emphatic)
All the examples given under Ila. should be pronounced with
normal pitch on all but the last stressed syllable marked thus ",
where the fall in pitch should be greater.

Examples Ila.
a) The last-stressed word made specialty prominent,
the rest having normal stress and intonation.
1t s 'not ma1 ''b1znas. . .• \ •
c}a 'mren z a "fro:d. =..". . . ~
ai 'o·dad It "spoJah. . -:-.. • : ·'\ ..•..•
It waz 'kwait "tji·p. ...~ ..... ~ ... ·=········.~····
a1 'ka·nt Anda"strend It. ~ • ~ ..•
hi 'kwait a"gri:z w1a mi.
. . . . . .=. . . . . . . . . . . . . . :.
~
··~····~·~·······················
~ ~.~
aa 'haus 1znt "la:cJo mAf.
a1 Jud 'la1k ju ta "mi't him. . ,·. . . . .=. . . :.~.. . .. . . .
~ ~ ~
49

'
a1 'hrevnt 'si:n 1m sms "mAnd1. __. ____ - . : . -.. •... · ~ ........ .
Ji 's6d 1t d1dnt "mreta. .. • ....- .. ."._. __ •___""\ _____ , .... .
ju'dount 'nou hau "1gmmmt a1 rem •....;....
'llret wud b1 "spl6nd1d. .........
-=:=:..·=··· -~-~-·-·····-......... .
:.:. -~- . . . . . . . . _. ..
it '1znt 19'zrekth wot a1 ''wont. _ • ... -_- .." _- . ~.. • .: ~--····

Queatlon1.

'wa1 dount ju "oltar 1t? . ...._.-...·. . ?\........ ~ ..... .

'hau "ould a ju? --·····-- ... -:\. ...... ···-•-.. --
'wot kan ju "si:? ,.___ ... -
.....:.. -~---··· ·--·-··.
'w6a JI wi "9ou? - ..... · ·.~
......... .... ...
'wEar av ju "put 1t? ···-·· - ... :...""\ ......
·-·· ....... ..
'w6n a ju "9010? ·- ~--· - ........ ·... ·--~-·-"··· . -·-···
..
'wot a ju 9010 ta "du: abaut 1t? __ ~ --.· ·....... ~--·-· .....
'hau d ju '810k hi z "luk10?
-.
..... .. ...
~
............. ._ ....... - . : ____ .i.. ....... _.......
'wa1 d1dnt ju 'famd aut "su·na? __ ..... - ...... •... - ... ·"""'\ ..... .
'hau d ju nou 1t s "roo? ........ - ....•..: .. •..."""\............
'wot sit :rl a"baut? ,,_ .... - .. : ... •...· . ~ ......... .
'hau d ju la1k ma1 nju "hret? ·---·--=·-~-..:. .~.-~. ~........~. . .
. '1·rv 1t t1I t a " morou ? ...............................................
' wa1 doun t JU - • • - • • •' ,.\ .....•.

'wnt d ju k:rl "llrs 810? ... .'...._:'. .... ~ ......~M~... • ..

-
'bau m6m 'ta1mz ;:iv ju "bi:n c!Ea? ....... ........... .. .... - · ·'""'··-"···
'w631' ;:i ju 'spEnd10 "knsm:Js? ......- .. 1· .. ."....- ...... ""'\.__ .•

00 \
 N. B. The pitch or the syllables immediately preceding the em-
phasised word may rise.
e. g.
··~
. .. •....... -
.... .... .. .......... .
a1 ':,·d~d 1t "spefall,

· - · · '\.
..... ..... ... ..... ......
.a1 'ka·nt Anda"strend 1t.
......., ...

Compare examples on p. 5.
b) Any oi:.ie word made specially prominent,
the rest unstressed.
The attempt· to make "knows" prominent in "I don't think he
knows" is much more effective if all the other words are treated
as initial unstressed syllables, and pronounced with the even
intonation which is given to such syllables, i. e. with either level
or slightly rising intonation:
-----------
.... ~ ....... ~...............~.....~ ....
a1 dount 010k hi "nouz.
Similarly, if "I" (and no o~her word) is to be brought into
prominence, the pitch in pronouncing "l" falls rapidly, and the
remaining ~yllables are treated as final unstressed syllables,
either level or slightly falling:

~ ................................................. ..
"ai dount 010k hi nouz.
If "don't" only is to be made prominent, the intonation is as
follows:

·~
.. ......
a1 "dount 010k hi nouz.
.................................................. .

Examples given under Ilb. should be pronounced with a rapid

fall of pitch in the syllable marked thus ". Syllables preceding

51
this mark are to be treated as initial unstressed syllabl~s; those
following as final unstressed syllables.

Examples lib.
One word made specially prominent,
the rest unstressed.
1t s not ma1 "b1znas .. ···
...... ..... ..... ... ~ .......................... ..
l)a mren z a "fr:,: d. ...........:.........~........~......~............................ .
a1 :,·dad 1t "spEJah. ~ •..... ~ ~
••••••: .......: ........ ...... ... i.11,.,,,,,tt ......... .

1t waz kwait "tfi·p. .......... :........~........~ ..~ .......

a1 ka·nt Anda"strend it. ......~...... ~......... ..........~........ ~..... .
:
"a1 ka·nt Andastrend it. ~ ..• ............... ft ...... 111 .. " ............... ,.

ai "ka·nt Andastrend 1t. ......~ .....~ .................. ····•······• ·- ····· .......... .

Ji i not sou "wel ll"1s m:,·mo. ......~.....:......~....... ~............................
wi ":,·lwe1z hrev lJ1s trAbl. .. .....~.... ~ ................ J/1,.......... • ...... .

"cf.jon nouz nA810 abaut 1t. -•r~,,,,.,/1.,,,,,11.,,,,,,e.,,,,,A.,,,,A,,,,, . .

cf.jon nouz "nA810 abaut 1t. ........~........ ~.......~---,.........................

"5vnbod1 famdz 1t dif1klt. ~ ...... ..................................................... 11 .......... .

"a1 mast te1k it m hrend. .........~ .....~ ................................... .

bat aJ dount "wont lJa IDAfll, ....... · ··~
...... ..... .... ............................
a1 "dount wont lJa mAm. ........ ~ ....~ .. ,,, .............. ····· ..
"a1 dount wont lJa mAm. ...... ~ ......... ,........................ .. -
a1 "tould ju not fa du 1t. • ' " ', ...• ..!I ................................. .
·.....................

.........~.......~.......:. .... ~ .... ~ .......................

. ...\.:,
a1 tould ju not ta "du· 1t.
oat a1 hrevnt ''pe1d him. ft• ..................................... , ................. .

52
 l
bat 81 "hrevnt pe1d him. . .....~....... ~.-~ ....................................... .

l!sn wi 1 '':>:l kAm. ~

...... ·:: ..... ..~·-········································-
"fa'k10 wudnt av bin sm 9ud •... ~ .............................. _..................
t:rk10 wudnt av bin soi "9ud. • ~ ..... ~.....: ....~ .....~ ...~ • ...... ~.
81 9ot "ju: wa 9010 ta du it. . ..~. -~ ~ ......................... ..

Questions.

wot s oa "t31m? ~ ~ ~............................ .

........... ..... .....

W81 dount ju "oltar It? ......: ..... ~ .... ~ ... ~ ..........................

wot kan ju "si:? ... ~ ~ ~ .........................
.... ...

wsar av ju ''put It? •.......: .... -~ .......~.....~ .....................

wsn a ju "9010? .................... ·~ .................... ..

h8u mAtf dAz 1t "kost? . --~- .... ~ .... : .... ~""'\ ........................

wot a ju 9010 ta "du: abaut it? .......•.... • ...:.... ~ ...... ~~ .................. ..

hau d ju 810k hi z "luk10? ... ~- ..• .....~...... ~.. ~ .......................
wa1 d1dnt ju famd aut "su·na? ......: ~- : ...~ ... ~.....~. -~ •
h8u d ju nou 1t s "roo? .... -~-.. ~-· ...~...... ~ ""\.............. .
wot s 1t o·I a"baut? ~..... ~ .......~ .. ~ ..
....

h8u d ju la1k ma1 nju "hret? ....... •.. •....... ~.....~. ~ ..:\......... .: .
wa1 dount ju frv it hi ta'' morou? ....... ~ •.... ~ ..~ ... •...~...~.-~ ..............
wot d ju ko·l "01s 810? ...........~.... ~......~... : ' \ ..................... .
hau msm ta1mz av ju "bi:n l!sa? .......~..... ~..~.... •.... ~ .'.~.. ~ .........
63
c) Two or more words made specially Prominent.
When two or more words are made specially prominent, the
pitch falls within each emphasised syllable. The most strongly
emphasised word falls from the greatest height:

~ ~ ....................... ~.... ~ ..........

.... ........
· a1 "dount 810k hi "nouz abaut It.
Or, if "don't" is to be made more prominent than· "knows":

~ ~ .........,.........:.!...... =:\ .........................

.. .....
a1 "dount 810k hi "nouz abaut It.
Or, if "I'' is to be made prominent instead of "don't";

~ ~~
.......................!.......... .. ................... .
"a1 dount 810k hi "nouz abaut It.
Or:

~........................~...........~ ..... ~ ....................

"a1 dount 810k hi "nouz abaut it.

Examples Ilc.
Two or more words made specially prominent,
the rest unstressed.
it s ''not "ma1 b1znas. ....~ ...~ . ~ ....... .
ai "::rdad It "spoJah. .....~ ... ~ ........~.:-:'\.. .......... ..
a1 "ka·nt t.nda"strend it. ~. ~ .....l ....~ -::\ .............. ..
"4lon nouz "nt.810 abaut ·it. .....:::::\ ....... ~ ............... .

64
bat a1 "hrevnt "pe1d him. ....:.... ·.~.... :\....•.........
"b'k10 wudnt av bi·n sm "gud. .. "'\.............. ·....... _.
_ ~.

"a1 (krt "ju: wa gmo ta du 1t. _ : : : \ ••••- : \ ..• ' •L••••••• ·. ••• 0.

hi "me1 bi a "la1v. .·..,"'\......... "'\..·-··-····-······

•
-~
"

1t s "pa·f1kth ab "sa: d. -- .'"'\.........• -- ............. .

bat "sAm pipl "lAv <>sa wa·k. ... ·. "'\.... .... ... ""\............... .
• •
"a1 hrev "AlJa 81oz ta du. .::\ ..... !:.:::\._... ___............ .
"ju: dount nou hau "1gnarant a1 rem ..~.........L.~..~ ............. ~
''<>ret wud b1 "splsnd1d. ..::\. ....•..... '!..~--····---···-·····
"<>ret me1ks 1t :rl "rad, av "k:>as. :'\. ".. •...:'\...:\................... .
Questions.
"wa1 dount ju "oltar 1t? ·- :'\ . .•...=:\. . . . . . . . - -.· ·
"Iiau d ju nou 1t s "roo? .:-\........... •.....•.. ~ .................
wa1 dount ju "Ii: v It hl ta "morou? ....•..... • ..: "'\._,._..•. • ~ •...
"hau msm ta1mz av ju "bi:n <>sa? .."\.......... • ...• .. •.. : .. ""'\...A.......
The following example sums up and shows clearly the manner
in which Tune I. is modified for emphatic speech, according to
the position in the sentence of the emphasised word:

Tune I. unemphatic:

', ..... ,,,, . . . . ~ · · · · . . . . . · ... • ... .!'

bat ju 'mAst b1 'sianas abaut It.

Tune I. as under Ila.

~ , , ~ ~ ............
... ... ........... , .... ... ..... ·····•·
bat ju 'mAst b1 "sianas abaut 1t.
 Tune I. as under Ilb .

~ ~ :~
..... ...........:.......... .......... ............. ,. ...................
bat ju mast b1 "s1anas abaut 1t.

Tune I. as under II c.

~ .......~...~........ , .......................
·····-~···· ·-~- ..

-··-~- .. ~ ......:.~ .... ~ .......... .

b3t ju "mAst b1 "s13nas abaut 1t .

~ ~
.. ... -.. ~
.............! .......... .............................. .

-~
bot "ju: most b1 "Sionos o b a ~
.""\ .. .

III. Variation of Tune II., due to special prominence

being given to one or more ideas.
When a speaker uses Tune II. with emphasis, he implies, very
definitely, soIIUJthing he does not express in words. The impli-
cation may be, and very often is, some c~ntrast in the mind of
the speaker, some uncertainty, indecision, encouragement, warning,
a wish to avoid appearing abrupt or dogmatic, a desire to con-
tinue the argument, a feeling of politeness: in all cases a lack of
finality. Whatever the implication is, it is indicated with much
stronger force when the intonation of emphasis is present.
The intonation of the syllables which carry the pitch upward
from the last stress is interesting. The rise often occurring

56
within the last of these final syllables is generally due to a
slight secondary stress which it has not been considered necessary
to record. Such a rise may take place within the final syllable
f ea z in

....~ ..... ~ .. ··~· .......................................................- ....... ~ ••.•••"!. ••••~

a1 "nevar a·sk kwestfnz abaut jua 'pra1vat afeaz.
The rise in pronouncing haz is necessary if 'pra1vat has
em ph a tic stress:

~ ~ ...................................................~ .......... ~...~

.. .....
a1 "nevar a-sk kwestfnz abaut jua "pra1vat afeaz.
Similarly

.~ . ~ ..... ·············"···-··········~ .....:::::'.'..!.. ~

............................ .............. ......
wi "o:l ju·st ta du 'llret so·tav010. wi "o:lju·stta du "c!retso·tav010.
~ ~~
But there is no tendency to raise the pitch within the final un-
stressed syllables in the following:

~ ~ ...... .
.. ...... ........................ - ..........
a1 m "son tu av kept ju 'we1tio.

~.....~.........•............• :............- ...... ~

a1 "nju: ju wudnt 'du· It.
If, however, we I t I o and d u• are pronounced emphatically,
the pitch is, ./. This final rise cannot be said to be the result
of a secondary stress on the unimportant syllables t I o and It.
But, • does not occur in English intonation.

57
 a) One non-final word emphasised.
There is a. sudden drop in pitch in the apprClpria.te syllable of
the emphasised word as in Examples II. ·

.·: ................ "'\..............-

a1 'dount "wont <Ja 'mAm.
... ·
········-~-----~-~---·· .~ ...........:~...
a1 'd1dnt ''nou 1t waz ju:
Note the low level pitch of the syllables occurring between the
stresses:

.......... -~ --~-- ...... .....

ai
.
. ··•···· ...•. --·-·"-··----· ................................... -····
m sa"pra1zd na1cJar ov ju nmcmbn wear ai 'put It.
It is noteworthy that all the statements in which Tune II. is
used are the expression of some personal feeling or opinion, and
that the simple device of raising the pitch of the voice finally is
enough to convey an idea to the listener without actually stating
it in words. That is why this intonation is so much more fre-
quently used in conversation than in description or narration.

Examples Illa.
a) One non-final word emphasised.
a1 "w1J ~i 'wud. ----~---~---···--··------L ...............
a1 v "tra1d 'cJret we1. .... •. ~- ...... - ......../.....................
hi "ka·nt b1 'lem. ., . ". -~ ..:. _______ ._
al "nou 'cJret. .... • ~ ,..-./.... ..................... .
58
"t:l'k10 wudnt av bi·n Em 'gud. - ~ ....................................................-«'!

a1 ''kffnt me1k 1t w1oaut 'Egz. • ~ ~

••••• & •••••.•.••••.••••.•••••••••• ............-

Ji "sEd 1t d1dnt '_mreta. . ·..~ ................................. -

......~.......... ..
31 dount "wont ta 'taia ju. ". ~ ~ ~
........ ..•.. ......................- ...... ~...........
a1 "01ok oret wud b1 'bEst. ... ..... ·~ : ........ ................................./....... .
31 m not "gud at 01s s:l't av 910
'n3ua<le1z. .. . .\ .....................- ...~....~..
a~ m "glred ju '910k sou. . . ""\ ...........- ......................................
...... _,/ ,'

31 nEva ''9:rt av 'oret. • ~- ·•~'"''''~w-~,,.,,,e,,,,.,,L,.,,,,,.,,,.,,,,,,.,.,

31 "91ok 'it s :rl 'rait agem. . ""

...•...•\ .................... - /
... !'! ...........................

31 "9:rt hi wud du 'oret. ..~.....~........................ L ..............

"oret woznt 1gzrekth m31 'ri'zn. \ .............................................. - ......~

1t s "kwa1t 'pos1bl. . -~-..-~·-·····-·····'··...~ ..............................

31 910k 31 d bEta "gou 'nat.i. . ~ .~. ~.:.~ ... ~ ....~ ....... L ....................
ju "ni'dnt bi sou 'Jokt. ..~.~ .......................L ...............
31 "houp a1 hrevnt kEpt ju 'weitio •. ~ ~ ..........................- ...... ~.
a1 "w1J ju wudnt mta'rApt. ~~
. .... ............................... , , ..... & ........ - ~

a1 d '' ra'oa ju 'd1dnt. ... ~..~...................... - ~

..... .................. .

a1 Jud "la1k ta mi't oa 'braunz. . ·.~.............................. .... L .........

it "wount te1k VEn 'loo. • "\..·...........·............d......... .
a1 Jud "la1k fa 'si: WAD, .• ~.~ ...... - ......~ ............
J1 z "pnha oan. a1 1ks'pEkhd. . : , . ~ ...... , . •••. ,.·.. - .... ,,~,,,,.,.,N

a1 d1dnt "mi:n fa d1s'ta:b ju. . ·.~.-· ~ - •...... .•. ................... ....

It s "sou na1s fa 'si: ju agem. . ""
....... - . _.,.
\ ...................... .......~ .....................

a1 "91ok 1t s :rl 'rait. . ~. -:\....... . ..../.. .........................

59
i'

a1 "nju: ju wudnt 'du: it. ....... ~......~ ......................... - ... ~ . .

ai m "son tu GV kspt ju 'we1tio .......~ .....:)............................- . ~
"dret s :>:l 'ra1t. . ~...............-/.......................... .
1t "woznt G gre1t di'l GV 'trAbl. ...:.:::\. .........................- .... ~ .. .
1t "si: mz rO'lJGr G 'p1h. .. ~..~ .......................... - ..... ~ .........
"dount du 'lJret. . ~ ................/.............................. ,
wi "~rl ju·st tG du.'lJret s:rt GV 910, ... ~.~ ........... •-.- ......~... ~
1t s ":>: lwe1z la1k 'lJret. . . ~.~ .............................-/................
wi "wount gou mtu :>·l lJret 'nau •. ~... ~ ................................... ~ .....
Ji z not sou "wd lJ1s 'ni:>·mo. ...~ ~ • ~ .......- . ~...... ..
"lJret s 'stremq;. ...::'.:\ . . ..L......................................
''let mi nou hau ju gst 'on. . ..... ~. .• .• . • • ... .L .. ......
ju luk "tmbh 'pe1l. ....~....~. "'\ ..............-'-......
a1 "dount 910k hi 'nouz. .. .....•..~ .................... _../. ..... .
hi 'hreznt "d'shmth n'fju:zd. . ... ~ ......:- •. ""\................ ~
a1 fslt "sa·tn lJ1 a·hkl wud bi :>·l 'rait ..... ~... ~......~ .......................... -t.
a1 d fa"gotn a1 tould ha 'lJret. ·
....~...... ......~ ............................ ~ ..

a1 v "nou daut Gbaut 'lJret. ·

.... ."'\ .............. -/.. ..

bGt "JuGh ju mGst ·'nou. . ...7-....~ . ......... ....... . L ..............

ai "ka·nt du it m G 'de1. .... ~... ~: ............................... L ...... ..
aI DcVG "9:>·t GV 'lJret. .....~ ...:..... ~.... ~ ............L ... .' .... .
ju 1 "nsvG bi e1bl tG ki·p it 'Ap. . ....~ . . ~- .•. • •.................L.
ju nou a1 "nsvGr a·sk 'kwsstfnz. .....~ . . ~....~..""\ ........- . .~.. . ........
"du:. td mi wot ju·v bi·n 't:>·k10 Gbaut.:\. .. • :....... - ......~ ....:::::'.:.
60
"oret S oa s:rt av mren 'hi: ~ .......... - .... ~ ........ ..
IZ.

ai "du: houp ju· I hrev a gud '<ll<rm .. ~ ......:::\ ....................... - .~ .

oa LrnJ waz "drsdful, 'souJah. ..~. ~ .. ~ -:\. ····-· ~. ~.
a1 "nsvar o·sk kwsstfanz abaut jua
'pra1vat afcaz. ~~ ............... -··· • ../
Requests.
"let mi nou hau ju gst 'on. ... ~..... .. .. . ...................... ./.... .

"dount gou brek <llAst 'jst. ..~ ................................./.'........ .

"kAm an si mi 'su: n. ..."\ .. . . ..•..../..........
1ks"kju:z mi WAn 'moumant. . ~- ~ ...................
"dount trAbl tu 'o·nsar 1t. ..~ .................................. - .. ~ .
"du: stop 'l:rk10. ·--~- - ... ~
.... .......... .

b) Two or more non-final words emphasised,

the rest normal.
The pitch falls suddenly in pronouncing each emphasised syllable:

~
.~... . ~ ... ~ .............L ..... .
os a "not "nal 'flauaz.

~ .. ~ •...~....... ...........L
a1 "Judnt "ba1 WAn 'jst.

Examples Ill b•
a1 "d1dnt "mi:n ta 'boust. .......~.:\. .......:-\ .•. """ .L. ..
It "1znt 1g"zrekth wot a1 'wont. .......
' ... ~ ..........~ ../.

It "woznt a "greit di'l av 'trAbl.

Ii Armstrong-Ward, Intonation. 2. Aull,
. ""'..\ .. . '-..........·......- ..~
.. ...
······"'·······

61
 bat cJar a "Juah SAm "gud p1ktJaz
m lJ.l 'grelan. .~..•.. ?\ ...... ~.~ ........... ·-~. ·
a1 ,~~~:t. "spssifa1 sm pa"hkjula ~ .~ .. ~ . • • .~. ~ ... ~ • ..........

lla "mo·sta z m an "~:fut 'tsmp.l. ~ ~ • . • •"\ ...• ···-· •

Its "kwait aut .lV "freJn 'nau. ··-~ ~ ..•.. •.'\ ...•........ ./........... .

c) Emphatic questions which can be answered

by "yes" or "no".
In questions of this type the verb is emphasised and there is
a rise in pitch from the emphasised syllable to the end of the
question; that is, the last part of Tune II. is used:

.. ~.~ ....•... ~....~ --~-· .~.

bat "did it nah hrepn?
Such questions can also be asked with a level tone on the
emphasised word, thus:

.............. - .. • • •
............. ..
bat "did It nah hrepn?
But the latter intonation is not so emphatic.

Examples III c.
The following questions should be practised with a fall on the
first syllablei
"a: ju Jua ju poushd cJa lsta? ~ .•..... •... •...........•. •... •..... •.....
"mAst ju mvait ~·l cJi:z? ~ ~ ~ ~ ...........................
~-····-~- .. :. ...... ....... ..........

"dount ju 810k wi Jl laik 1t? ~-----~---·"·-'~.......~........ ~..- .... :... .

62
\
"1znt It pos1bl ta gtt a dokta? ~ ..........! .....~....~.....~ ....~....~....: ....~... ~......
"du: ju bdi:v mi? .. ~.............. ! ........~ ..... -~- .............................

"du: ju Andastrend 1t? ... '\................ • · ·.......·.......................

.... ......

"a: cle1 vaiafats? .. '\..................... • .........·..................................

'')z clca go10 ta b1 a sto:m? ...~--- ~
........ ..... •. . .
"woz clear an reks1dant? .... -~·-·········· ...! ...... -~·-···"·~- ..... ·--~.............. .

"hrevnt ju cm mAm? ~ ~
····~--- .• ...... "!'....•. --~---···-~-....... ...... ..•....•.

"o·tnt ju ta gou tamorou? .... ~ ....... .... , ..... ~ ............... ~.......~........~ ..... .
,

"wudnt hi av hclpt ju? ......~ .............! .......... ~...........~...... •

"1z clar cm dem<lla? ---~···· •.....~ ............
All question!; which ask for the repetition of a.n answer have the
above intonation, either with or without a fall on the stressed
syllable:
"wot d ju se1 hi did? ..~ ............ ~ ~.......................... ..
"hau mcm ja:dz wud ju laik? .. ~..................! .. . •
,. • •
"wcn did ju se1 hi'd kAm? ... ·
·~·.....•-~·-,, ... •...........·....... ..... ~ .........
/
d) Last stressed word emphasised (in addition
to one or more others):
I.

~ ~ ~ ............~ ...~............
-~ .. .... ....
./
a1 d1dnt "nou It waz "ju: strend10 llca.
The fall in pitch in pronouncing ju: gives the effect of em-
phasis; the rise occurring after this suggests the implication
"I thought it was someone else".
o•
63
 Compare

...~ •..... ~ .... ~ .... ~ . . ····--. ~..........

... .. ...............
ar drdnt "nou rt wez "ju: strendro <lee,
(where ju: is emphasised, but no strong implication made);
and

..~.....~....~ ~ .. . .. ····- ··-···: ..........~.:~ ....~.

.. ..
ar drdnt ''nou rt wez 'ju· strendro ~Ee,
( where ju· is not emphasised, but an implication is very definitely
expressed).

II.

..... · "'\ ..
·····•· ................ ...
ar dount "wont <le "mAm.
.. . . .. ... ~ ../. ...............
Here, wont and mAm are emphasised. The rise on m suggests
"I want the thing itself' or "I want the honour".

III.

~- ...... ~.- .... ~ .. ·•····•· .':Y....

rt wud "du: far e"tarm.
(Bnt not for always.)
IV.

... ~. ·•· - ~ .•... ··•·····• .....,......,............., .... ~.

ju 1''neve bi erbl te ki·p rt ~'Ap.
Here the implication may be "So you may as well stop trying."

64
Compare

... ~ .........~ .................................................~ .....

ju l "nsve bi e1bl fa ki·p it"Ap,
where the implication is not suggested I but a decided state-
ment made.
Note that when the fall-rise is compressed into one syllable, the·
pitch does not begin very high: (v not\..,).
A foreign student finds it difficult to pronounce a final word of
one syllable with a fall-rise in the pitch. This fall-rise is very charac-
teristic of Southern English and is well worth the trouble spent in
acquiring it. The student should first practise spreading the fall-
rise over a number of syllables, as in (I); then over two syllables
as in (II); and finally compressing it into one syllable as in (III)
and (IV). Jn (II) the fall is on mA aud the rise on m; in (III)
the fall is on ta1 and the rise on m; in (IV) both fall and rise are
on A, for as p is voiceless it cannot carry the pitch. Examples
of the number (IV) type, where the fall-rise is compressed into
one syllable ending in a voiceless sound, are the most difficult.
The examples given below are arranged so that the difficulties of
the fall-rise intonation are met gradually.

Examples llld.
Last stressed word emphasised (in addition to
one or more others):
I) Fa II - r is e s p re a d o v er a n u m b e r o f s y II a b I e s.
wi "::d ju·st te du "oret s:rt ev 010 ...: ... ~ p . . " \ ..... '.'.'.'.'.'..

1t s "sou na1s fa "si: ju egem. .• .. ~ ....... "'\ .•..•..... ~..

~
ju e~:i~~~!. 'me1k sou mAtj' "n:nz .. .~ ..•.:-::- • ::\ .•..• .~ ..

65
 ai'~a~:~:!~d .lt lhs s:rt .lV 010 .• ..... ~
.... " "· ..... .•. -.<. . ~
"du: tsl m1 wot ju v bi·n "tJ·k10
abaut. -~·· • .. •..•..•~ •.......! .. ~ .
a1 d1dnt "nou it waz "ju: strend10 lfaa. ~...:...~~.. • . • ~ •...•.... ~..
a1 "nsvar a-sk kwsstfanz abaut jua
"pra1vat afsaz. .:.~ ................~ •..~.. ~
m "01ok It s J'l "rait agem. .. ~ .. ~ ........
~..........~ ....
lJa IAnJ waz "drsdful, "souJah. .~..... ~.....~...~........ :\......... ~ ....

II) Fall-rise spread over two syllables.

31 dount "wont lJa ''mAm. .~ .. ~~ ..... ~ ... /.............
hi "ko:nt b1 "le1z1. ....... ~... ~ ...•... -~ -~···· .......... .
Ji "ssd it d1dnt "mreta. ....... •.... ~ ...........".:\.L...............
m m sa"praizd na1iJ.lr av ju
nmzmbaz wsar ai "put 1t. . ~ .... ~~ ..! ~ ~
.... ..••. ............• ... , ... ~ ../ ....
a1 "dount wont ta ''tarn ju.. .........~.~ ...•....•..~ ... L .... .
a1 m "glred ju "01ok sou. ........~...~ ......'.::\.... / ....... .
31 "houp a1 hrevnt kspt ju "we1ho ......~.. ~ .. , . ~ ........~. / .... .
31 d "ro·lJ3 ju "d1dnt. ....... ..: ::\.........:::'.\ .../ . ...................
a1 Jud "la1k ta "si: W1'n, .. ~.. ~'\ .......)i. .L . .............. .
.....
Ji z "pritrn ifan a1 1ks''psktid. ...........:.....•.. .\.......................~ ..... /. ....

a1 'd1dnt ''mi:n ta d1s"ta:b ju. . .~- =.~.~ . . . . .'.'.: \ . ../. . . . . ..

a1 "nju: ju wudnt "du 1r. ........~ .. :-:) ..............~...../.'.............. ..
it "woznt a greit di'l 3V "trAbl. ........... ~.......
'\........................::\..../.......
It "si: mz 'ro·lJ3r 3 "p1h. . '-·
...............................................• ........' ../...............
:\

66
Ji z not sou' wd 01s "m:rmo, . ~....~ .. ~~ .........~ ....../ ..................
"Oret s Oa s:rt av mren "hi: iz. . ...~.......................::\. ... .L.................
31 "du: houp ju 1hrev a gud "(6:rn1. .. .... ~.~... • . • .. ...........:::\... /. ........ .
ju 1 "famd 1t ''lounh. .. .....~.~ ..... ~ ...... ./. ....................... ..
31 "Judnt du It "Oret we1. ....... ~~ ... ......~ ... L .. ............ ..
"a·ftar "::,:l, Oar "1z a ''hm1t ....:\. ... ; \ .•. ~ ..... ~ .. ../ ....

m) Fall-rise compressed into one syllable end-

ing in a voiced sound.
31 ''wi.f hi "wud. . '\......... ""\.,
...... . ..... ............. .
31 "ko:nt me1k 1t w10aut "cgz. ~ ~ ..... L • ......... ~ ...............
. ... .....

31 '810k a1 d be.fa "gou "nau. . . . . . - . .·. . ·. . ·?\. . ::-v . . . . . . . . .

31 Jud ''laik fa mi't Oa "braunz. .~- •. ~ ..............:::-v............... .
it "wount 'te1k 'vcr1 ''loo. .. . .~. ~-.. =. -=. . ~ ! .. ................. .
wi ''wount gou mtu ::,·I Oret "nau. . ........~.... ~ ......................... ~--- ......
"let mi nou hau ju get "on. . .... ,.~....·..................':':'\.r. .....,.... .
ju luk "tmbh "pe1l. . ~ . ~ ~ ....... ::::v....
31 "dount 810k hi "nouz. ~ ~ ... • a ....'.::'v.......... .................
... ...

hi "hreznt ''dcf1mth ri"fju:zd. ...... ~ -~...... ~ ........... ::V.. .

bat "Juah ju mAst "nou. ....~.~.............~ ...............
31 "ko·nt du It m a "de1. .. ..~.... ~ ...........::'.:'\.,. ................
It "woznt "bred. .. ....~ ~ ....... '.::\..,_...........................
31 m "not go10 ta ba"lm. ........ ~ ......~ ............. .-~ ............ .
31 "d1dnt se1 "blu: .. ..... ~. . .::\ ... .. .::'\.,. ...................
1t "1znt a "tri: ........ ...~ ~ ..........~ ................. .
67
ar "dount frl "kould. .........·.~ ......... .:V. ......... .
hi "1znt ven "strou. ..~~ .• .... ~.

a, "dount e,uk hi 1 "gou. . ~ ... .

~. ' \ ..•..... ! .....

a, "eiuk hi 1 "gou. ..... ~ .."'\ ..•. ~............ .

hi z ''got a "ka:. ~ .... ""\ • . "'v.. .
ju ":)'t ta bi "i'lea. ......~ .. ~ ... ~ ~..
a, "didnt du it "elm. . ..·.. ~ ..•• 'v. .... .
m "houp ju 1 kAm "su:n. . ... ~.. ' \ .• •... "".'v .... .
"rlount gou fa "bed. ............ :-\ ....... ~ .. .
<lea waz an "o:ful "kraud. • .~. ~ . "'\ .• "v ....
ar 'didnt 8iUk "oret av "ju: ~ .~~.~.~ .... ~..
"dount du it a"gem. ..... .. . "":\ . • •...• '.':'v.. . ........ .
"dount put ,t m jua "breg. .............. ~........•...• ~ .................. .
"dount li'v It bi"hamd. .............~ ................. "v.
m m "not gOiO bar "trem. .. . . . . ~. . . .~ .•..•..:::v . .
1t "1znt "gould. ......... ~.......~ ...•........~ ............................
1t 1 bi "ha:d fa "pru:v. .....• ~ ... ~~ .......~ ............

a, "dount e,uk ,t 1 "rem. .......... ~ .. ~ ...•...•.....,.~.. .

a1 d1dnt ''nou ju kud "ri:d. ........ ~ .. ~.~-·~---······" ~-~··· ~ ..,,

oea z "moa clan ar kan "ju:z. ...... ~ .. ~ • •,. • ""v . ..... .

aI "w,s hi d ,,gou. .' '.
. ........... \ ....... , ...... 'V'....... .

oea z "lots h1a fa ''mi: . ' '.

...•• ·'~·' .•. "! . V..

1t s "b,tah "kould. ~-- ~ . •... LV

Ji hrez,. "nars "arz. ·.. "'\ ~ ...

68
 1t s ''nou ju·s luk10 for it "hm. ... ~ ~ ..................:V ............
hi kO'nt G"fa:d fa ba1 G "ko:. ..... ~. ~. ·.~ ........ '.'v............. ,

IV) Fall-rise compressed in to one s yllab I e en4-

i ng in a voiceless sound .
a1 "nou "oret. . ~ ....~ ....~ ...............................
a1 "e1ok oret wud bi "bEst. ....• ...~ .••• ::--v..................
a1 'nEVG "8:rt GV "oret. . -·""'
... . .......\ ....•...::'.:\..t.... .... ...............
ju "ni·dnt bi sou "Jokt. .. ~ .. "':\ &....•-··· ~ .
a1 "w1J ju wudnt mfa"rApt. ...~ ..... ~ ...........................~............... .
ai "81ok It s ::rl "ra1t. ... ~ .. ~ ........ :-V ....... .
1t s "o: lwe1z la1k "oret. ~ .-::\ • •... '.'v....................... .
a1 fElt "sa·tn 01 o·hkl wud bi o·l "rait. . ~..~ ~ .•• _........... ::::-V

I
a1 d fa" gotn ai tould ha ''oret. ... ~ <~ ....... ::-::V......................
a1 "Judnt "ko·l it "blrek. ....:~ .... ~ ... ::v........ . .
ju I "nEVG b1 e1bl tG ki·p Ii "Ap. . .~-·~ ........ • • ....:::V ...
I a1 'd1dnt "nou ju kud ri'd "frmJ... ~. :-. ~.::\ ••.•...~................
oEGr 1znt "ta1m fa gou "brek. .... ~ ...·.·.~ .•• ""v ........... .
j it s oG "tra1flz oGt "kaunt. .. .....~ ... ~---~ ........ ~...... ................... .. "'

ju kud "i:z1h te1k 1t "of. . ....~ ..~. ' \ ............ v ......... ..

a1"dountmamdpe110 wot ds"wa·e.....:, ~ .................... ~.

IV. Emphatic Tunes I. and II. with Additional Emphasis.

A slight variation in the emphatic intonation of Tune I and
Tune II. is shown in this section.~ Examples of this are placed
last because l) such a variation, though very common., is not

69
 '
absolutely essential; 2) it is very difficult for foreign students to
observe and to acquire, and 3) the writers hope that students
will master thoroughly the preceding sections before attempting it.
· The variation consists of a rise in pitch prefixed to the inton-
ation of an already emphatic syllable and occurring within that
syllable. The addition of this upward glide gives a greater
degree of emphasis, Thus, the level pitch of an emphasised
syllable may, for greater emphasis, be replaced by a rise-level
pitch:

,--. . - .
:
..~ ........~ ....... ...... ~ ..................................... '\..................................~........~ ......... -~·-· ... . ............. . .. ~- ..... ~.
1twaz an 1"n:>:mas sak'S5S.(iusteadot') It waz an 1"n:,:mas sak'S5S.
A fall may be repl11.Ced ~y a rise-fall:

................................ '.'"'\ ........................................................................................ ~..... ··•·········

"Oreok ju. (instead of) ''Oreok. ju.
A fall-rise may be replaced by a rise~fall-rise:

~
....! ......... ........ ~..........~..................................... • ... • ...... ~................~ ..... .
Its l)a "tralflz l)at "kaunt. (instead of) It s l)a "tradlz l)at "kaunt.

Examples IV.

. . . ,-- .... .
L Rise-level.
a1 si a "ma:valas 1m'pru·vmant. ....~ ..... ,--........................... ~~- ..~ ............... ,

hi z an m"tolarabl 'nju·sns.
It s a "spl6nd1d opa'tju·mti.
.....................................-..................."\..•...•......
,- . . .. .
.. .. ... . , -. .
. .. ,........................ ")...... ····--
,--
wot an a"p:,:ho 'de1! ............... """\ .. .

a1 faund 1m m a "tauano 're1<\5. ................. ...............

,.. ~

70
hi hrez an ":dul 'kould. ... r- .
Ji z an 1k"sspJnah 'gud 'cl,Acl,. ... ,- ... -
........ 1······································~···········
.............................,................................................"'\
r- .
a1 JI "nsva 'fmiJ. ....... ~........ ~........................................ ~ ..... ,.....
1f "ounh ()e1 d 'li:v mi a'lounl . ,---- .. _.
····· ··············· .........•.................. ~ .. ~.

II. Rise-fall.
"wi: kO'nt hslp ju. ......... '.::\...................................
"()ret wount du:. ........ '.:\ ..........................................
Ji "ssd It d1dnt rnreta. : ~...................................................
. .. .....

()ret s wot "a1 waz 9010 ta se1. ""'~"'''~'••~•··••••••••u•••••"·••• '•••• •"' ••'

"a1 Jud la1k a "dnok. ~ ~ ............... , .. .

.. ..' : : \ ........ ! .... ....

hi "hrednt ., "tfa·ns. ..~ ..~ ....•. ~ ... ~ .........................

"()ret wud b1 "splsnd1d. ... ":\...........~ ..........
1t lukt "pa: f1kth "bju·hful. ..~--- ~-----·~--~--··--!~ ................... -~·-
It "si: rnz 1m "pos1bl. ..... ~. ':\ ....~...~ ..•....•..............•
''ereok ju. ..... ~ ..A ............................... .
''wAndaful I .... ~ ..•...•............................
"plsnhl ...... ~ .....................................

"IAvhl ..........~.....................................................
"ma·vafas I .........~ .......................................................
1t s m"tofarnbll .....~.....~.. - ~..............................................
"nonsnsl . . . . . C\ ...........................................
gud "greiJasl ....... ·'"'\
.. .........................................................
1t s "kwait ab"sa:d. ....... · ':'\ ... ......• ':\ .......................... .
it s "rnoust n"d1kjulas. . , .. ~.. ':\.....~..~ ..•....•............
71
 --1
lla "vju: z mreg"mf1snt. .. -~·~·-!~-·····
bat a1 "hrednt "ha: d. ...~ ...~ .. ~ ........:"'\
ai "dount e1ok it s "fca. .....~ ..'.:\ ..........~ ·-~-·-··
a1 felt sou "reogn. .......~ ....~ ....~ ...... ·~·-· ............................ ..
"ju a "1A.k1. .......... ~ ...~ ..
Ill. Rise-fall-rise.
it "1znt lla "n:,1z abc\3ckt tu. . . . ~. . ~ ........:. ,.~ .....~...~ .•
ai

a1 "e1ok ~i "mi:nz ta du it. . • -~ .... ~ ....-.:~ .... ..

"llret 1znt wot "a1 waz 9010 ta se1. . :':\ ..... ~'.':':\ . ~ ..~ ~. ~ ...

a1 k;n :~~u on "mAnd1 I If "llret s . ~ ~ ~ .. ~ ~ .-'.'... ~~.~<

6 9
I.
wi kud "si: him. ..! ....~C\ ../...

hi "ko·nt b1 "leIZI. ..... ~~ .....':\ ../.......................

1t "1znt lla"mAm w1 ar reoJas abaut. . . • "'\ ....... ':\ •• ~. ~ •... ~.

Ji "scd 1t d1dnt "mreta. . .. ~.~ ........ ~ ..L. ..
j1,1 kan "du 1t m "lAndan. .... . _. "'\ . .
~ .':::\ .../..................... ..
it s "kwa1t "pos1bl. .. . ~ ~ ..'::'\ ..
/. .....................
it waz "drcdful, "souJah. .... ...
...: ...~.. ~ ':'\ .,/. ...........................
a·.ftar ":,: 1, llar "1z a "hmit. ..~... ·'.".:\....•..~......•...~ ... ./..............
ju "d1dnt se1 1t waz "pra1vat. .. ... •.. ~ .... • .•... •.... ~ .. L ...........

a1 "dount e1ok hi d "mamd. . "" "-'

................. \ ..................................... ..
1t "1znt "nju:. ......... ~~ .....
~ ' ............................ .
a1 Jud "lmk ta mi't lla "braunz. ~<~ ... ~~ .... ...:
hi z "got a ''ko:. . .~... ~ .....r.'v. \··········· ... .
72
rt s "bxtah ''kould. ~--~·-· --~----·-··-·--·- --··
--- ..

Ji hrez "oars "arz. -~- ..:...~ ----~------------··--·-·

rt s "oou ju·s ''lukro far rt "hm. ___ ._ -:\ __ -~ . ·---~ ···---

hi "ka·ot br vErr "stroo. -------~-----~--.. ·-·-----··--······".')v .......................

aer :rt fa br "brek bar "oau. . --~-~-~- •. ~ ... c:v .. _,,, .

ar ka·ot a"fa:d fa bar a "ka:. .......~ .....~ .....~ ..... ~ ...•...•..•.~.....
hi "dAZ luk "d. ..... •. - ~ ...... '::"v ..
ar drdot ''oou, "elm. .. ~ ~ ~--~-- ..-,-~ ....... .
rt s "vErr bred fa "trerd. ..~ .. ~---• ...........--~---···-···-
rt 1 br "ha:d fa "pru:v. ·-··· -~--~-~- ... ~
aret ''rzot wot ar "mmt. ··---~-----~ ............~ ... .
ju "oi'dot bi sou "Jokt. _,,, ___ ,,~ .... -~ ......•.--····-~·-··-··-····
ar "0rok rt s :rt "rart. ----, .. ~--~---·--•-- ..'.'.:\....,_ .. ___ ,,.,,_,,.

liar rzot "ta1m ta gou "brek. ······~---~ ~.~ ..•...•.. ~ ..................

rt s aa "trarflz oat "kauot. ........ ~......~ ... ~ .................~............... .
wi ~·tot tu rks"pEkt clam ta "w~·k . .......~... ~ ~--~.. : ....~ .. •--•.'.':'.v. ... _..
ju kud "i:zrh terk rt "of. .........~.:.. :~............................~........
ar "douot mamd peno wotit s "wa·e. . • . ~- .................. ~ .... ..

In connected speech and in reading, any and all the intonations

described in this book may be, and generally are, combined, change
of key being frequent from group to group; so that, in spite of the
fact that English intonation can be resolved into two tunes with
variations, it is far from being monotonous.

73
 V. Sentences .containing more than one sense-group.

· · · · · · · · · · · . . . . . . . .- . .·...· -· ..-"···-1-.· · ·-- ......· .;::\................

az a 'mretar ~v 'frekt, ai 'famd It ra·cla "d1f1klt.

. - ~ _,/
........................................................................... ....................
ju 'wount "si: sm0ro rf ju "du: kAm .
.. ~
................................. ....................................................

.................~ .......~ ............•.............•............•.. ~..../......~ .......•........ ~ ....... ~.......... ~.........~...........

wAn "kffnt ster hra far "sya, "1fO'mro clou 1t"me1 "bi:

· - · - ·.~
............................................. ... .. .... .. .../....... """'\....•.....•..............................................
a 'htl 'ouva"wslmro, "rznt hi?

. ················· ...........................•...... ~
........"."v ......
ju 'kffnt "wo·k, It s 'tu: "fa:
j. . •. . . . . - . . ""\. . . . . . . . . . . . . . . . . . . . . . . ..

· - ·~ - ·
.................. ........ ............ .....
ar 'dount fa''gst 'rmtanz, and a1 dount "wont tu .
..... · ·
.... • .... ..........•.............. .....•..... ........... ~...............................

. .". . -.. . . . . ·. . . .-. _. _j, . ·· _-.. ~. . . . . •. . . ·. ."'\.

cla 'kwsstj'an wi 'wont tu 'a·sk 1z az 'mAtf"aua b1znas az "juaz.

. . ""'\......................................................•· · · · · · •. . . . ~ ....................................................r::v. . .
""wa1", Ji ssd, "ar d nou a1"dra ju war smwsa nm 'hrn."

•.••••••••••••••••• ··········-·•••••••••• • ••••••••••• ~ · · · · · · · - ••••.&........ " \••• ~ •••••• • ••••••••••••• • ••••••. . , / •••••••·•·•·••·•

"a1 d nou a1dra "ju: war ADbl "ri'snth", hi nta:nd.

74
.. ~ . ~ .. .. ~ ~ ..... ~...~ . . . . ~ ~
.'::\ ..............! ............ .......... ..... : .. ~ ......
wi "e:rt wi wa pro"grcs10 "nau wi nou w1 ar ounh "tfem~10.

VI. Longer sentences and connected texts involving the

use of both tunes with and without emphasis.
1.

. ~ . .~... ·. . ~ . . . =. . . .~. . ~. . ~.
a1 'dount wont ad'va1s fa mar''sclf; 'grv "ha: SAm.
J..... =. ~ . :. . . . . . . ..
2.

..... .. ~................. ~ ...

.

a1 m "sori llar 1znt cm "fa1a fa ju; 'hia z sam 'hot "w:,·ta llou.
-~ .. ~ .....~ ....... ~.. ~ .. ~
3.

~ ~ ~ ~~
. • ....... .................... ..... ... -
...................... ..................................................
It d1'pcndz on ll11"d1Jnz az. tu 'hau mcm ju kan get aut av

• ...• -
lla 'mAm.
4.

~~
..•........... .... ..............................................................
lla I bi "nou ddrklh abaut ll1 1m ''p:,·tnt kwcstfanz: Oa 'ncvar
~ ~ ~ ~ =-· ~
................ ............. ...........J..... ...

.................. '"'\ ....... •............• ...... ~ .........................C'v.................................................

"1z: It s lla "trarflz Oat "kaunt.
76
 5.
- • 4 •

·
........................... ........~.......................................... ~
.. . ·=··~······~·· ./ . .
"a1 hrevnt a "psm m Oa "wa:ld." ·"'ka·nt ju "a:n WAn?

.......... . ~
./
..............................................................................\ ......... lit.... ............................................

"AOa pi·pl du:."

6•

~
....... .. ...... ........ : ....... ~ ...L......~ ...... .-~ ........
'1z juar ab"q;skJn an ab'q;akJn fa 'mrenc:IJ az an msh'tju·Jn,
=. . . . . ··=·····~....·.... . . . . ... -~ .. ....
~ ~ ~ ~

. . . - .
. ................_.· ................................................... '' ................... • ...•.. - ... • ... • ......................... ~ ..« ............. .
:> 'mrah an ab 'q;skJn ta 'mrerno tmi: 'pa·st;iah?
7•

. :. . . . . . .~. . . . . . . . . . . . . . . . . . . . . =. . . . . . . . . . . . . . . . . . . . . . . . . ~., . ~- · . .
ar 'sret 'nskst ha; and a1 'nsva ssd a tsiogl '010 tu ha Oa
~ ~ ~

'houl 'tarm -
·-
....................... :'\..................................... .........
'kudnt '010k av a tblss1d 'wa: d.
..................................................... ~......... .
and not

. - .
...........~..........................................,.......... -~ ......
~ .................................. .
a "wa: d did 'Ji: se1 ta 'mi:.
8.

. . . . - .· - ·
. ... ....................................................... ........\ ......... 11t.............. .......... ... ..................... ....... ........... ......... ...'\
.. . -
"a1 m 'glred ju: v 'kAm sat a1 waz 'wArno 'wot ta 'du:."

~
.... ....... ."... ~ ..•.........~.L........~...........~.... ~ . ~ .... ·~···· ...
"ou, ju "ni:dnt "wAn", ssd rl31m1 kamdh. "rt s ·"not sou
76
.....................·-·······--··········-····-·········. '\....~ ...•.....•.....:::'\.., .................................................................
"s1anas az rt "luks".
9.

---·······"···.. ~.-...• \....... - ...•.·..........·..........'.....'\..•.•....... ··-·-·······-··- -·-··""'····--..•···· ·····-

""he.vnz, "wot am a1 ta "du:. a1 v "dAn "e.vnexo.''

-···················-······-·-················~············· \....
nou "hau tu. I ''ju: v got ta "Jou ha.
~ ...........•........ ·~
... ...............................................

10.

·"nonsns!
-· · :'\. . . . . . . . ."clret
. ."":\. . rebtju·d
. . . . . . .·. . . . .·. . .'ould-"freJnd.
. .- . . '\. . . . . rr.cl!S. . . . .·. 'nou
IZ
. . - .'loogar
. .- . · IZ

.. ........ ........ ........ .... ~ ............•.... ......... •.... ......... .....

· - ·· · · - ··.'\. · - ·
.......... .... ....... -
an 'e1d3 av pa"rouk1ahzm bat av ,komp1"tIJn 1 m 'a·t and

-
- ..........................................
......
1-
- ·-·· . -·- ·..........~.-...............\···-·······-·····. ·-·..... - ·.......
..... ···-
,sa1ans '<i3Ast az 'mAtj' az m 'komas - ,kou-opa' re1Jn w1a

.....'............-:\..........L ... _ ......•...... • ............- .....•...... ""\......................- .... • .....- .

juar "oun gru·p, bat w1<l 'clouz aut''sa1d 1t, ,komp1'ti.fn "

·
-·············································· .................... -·-······ •........ ..... "). -···--···-···· ............................................................._
ta <la 'de.0.
6 Armstron11:-War<l, Intonation. 2. Auft.
77
 11.
"'clso," hi ssd, i "1t s ':,:I 'oltod. I clar 1znt a "s1ogl "810, I not
o 'tfsor, / :>r a 'futstu·I, i :>r o 'krendlshk I cl.it '1znt m 'sAm
'ple1s i wsar 1t 'woznt. I ond clo ru·m dAznt luk o "bit 'bsta, i
ond ju wount bi a "bit bsto 'pli:zd w,cl 1t j ta'morou."
12.
A." 'ou, I b1faa cl1 'end ov· cla 'wi·k I a1 JI ov got 'nd ov him./
a1 I 'se, hi 'da1d m 'prens / ov 'repgpJsks1. I "lots ov pi·pl
da1 ov repoplsks1, I 'kwait 'sAdnh, I 'dount cle1?" I
B. "'jss, I bat It s h1" rcd1ton, ma1 d1a fslou. I It s cla s:,-t av
810 clat 'rAnz m "frem,hz.J ju· d ''mAtf bsto se1 a s1'vm
,,tfd."
A. ju a 'Juar a s1 'via 'tfII 1znt hmd1ton? I
B. "ov 'k:,as 1t 1zntl" I
A. "vm 'wcl, clsn.1 ma, 'pua 'brAclar / 1z 'krend 'of 'sAdnh I
m 'prens, I ba1 a s1'v1a 'tf1l. / "oret gsts nd av "him."
13.
a 'fju· 'i-vmoz agou I a1 waz 'hclp10 a 'frcnd I ta 'me1k 'aut
a 'hst av mv1'te1Jnz I far o 'pa'h Ji woz g1v10, I oo 'hst gru
tloogar an 'looga, I and 'famah I a1 'ssd: I
"'If ju m'va,t 'sm "m:,a pi·pl I ju 1 'sp:,II oa 'houl '810 1 I b1koz
jua 'ru·m 1znt "la:<t mAf fa 'c!1s kraud. / "mAst ju mva1t :>:1
oi: z? I 'm1s1z 'bi:, far ms tans? I a1 '0:,·t ju d1dnt "la1k ha. j
and 'm1s 'kju:? I ju 'se1 Ji· z sou "spa1tful I and ':,·lwe1z
'rAbz ju oa 'roo 'we1."
"Ji "dAz, 'tu:. I bat a1 s1mph "ka-nt li'v har 'aut. I 'n:,·
• m1s1z 'bi:." I ·
"ou, 'wa1 hrevnt ju oa 'kAn<t ta tstop dmo wot ju 'dount
'wont tu?" a1 kraid. / "''si:mz ta "mi: I ju ar ":,:lwe1z 'rAmO
a'baut w10 'pi·pl hu dount 'mreto, I 'not b1koz ju m"(6:>I
1t, I bat b1koz oe1 1ks"pskt 1t I:, ju ''81ok oe1 du·."
78
14.
"evn010 1z te1kn smrmsh m "cli:z gnm de1z, I 'i'vn 'J::rt
'st::rnz. I o;)r 1z 'sed t;) bi a di"ma:nd fa J:rt st:rnz, I b1'gotn
;)mAost mcn1 ''Aoa eioz, I bai oret 'rekfos 'pe;)rnt, I o;) 'spmt
av ll1 'ei<t. I llar "iz nou sAtj' dima·nd. I oa 'wAn and 'ounh
di'ma:nd I 'pu;) 'wi;)nd hju'mremh h;)z tev;) 'meid, I :>r eV;)
"wil me1k, ;)V O;) sto-ri-tcla; I bi hi az 'loo-'wmd1d ;)z 'ntj';)dsn I
or ;)Z 'breel;)S az 'k1pho, I 1z ta bi me1d 'self-fa'getful far .J
si'zn. I 'mtrnst mi 'sAmhau, I 'smhau; I me1k mi 'mamdl;)S
av lla 'ru·m ai m 'siho m, I or av lla 'pi·pl a'baut mi; I 'su:o
mi,! 1k'sait mi, I 'hkl mi, I 'me1k mi "bet;), I 'meik mi "wa·s; I
'du: wot ju "la1k wro mi, I ounh 'meik rt 'pos1bl fa mi ta
ki·p tri:d10 'on, Iand a 'c\';:>i ta 'du: sou. I'01s iz aua di'ma:nd. I
llar 1z 'nA010 An'ri:znabl m it. I rt rz a 'mretar av iks'pia-
rians. I 'o·e;)z h;)V dAn t::i:l 'llis far as, I end e 'du·10 1t ta'de1. I
1t s llea 'tre1d, I end a 'gb-r1es wAn. ·

15.
oa 'stremct3a 'keim 'a·h m 'fcbruan, I wAn 'wmtn 'dei, I eru
e 'ba1ho 'wmd I end e 'drarvro 'snou, ! lle 'la·st 'snoufa·l ev
oe 'jia. I }li 'keim OUV;) lla 'daun, I 'wo·k10 frem 'brremblha·st
'reilwe1 ste1Jn, I end 'krerno a thtl 'blrek po·t'mrentou J m
hrz '0ikh 'glAvd 'hrend. ! hi wez 'rrept 'Ap fr;)m thed ta 'fut, I
end o;) 'bnm ev h1z 'soft 'felt 'hret J 'h1d tevn 'mJ ev hrz
'fe1s I serv oa .'Ja1mo 'hp ev rz 'nouz; I oa 'snou had 'paild
Itself agemst h1z tJouldn en 'tj'e:st, J end 'redid a twait 'krest I
ta oa 'ba·dn hi 'krend. I hi 'streged ·mta cfa "tkoutf end
'ho·s1z" I 'm:>e 'ded oen a'laiv, I end 'flAO h1z po·t'mrentou ,
daun, I "e 'fa1a", hi krard, J "m oa 'ne1m ev 'hju:man 'tfrenhl I
a 'ru·m end e 'faral"
hi 'strempt I an 'Juk lfa 'snou from of himself m oa 'ba:, I
and 'foloud misrz 'ho:1 mta he 'gest pa-la I ta 'strark biz
79
 'bO'gan. and wrc! 'oret mAtj' mtra'dAkJn, 'oret I and a 'kApl
J J

av 'sovrmz flAO apon c!a terbl, I hi 'tuk AP h1z 'kw:rtaz m

01 'm.
16.
a 'ven 'rebsnt-'mamd1d 'b1Jap I waz 'wAns 'trrevho bar 'trem I
m h1z 'da1as1s, I and 'wrn oa 'hkrt-kalekta I 'ke1m fa c!a
'hk1ts 1 / ()a 'b1Jap 'kudnt "famd 'hrz. I "'neva 'mamd, mr
lo:d", sed oa hk1t-kalekta, hu nju· him 'wel, I "rt 1 "du· at
oa 'nekst 'ste1Jn". I bat at oa 'nekst 'ste1Jn I oea waz o;) 'se1m
'd1fiklh: I oa 'b1Jap 'kudnt 'famd hrz 'hk1t 'emwea.1
""dount 'booar abaut rt; I rt "nah dAznt 'mreta", sed o., hkrt-
kalekta kamdh. I
"'nou, 'nou, I a1 "mAst "famd rt", sed oa b1Jap m d1stres, I .,nd
't:rnro aut 1z 'pokrts az hi 'spouk, I "m 'wont ta 'nou wear
ar m "9010."
17.
'h1., wi v bi·n teri: 'jmz I 'bend m oa 'kAntn, I ""d az 'hrep1
az ., 'ba:d I oa 'houl 'tarm. Jar 'sex az., "ba:d, I b1koz "Aoa
pi:pl hav ju:zd oret s1m1h·I t., d1s'kra1b "reb'salu·t 'tj'1aflnas, I
::rloou ar 'dount brli:v 'ba:dz ar tem 'hrepr., oan 'rn1wAn
'cls, I .,nd cle1 "kworl d1s"gre1sfuh. I a1 v bi·n 'hrep1 clrn, wi
1 sex, I az cla "best av ba: dz, I .,nd av hred 'si: znz ;)V
'sohtju:d I .,t 'mtavlz I b1f:>a 'nau I 'dju.,no 'w1tj' J 'dAl 1z cl.,
tta·st 'wa:d ta d1s'kra1b mar 'steit av 'mamd. J "evnbod1, I
rt rz 'tru:, I 'wudnt 'lark It, I .,nd a1 hred sam 'vIZit.,,z h1.,r I
., 'f:rtnart .,gou I hu ·'left I O'fta 'steuo abaut ., 'wi·k / .,nd
"kh.,h not m"qpuo o;)mSelvz: I cle1 'faund it 'dAI, I ar 'nou, I
bat "oret, .,v koas, waz cle.,r 'oun "folt; I 'hau kan ju me1k
a 'pa·sn 'hrepr atgemst h1z 'w1l? I ju kan 'nok ., tgred 'di:l
mta hrm I m c!a 'we1 av "la: mo I .,nd wot oa 'sku: lz 'ko: I
"ekstrnz, I b.,t rf ju 'tra1 far "ev., I ju 'wount 'nok tem 'hrep1-
1
80
n.:ls I mtu .) 'bho hu "hreznt got 1t "m him te "bi: hrep1, I eh
'ounh n'ZAlt, j 'prob.:lbh, I wud "bi: I cl.:lt ju 'nok ju.:lr "oun aut
.:lV ju.:l"sslf.

18.
1t 1z 1k'stri:mh 'drfrklt I t.:l 'ge1c\3 cl.:l 'ws.:lr .)fi 'ts.:lr .:lV 'wa·k I
lfat wi e 'not 'ju·st te 'du:. I 'svn 'mren I 1z 'rept te '0rok h1z
"ne1ba hrez an'i'z1 'taim .:lV It. I 'hi: hu 'ddvz far 1z 'brsd I
't::rks n 1f '':>:1 cle 'wa·k av cle 'wa:ld waz tdAn ba1 'hrendz. I
cla 'mren ev "b1znes I '81oks m 1z "ha·t, I clat "poits .)nd
"pemtn "ple1. \ cla 'mren .:lV 'lstez I 'snv1z cl1 0'h zren I hu·z
1 1

'wa·k 'grouz tau.:l bar 'au.:l I m ns'pons fa cl1 'sfat 'spent on

1t. I ., "pla:nt.:lz laif I saundz la1k an 'sv.:l !0'sho 'hohd1 on
1

'h:,·sbrek. I .:lnd "moust av .:lS I hav 'ha:d av m1st.:l 'da:wmz

'hauski·pa I hu '0:,·t ha 'ma·sfa wud b1 t:>:1 cla 'bsta I fa
"' SAm810 te 'du:''.

19 .
.:lV 'w!lj.:lm .:ln '<i3on 'skot, I 10'ft.:lwedz 'b:d 'stouel j .)nd 'b:d
'sld.:ln, I 'b:d 'rAsl 'ju·st ta 'tsl w1cl tmf1mt 'zsst I ., 'st:>-r1
w1tf hi dr'kls.:ld t.:l b, tha1h 'krerakt.:l'nshk I .:lV cla "ms0edz I
ba1 w1tf cler me1d else 'fo·tfanz .:lnd p.:l'z,Jn. I 'wsn cle1 wa 'jAtJ
'msn .)f oa 'ba:; j 'hrev10 hred e 'strouk av pm 'fcJr,tel 'lAk, r
cle1 d1'ta:mmd t.:l "sshbre,t or .:lke13n I bai hrev10 a 'dm.:lr .)t
a 'trev.:ln I .:lnd 'go,u fa o.:l 'pier. I 'wsn it W.:lZ 'tarm te 'k:>:1
fa ifa 'rskr,i10, I "w!lj.:lm skot I 'dropt a 'g1m. I 'hi end h1z
'brAoa tsa·tft for rt m vem, I an 'ke1m te cle ken'klu:3n I oat
1t ad 'fa'ln bitwi·n cla 'b:>:dz I ev cl1 An'ka·p1hd 'fba. I
""01s 1z e 'bred 'c\3ob", ssd wiljam; I "wi mast 'g1v Ap cla
'pte1." I
81
 ~·'stop a 'bit", sed <ton; I ""ai nou a tnk wa·e "tu: av 'l)ret", I
and 'k::>:ld c)a 'weitras. I
"'beh", sed hi, "wi v 'dropt "tu: 'grmz. 'si· rf ju kan 'famd
J J

<)am". I 'beh went 'daun on a 'hrendz an 'ni:z, I and 'faund

c)a "wAn gmr, I wrtf ad 'rould Anda c)a 'fanda. I
"l)ret s a 'ven 'gud 'ga:l, beh", sed <ton skot, I 'pok1ho c)a
'k::,m; I and 'wen ju 'famd c)r Aoa, I ju kan "ki·p rt fa jua
11

'trAbl." I and c)a 'pru·dnt 'brAc)az I 'went wrc) a ttait 'ha·t ta

c)a 'ple1, I and 'sou r"ventfuah I ta c)a 'benJ and c)a 'wulsrek.

20.
deks'tmhz av 'frerz I '.sAmtarmz n'k::,11 wrc) tdaiar r'fekt
apon <)ear '::,·ea. I a 'vm 'popjula "kla·d31man av mar akwem-
tans I "pra1dz himself I on 'neva fa'gsho an mthreb1tant av
hrz 'prenJ. I hi waz "stopt WAn der m c)a "stri't I bar an
a'gri:vd pa'nJi;ia 'hu:m, I ta 'ju:z a 'houmh 'frerz, I hi 'drdnt
J

'nou fram 'redam. I 'redr m n's::,as I hi pra'dju·st hrz 'pokrt-

buk, I and 'he1shh '<toho 'daun a mematrrendam av c)a
pa'nJ1,1az 'gri:vns, I hi 'sed, I wrc) an m'smjuerho 'smarl, I
1t s 'sou "stju·prd ov mi, I bat ai '::,:lweri fa'get hau ta 'spel
jua 'nerm." I "'<ter - 'ou - 'en - 'i: - 'es," waz c)a gnf
nspons, I and c)a 'Jepad and c)a 'Ji·p I went <)ea 'sevral 'werz I
m 'mju·tjual d1s'gAst.

21.
c)a 'haus-sa:ctn av a 'lAndan' 'hosprtl I waz 'atendro ta <)1
'mctanz av a tpua 'wuman I hu:z 'a:m had bi:n srtvrah
'bitn. I 'rez hi waz 'dresro c)a 'wu:nd I hi 'sed, I "ai 'ka·nt
'me1k 'aut I 'wot 's::,·t av 'remml !'brt ju. c)1s rz 'tu: "sm::>:l
J

far a "hysrz bart, I an 'tu: "la:ct far a "dogz." I "Au sa:,"

npla1d c)a pe1Jnt, I "rt "woznt an "emmt;' I rt waz a'nava
82
''lmd1." 1) I 'fuah cla 'fa·s av a.,bremh I kud 'nou 'fa·cla
'gou.
22.
cla 'mm 'frekt av 'neva hrev10 a 'hohd1 I 1z 'not m 1t"self
d1s'tres10. I 'hohd1z ofn ar touva're1hd d1s'ta:bans1z av
ru'ti:n, I 'kosth and An'kAmfatabl, I and clei 'ju:3uah ni:d
a"nAcla hohd1 I ta ka'rekt clea 'rrev1d,31z. [ 'mrn hu 'te1k 'nou
'hohd1z I 'mAst not, cleafaa, I 'nesasanh f b1kAm 'obd,31kts av
aua 'p1tr. r bat ai kan 'tes ta fi: ho 'son I ta 'clouz 'sa·vnts av
cla 'pAbhk I hu a'prernth I 'not ounh 'neva te1k ;f 'hohd1
clam"selvz, I bat hu spend 'o:l clea '!aivz m ats1sho 'Aclaz
ta get a'we1. I
It IZ ·'prnbabh "nou pra1've1fn tu a "beicl!O mafin mren [
'neva tu 'rnta c!a 'si:; I Ap'ro;mash ''hrep1 In clret 'ehmant [
az h1z 'klamnts kan 'bi:, I 'elf.a 'ple3a, I m w1tf hi hrez 'nou
'Sea, I 'dAz not, I ai i'mred,3m, I em'bita h1z 1g'z1stans. I
's1milah, I 'sms a 'we1tar a1oa "hrez 'i·tn I or 1z 'su·n tu 'i't, I
wi 'ni:dnt 'we1st 's1mpa81 I on h1z An end10 'tO'sk I av seho
1

s1'dAkhv 'd1f1z b1foar Aclaz. I bat 1t 1z kan'si:vabl I clat 'sAm

1

av clouz twmn and d1'd,3ekhd 'men I hu·m WAn 'si:z at

v1k"tnia far 1gza:mpl, I m cla 'sAma, I i'ta·nah 'me1k10· an
'efat, I hau'evar 'Ansak'sesful, I ta 'koup w1cl cl1 'eksadas av
'lAndanaz ta cla tsaue 'koust, I 'nah wud 'laik "o:Isou i ta
n'pouz on 'bra1tn 'bi·tf. I bat 'nou. I "llea deshr.1 I 1z far
'eva ta 'help "Aclaz ta oret prerada1s, I and n'mem at v1k'to-r1a
oam'selvz. I d,3Ast az 'mouz1z waz dI'na1d cla ttfildran av
1

'1zrmlz 'prnm1st !rend, I 'sou a cla 'po·taz. I eh "end,3m dra1va

kan gou, I oa "stouka kan gou, I cla "ga:d kan gou - I mdi:d
cle1 ''mAst gou - I bat cla 'po·taz get tnou 'mar.:, cl.:,n cl.:,
'krend,3 'doaz I .:,nd 'elm 'wi:l 'brek agem. I
1) Cockney pronunciation.

83
 23

.·. . . . . . . . . . .=. . . . . . =. . . . . ../. . . . . . . . . . . . . . . . . . . . . . . . . . . .- . . ·. . "': \. ._. .

~ ~ ~
at 'fa1v a'klok oa 'folo10 'de1, 01 'ould 'mren 'sret a'loun,

. . -
·-. / 1'
· . . . .
. _/
............................................................................. ,, ...,-,, ....... ...............-...... ·............................ ,... -.....................................
a s1'ga: b1'twi·n h1z 'hps, and on a 'te1bl ba1 h1z 'said,

- . . . I - .. - .
•.................................::::-. ..........................·............'.:'\..........1········ .........................................................................•.....
a 'kAp av 'ti:. hi waz 'ta1ad, and b1'faa hi ad 'f1mJt h1z

· - ·
.........../ ........ ......... ....... :'"\............ ...'\...........................................-....................•....................... .. ·
s1'ga: hi 'fcl a'sli·p. a 'fla1 sctld on 1z hca, h1z 'bri'o10

· - ·
--······.......... ........ ................. --..... - ..... ..... ""'\......-..... / .... ___ .. ... / ..........-.·-··"'. -_ ·
'saund1d 'hcv~.m oa tdrauz1 'sa1lans, h1z '.Apa 'hp Anda oa

........................ ~ .......... _/......... - ·

....................... _....... '\ ................ ........................................ ......... .... · -
'wait ma'sta·J 'pAft tm and 'aut. fram b1'twi·n cla 'f1ogaz

-.~. . . . . . .~. . . . . . =.. . . . . . ·. . . . . - . .·. . . . . . ./. . . 11......• ............ ' . /.. /' ....... - ..... · ....... · ......... ·

av h1z tvemd an 'no kid 'hrend oa s1' ga: 'drop10 on cl1

' cm pti 'ha·e, 'ba:nd Itself 'aut. r

~ ~
-·······-·········································=······~......../.'.'.......I ........................ ....... ......... "'·-·················································-
I
84 \
24

-· ·.-. ,. ~---.. . r:v\. .•. . . ·.-. :\. . -,/. . . . ." -· -· - . . . _,/ ·- -·. . - .
"1.t '' si:mz fa "mi: I<kit m "ju.:i ple1s , a1 d 'kAm 'hmr .:it 'li·st

--.. .-·. . " \. . . . j. . .-.. . .·. . . . . . ~. ../. . . .•. . . .:-·. . . ., , . . . .·

'wAns .:i 'wi·k." "'ou nou, ju "wudnt", scd <h A<l.:i mren. "ju

°'\. . . •. . . . '\. _.._. _.L.1 . . .•. . . .:. . . - . .·°"\. . . . . . . . _. . . ._•. . . . - •

''o:lwe1z "mi:n fa 'gou, bat ju 'ncv.:i "wud gou. ll.:i z 'bct.:i t
_- .........•. . . . '"::\L ....~.......... & ....... ""'·.L . . "'\. . . . . _. .,. . . ._. .__.__._
'fAn llan "llret . "h1ar m "prens. "Itah z ll.:i ple1s fa si·

""\.---L' . . . 1._ - ........................ - .... '\....... . .'""'.L - ... ~..........................._-- •

t
"p1ktf.:iz; 'we1t hi ju 'git "<Jc.:i. "llc.:i ju "hrev fa gou; ju

.................................... _........................ - · ~ . -..................................._.........--.

.................... ...........
'ka·nt du cm010 "cls."
85
 --1
1
25.

,,•..._.,,._,. -·- •..._......... - ..... •.. -....- •........... _ .. • ,,._ - .... : ... :>,_,_,_.. __,,,,,,...- .. • ..... ,
lJga waz an m'd1gnant 'Jgta fram a ,korns"pondant 'j_gsfad1, 1.
. - . . · - ...
- -·- ,,_ ·-- ·····-··........ _ ....._. ·-" .....- -.·· ~·-······'"····--··" •.................. ··-··· ····-
kam 'ple1mo av cla bi'he1vjar av a "redwe1 po·tar at v1k-

;;;.~;;: ~~~-~;.;~·~-~~ ,;s~;-/·;;--~~~;.h~d

·1·-- ....· ""··--_.... ·- ··-·......._. ,..... ""·························· ...... ·... _.... - .... ··-.--···-··. __ ""'\_
-· _.... l

breg 'ea·h 'ja:dz tu a 'treks1-kreb. an 'ms1dant av "cl1s

- . - .
- · · .. . . / ............... ,_, ___ ....... _ , ..... - ...................................................1............. ~ ..L ······· .................. --........•
..

kamd 'me1ks WAD tmoa kan'vmst clan "gva clat It wud bi

•. _._. - . , - ._'\..../. ·-·· _, ~. . ••••••••-• •.............,,,_, •·--· C'\.A..-,• • 0 •

a 'greit 'di:l "bgfa If "redwe1 po·taz f and "Alla pi·pl hu

,~sp;kt t;s L:d ·=n·.-.~1:d ~. . ~J :,o .:

• .. - - ..... -._.,,... _....,, __ ·-· .. ______,,.·...._......-,,_.......-......... ::"I. ...-/-·· .......... • ..... -.-.•
1gtzrekth 'hau 'mAtj' cle1 wud 'la1k as ta 'pe1. o cle1 'ma1t

__.____ .... ~~ ~ ...•..__ I ...... =.

WEar a "ngkJas jav 'htl 'kAlad 1'Jgktnk 'bAlr w1tf wud 'Jou
·~---=-..:. . ~. . . . =-.:-.. . . ~. . . . . 1___~---··-·--·~·-·-····=
t
86
i.:ts t~-,d:~1·· ,~.J ;, ·,d:a~t 's~z, \.~.· ·~·'g:t;,
_I"'\............................ •. . . . . . _./\ . ·-·· ··--.-.. . . . ""\....................•. .
" gri:n lait sw1tft on wud 'mi·n "tAp~ms, a ''blu: la1t "s1ks-
~. . . . . ../. . . ···-~---
·-·· . . . . . . ·. . . ~ . . . . .-/. . •r:\.. . . . .-~. . . . . . . . . . . . . ..-/
pans, a "rouz1 lait a "J1ho, a "hi'lmtroup la1t "tu: J1hoz,l
--1~. . . . . 1

- · ....... "'\ ........... 1....• ..... • ....................... · .......- .... · ...... - ...... · ...... - ......: ........... - ....... ":\........ 1
and 'sou on\ta <la'rembou-'kAlad 'lait <lat 'mmt atpaund 'nout. i
- · · · · ·~
- ....... ......... ........ ........... .......... .. ·
........,/ \.... •........ .... "'\......../.......\.................
' red we1 p:rtaz Jud n"memba m <la "mi·ntaim <lat 'moust
·-- -
.. - .
-.·..........·.......~ .................... •......./ ..................................................... -··.. ...... ........ _........................-
av as "la1k g1v10 'hps. wi 'loo fa <l1 a'fekJn av aua tIEiou

· - · · -
. :'\ ........-... \....... ........ .... ....... ............... ......... ··- ....... ~ ../\ · · -- ..
..... .... .............. ',

'kri'tfaz, and 'If wi kan 'bno <la "lAv lait mtu a 'pear av

-- - . . .: . . . .v ..... ·. . . . . ·. . . .- . . . . .·. . . . . - . . . . . . . ·. -~.../l· . . . . . . . •. . . . . -.

'hju·man "aiz fa sou 'sm:>:l a 'sAm az a "J1ho 1 wi kan's1da I
•...........- ... · ......r -...........""'\....... \.......- ........ · .......· ...........- ...........· ......... - ...· ..... - .......... -
oa mAm twel 'spmt. 'wAn av oa 'tfa:mz av bilo tntf mAst

._,/-1-·-'-··-'-····..··-··· '····· ....-.-·-.__

'bi: oat ju kan g1v 1"n:,:mas 'hps tu 'evnbod1 hu 'luks az.
j_\. -.:-..-..-·. . ·-·. ." ---__.
87
 . ..
- -··········:'\........................... /...• ······-····· - ......• ····-·- :·.·-·········_/ ....../·-·· •.......• •······· •...... - ..
1f hi 'wonhd wAn, end 'pa-s eru cfa 'wa:ld tu e pe"pstju.,l

• •.• - ... '""'\ .•.. O ..•. ·•••.••..•. • ...••.. / .... • •...••••.• -

e'kAmpemnient · · ev 'hrep11 e'fckJenet 'fe1s1z. 'hau 'm1zrebl

•.. • .•.•.. • ...•..•. - •. • •.. • ••..• " " .••• A•-•

fI••••--••••••••••-.-·.•
· ·
.. .......... .........:"\.....• _..•.........•.. ""':\...../.......•.......•.......•....
en 1ks"p1erzens It '1z te si· e ''reilwe1· p:rte 'ctAsf a:fte ju
~
....................../· ....-. ·······•··• --··· ..... ·

.............- .......... · ....../...... - ...·................ · . ·... · ...........- ........ - .........· ····-··················°"'········/

ev 'hpt him 'Juk10 ez 1f hi td1dnt 'kser 1f ju we 'dsd.

_--"·--1-----.. ·. . -.._·_. ·. . .:. . . . /. /. .·. . . . ". .-.

'hau "ha:d If 1z te 'bse lie 'd1sepru·v10 'fraun ev en 'Ande-

't;;:;--,~Jt;. k~;h;:Lt; m:,k 't~p~,-:,slfJ_-;,

-- ··--•...... ·.--.... °"\.....•.-./······ - ... ·····-·. -···· - .....•..--./.·-·-··-.....•.... _:......- ·-.
'hpt end cle 'fipste. 'i·tf ev ju 'Ii:vz lh 'Acle T'blAJI!J fa 'hju·men

- .
_.. ~ ...•.........~.......................-.........~......... ~,- .. --~......~ ....................... ...............~ ................................
__
I
'ne1tfe. a 'reilwe1 po-ta ma1t "i:z1h fag1v cle ma"henal roo ju

. . . .
I
-. . I. . . .. - . ~
·-·--··································· ·········-·········-····-···-·--···-~..../ ················--·-····-·······-·····-···························· '""'\..
h.)V dAn him; hi 'krenot fa"g1v ju I fo hrev10 d1s'tr:nd h1z 'fe18.
\
88
 No. 26.
o.l htl kwi: n.

_ . ..,.,.,, . . _
... ............................. -..................-.........................-,.·-··--··············-·-·······..·······-······................--·-········-.. .......
,

'wAns .lpon .l 'ta1m else W.lZ .l 'k10 hu jfelld te 'pli:z h1z

.
-···-'),,-·-·· ·-······· .....-• ..···-········- ·-······--·
1
SAbcl.31kts .lnd 'woz m "kons1kw.lns m 'msfant 'pml.
""\._
...··-····../ ···-·.-······- -- '"':\.-·····-' ···- t
'i,:;;i·I;• k:'i:;;;;~-f=lf<:_i;;;--;; h;-ok;;;J: ;:;ii;;;,j~
- · - ·- - ·
. . / .............. ............... .......... ~ .................. ...--.... ~ .............•........... ....... ..... ....... ..
'kwi:n 'krost o.l ''frAnhe 'wAn 'nalf w10 .l 'fju: 'fe10ful

-.~.... __ "'\_....-tr ..... ·········-·=-·~·····~-·-•....• -···=······~··········· - ..·/ .... •......• ···-=····-· ·....:'.'\.. _.... __
ri'tem.lz .lnd 'sstld m .l s1jklu:d1d 'ka·sl m .l 'frcndh 'kAntn.

·-
on o;J 'fa·st 'wst 'de1 o.l 'kwi:n W.lZ 'm1s10, 'ha, end 'Jou
· - · -
-············ ....... ........- ....... ../....... ········· ............... ............ :"\..•.•...-....... ......• ·········· _,,,···'
i
·-
...'........ ...... .
·-'-·····"""·--··············· ·-·····················-······-·······--··············-·-··....
0;) n'tem.lz 'sa·tft fa ha, . .lnd .lf 'la-st Ji W.lZ d1s"kAv.ld m
..../ ·····- "'\
,- .
-··........ -.~ ...... ·......:......................................- · ·
..... -..... ........ ......~................................. .......... ....... · · ·.
cl.l 'midi .lV .ln joup.ln 'spe1s m cl.l 'fornst, 'hould10 AP ha

·--. . . · -· · ·. . . . ""\. . . .J-·~···· . . ·-· ·'· · ·-· · -· · · · · · - . .-·. . . .·. . . . ·. . . ~. . . . . . . •. . . _•

'fe1s fa o.l 'rem. "horn stnk.ln ~e1 'hAnd tu har 'e1d; b;Jt Ji
89
 - . I~ . . - .. . - . ...·--1
-, .............. , ... _..........-....... '."\......... _............................................................ .,,, ___ ............................ _..__ _,_ .....,.... -- ..
' we1vd l)am 'brek. ""du: let mi 'ste1 a htl 'loog;.i," Si pli:d1d.

· , ..- ...........- --.

-..............................................
__ .. ,_ .................................................
..r-.
_..........--.........__ _
"),, .... , ..........................
''o:l ma1 'la1f ai hav 'lood ta 'fi:l l)a 'rem and a1 waz "nevar

j . -. . .
._...:":\..........- ........_................... ::'\..........................................................................................~.................
a'laud tu. "o:l ma1 'la1f c)ea hav bi·n 'koutf1z ren·d Am'brelaz."
I
.-·-·--..'""'\ .._,_... ·- - ...---·-- --/___ ... _· _____ -··-· · ·---·- -·- . _____ _.___ ~-~
and a'gem t l)a 'htl 'kwi:n 'held Ap ha 'feIS fa c)a 'drops.

No. 27.
o·fta c)a 81ata.

. :k .:)-hi ,;d, t""d2;t ;,w;; 1a;k .;.:. rA~ t s"~~- j

. . . - . . - -·· ~. . . . . . . . _... - - -. . - . . . ·. . ·. . .~. . . . I
'ju: 'we1t 'hmr and a1 1 'get ju a "treks1.'rl

-~Li-.; .,:.;z o:u- b~ '~," sl"J

- - - ~ - - - - ~ ....................___ ... __ ., ______ _,_4 _____. . / , ...... - • - • ... ~ ,.. • .. -

"ju "ko·nt gou ba1 tju·b ta'nait,i 'not m l)1s "remJ rend ju
90
I~
.... · ............ ~................. ':'v .....
luk "fra1tfuh "ta1.ld."

............- .....................·. . . . . . - . ·.I ................... " . . .-............ I

Ji 'g!O'nst .lt him 'odhJ .lnd .'IO'ft .l ht1~

· "'\.
•.. ..........
k.ln "kwa1t wcl gou ba1 tju:b.
·
.............................................................\...... .... ·~····-·-..../·-···
it s"kwa1t 'klous."

"i~ 'k~~i-~;;:-1:e:o. -;>6~-,;;;~~;:nd-;:,-;-:u;-~: a'.

..,;;;,k;d;,-.g~.·.1re1J .~d ..;;-hi
0

.,d
.......·. . . . °"\. _. / . . . .•. . . . ··-····. . . . . ·. . . . - . . . . ··-··-- ..... - --.....·._"':\._. \
far .l "moum.lnt Ji W.lZ on ifa 'va:rl3 .lV trAmo 'of ba1 h.l'sclf,l

- ...................- ...........' ........ =··· ...........•......................... -

'go10 fa 0.l 'tju:b .lZ 'ju·3u.ll .lnd 'gcho 'houm h.lr toun 'we1,i
·---•.••.•.- ······""'··"• I
. . . - . . . . ·. . . . .·. . .-·. . . .- . . ·. . . .·. . . .·. . . . ·. . . _- . -~I . .
fa 'wa1 Jud Ji bi 'f:rst mtu .lD 1kstpcns1v 'treks1? ~ b.lt Ji

-
... .....• ····-··.·--·· ·"'\
..... -·--•....... "'\___ ..__
8:rt 1t wud b1 "ru: d .lnd 'we1tid.
91
\
 0 rthograpllic Texts.
Section A.
Examples I. Tune I.
Sentence stress is marked in all the examples given. In sec
tion A I examples are arranged according to the number of
stressed syllables in the sentence.

a) Simplest kind of statement (word, phrase, or

sentence).
One stress.
'Yes. I 'can't. Good 'morning.
'No. We 'did. I 'want to.
'You. Of 'course. It's a 'new one.
'Me. 'Plenty. I 'found it there.
'There. 'Tea-time. I can 'see it.
'Open. I'm in a 'hurry.
'Thank you.

Two stresses.
Good 'after'noon. 'Very 'difficult.
'Too 'long. That was 'badly pro' nounce<l.
'Not 'bad. It's 'time to get 'up.
'Quite 'right. It 'wasn't 'ready.
'Not at 'all. 'Three or 'four.
7 Armetrong,Ward. Inronatlon, 2. Aull.
93
 I 'don't think I 'can. I 'think it costs 'sixpence.
I 'don't want to 'go. I've 'just bought a 'hat.
I 'wonder what they 'think It was 'quite 'cheap.
about it. We 'did what we were 'told.
He 'thinks I'm 'joking. The 'house isn't 'large enough.
He 'quite a'grees with me. I should 'like some infor'mation..
"\Ve 'all went to 'Kew. I shall 'see what I can 'do
The 'flowers were 'beautiful. about it.
I 'can't under'stand it. He was' standing where! 'left him,
That's a 'very good 'book. He's as 'happy as he de' servell
I 'can't see that it 'matters to be.
much. I should 'like you to 'meet him.
I'm having a 'lesson a 'day. One can 'never be 'sure.
'I've 'lost my 'handbag," she "'I 'don't think I 'can," he said
said in distress. finally.
Three Stresses.
It 'isn't e 'xactly what I 'want. He's a 'very 'wonderful 'pianist.
I 'haven't 'seen him since 'Mon- 'Now I'm as 'fit as a 'fiddle again.
day. They 'all 'brought their 'came-
It's a 'very 'nasty 'day. ras with them.
The 'house is 'old-'fashioned. They have a 'jolly little 'boat
It's the 'finest 'thing in the on the 'river.
'world "I 'want to 'buy a 'picture," he
He was 'very sue'oessful in his explained, looking vaguely
'work. round the walls.
I 'want a 'ticket for 'Birming- They had 'difficulty in 'finding
ham, please.
Four or more Stresses.
.
ac commo'dation.

I 'heard him 'play at the It's the 'early 'bird that'catches

'Albert 'Hall. the 'worm.
'Alice was be'ginning to get 'Too many 'cooks 'spoil the
'very 'tired. 'broth.
94
\

/ I
I-
I 'want to 'talk to you about a He went 'all the way 'there and
'very 'private 'matter. 'back in an 'hour.
She has a 'very 'small 'private I'm 'very 'glad 'Herbert didn't
/,
mcome. 'come with me.
lt was the 'last 'thing I ex- I'm 'sending you 'two 'tickets
'pected to 'find there. for the 'theatre.
I had a 'long 'letter about 'last 'What a 'pity he 'couldn't come
'night's 'concert. 'sooner.
He 'works 'all 'day in the 'City. He 'came to 'call 'yesterday
She pre 'tends that I 'don't 'after'noon.
know 'anything a'bout it.

b) Questions requiring answers other than

''yes" or "no".
One Stress.
'Where? 'Which'?
'Why? 'When'?
'Who?

'l' w o S t r e s s e s.
'How 'many'? 'Where can I 'find it?
'What 'for? 'What kind do you 'like.
'What 'kind 't 'Why don't you 'alter it?
'How 'often'? 'Who 'says so'?
'What can you 'see? 'How much does it 'cost'?
'Where shall we 'goi' 'What's your 'name, my gooil
'What's on the 'table? woman'?
'When_ will you have 'finished? 'How do you 'do?
'Where have you 'put it't 'What's 'this?
'Why can't you 'see it? , 'What does "1mmble" mean?
'What's the 'time? 'How 'old are you?
'When are you 'going? 'Where's your 'Mother?
7•
9f>
 Three Stresses.
'What are you 'going to 'do 'Whydidn'tyou'findout'soonet~
about it? 'Which 'way did they 'go?
'Where are you 'spending your 'How do you 'know it's 'wrong~
'holidays? "'What's it 'all a 'bout?" b~
'How many 'times have you asked angrily.
'been there? "'How 'long have you beet\
'How do you 'think he's 'look- 'waiting?" he enquired po,
ing? litely.
'Which of these 'books have 'How many 'pennies are tber~
you 'read? in a 'shilling?
'When are you 'going a'broe.d 'What do you 'call 'this thing~
again? 'What 'colour are your 'eyes?

Four or more stresses.

'Where are you ex'pecting to "'How 'far is it to 'Waterloo
'stay during. the 'holidays? 'Station?" he said, looking
'How do you 'like my'new 'hat? anxiously at the clock.
'Why don't you 'leave it till 'What 'colour is 'Mary's
to-'morrow 'morning? 'hair.

c) Commands.
'Open the 'door. 'Fetch me my 'glo~es, Mary.
'Stop the 'bus. 'Don't 'waste so 'inuch 'time.
'Take the 'Tube. 'R"mg me ' up a t e '1' even.
'Let me 'sb.ow you. 'Let me 'show you 'how to 'do it.
'Ask him to 'come 'here. 'Close your 'books.
'Send it 'back at 'once. 'Find 'page 'sixty 'seven.
'Run and 'fetch me a 'hammer, 'Read the 'first,'paragraph.
Tom. 'Put your 'hands up.
96
 d) Ex c I am a tl ons.
'What a. 'cold 'da.y ! 'How 'awful!
'What a 'nice 'fire! 'Good 'gracious!
'How 'lovely it all looks! 'Here's a pretty kettle of fish!.
'Welcome 'home a.gain! 'Never a'gain I
'What a 'glorious 'view! 'Poor 'old 'thing!
~How 'late you are! 'Well I 'never!
'What a. 'terrible 'tragedy! 'What a. 'question!

Tune I. In Long Oroups.

I 'heard him 'play at the tAl- My 'brother had an exttremely
bert 'Hall. 'interesting ex'perience the
It's the 'early 'bird that tcat- other day.
ches the 'worm. I 'followed him to a 'tiny
'Too many 'cooks tspoil the a'partment at the tback of
'broth. the 'house.
It was the 'last 'thing 1 ex- It was 'ten 0 1 ' clock on a tcold
tpected to 'find there. De'cember 'morning.
I had a 'long 'letter about tlast They 'set out for 'home a.s tra.st
'night's 'concert. as they could 'go.
His '.wife was the 'daughter of 'Every 'man is tapt to 'think
a. trich 'farmer in 'Derby- his tneighbour has an ~easy
shire. 'time of it.

Examples II. Tune II.

a) Sentences in which something is implied.
It's 'no 'use '.sending for the We 'won't con'tinue the 'story.
'doctor. I 'think it's 'all 'right.
I 'wish I could .'tell you all I 'wish I could 'speak 'English
a'bout it. like 'that.
I 'generally 'manage to be I 'don't think he's 'very 'keen
'there. about it.

97
 It 'wasn't a 'great deal of I 'knew you 'wouldn't 'do it.
'trouble. 'I know what you 'mean.
You 'needn't 'think about enter- 'Don't be 'frightened.
'taining him. We were 'so ·,sorry 'not to be
I 'don't sup 'pose he'll ar'rive 'able to 'come.
till 'just before the 'meeting. I'm 'sorry to have kept you
It 'won't take 'long. 'waiting.
I 'shan't expect you to 'meet I 'wish you 'wouldn't inter-
me. 'rupt.
It 'seems 'rat.her a 'pity. 'That.'s all 'right. '
The 'dentist 'won't 'hurt you 'That's the 'sort of 'man he 'is.
very much. 'Thanks 'very 'much.

b) Questions requiring the answer "yes" or "no".

'Are you 'quite 'sure? 'Do you sup' pose there's 'any
'Can't you 'see it? 'chance of 'meeting him?
'Can't you 'do it before to· '''Don't you 'think it would be
'morrow 'morning? . 'useful?" she asked coaxingly.
"'Didn't they 'promise to'do it at 'Does this 'train 'stop at 'Clap-
'once?" he asked indignantly. ham 'Junction?
'Have you been 'staying here if'Jsn't it 'possible to get a
'long? 'doctor?" he said in an an-
'Have you been to 'Wembley? xious tone.

c) Requests.
'Let me 'know how you get 'on. 'Don't 'trouble to 'answer it.
'Don't go 'back just 'yet. 'Come and 'see me 'soon.
'Say good'bye to 'Grannie for 'Send the 'things as 'soon as
me. you 'can, will you?
'May I 'fetch your 'coat? 'Don't let 'it be a 'trouble to
'Let me 'have a re'ceipt. you.

98
'Don't put yourself 'out about Ex'cuse me one 'moment.
it. 'Don't let me dis'turb you.
'Let me 'know when you 'get 'Don't for' get to 'write to
there. 'Auntie.

Examples of sentences containing more than

one sense group.
a) Tune I. Repeated.
The 'house in 'London was There's 'only 'one 'way of 'do-
tgiven 'up, I and 'most of its ing anything, I and 'that's
'contents 'sold. the 'right way.
'Then I 'went to 'bed, I for .it I was in a 'hurry, I so I took
was 'getting 'late. a 'taxi.
I ,asked him /all a'oo.i.t it, I The 'house 'stood on the tout-
but he 'couldn't 'tell me skirts of the 'town, I a 'long
anything. 'way from the 'road.
I 'want.ed to 'see you, I so 'here It was 'dinner time I before
I 'am. they had 'finished.
The 'fire had been al'lowed to I've taken a 'charming little
go 'out, I and the 'room was 'cottage in the 'country, I 'two
tvery 'cold. 'miles from the 'station.
I was 'very 'anxious to 'see 'Why did she 'come 'now, I
him, I so I 'called at his when we're so 'busy?
'house. You must 'all be tvery 'kind
The 'Ancient 'Britons 'wore to her I and do 'all you 'can
'paint, I and 'probably had to 'help.
'fashions in it. He dis' covered that she was
The 'Dutch are 'early 'risers, I destpised by the 'servants I ,
and 'set about their work in who 'quite 'openly in'sulted
tgood 'time. her.
He 'stopped I and 'pointed it I 'havf;ln't 'time to /do it, I so
'out to me. I'll 'leave it till to-'morrow.

99
 Re 'couldn't 'come, I as he was / The 'sun was 'shining, I avll
a'way from 'homo. 'everything looked 'bright.

b) Tune L repeated more than once.

'John said 'something 'more I I'll 'come and 'sit by the 'fire I
which the 'children couldn't and 'get 'warm, I and 'then l
'catch / and 'vanished. shall feel 'comfortable.
I 'used to 'see him in tKens· I must 'give it 'up I and 'strikEI
ington 'Gardens / where he out for my'self, I and 'hang
'came in the 'aftor'nuons / the 'consequences.
ac 'companied by a tvery He 'shut the 'door as tquietly
'small 'girl. as 'possible, I in'tending to
The 'thing did not 'move, J it go .tstraight to 'bed I and
had 'no 'pulse, I 'no 'breath, I a 'void· any 'further conver·
'no 'colour I -. it was 'sation.
'dead. She 'stopped 'short in 'what she
It was a 'furious 'windy 'morn- had. been 'saying, I 'noticing
ing, I with a 'sky 'much that he twasn't 'listening I
'cleared, I and 'long 'inter- and was 'looking at her with
vals of 'sunshine. exttreme 'earnestness.

c) Tune ll. followed by Tune I.

'As I was in a 'hurry, I I took 'If he'd 'stayed another 'fort·
a 'taxi. night I the 'work would have
He 'spent his 'money I as if he been 'done.
were a 'million'aire. For about 'two 'miles I the
'When they ar'rived at the 'road 'climbs /upwards.
'station i they 'found that As a 'matter of 'fact, I I 'find
the 'train had 'gone. it 'rather' 'difficult.
What'ever 'method he had 'Very 'well, then, I I'll 'go.
'tried I it was 'clear ho had 'Next 'time y'pu're in 'London I
'foiled. 'come and \see me.
\
100
 d) Tune II. followed by Tune I.
(more than two groups.)·
'Miss 'Jones I her 'face 'red I A 'gramophone I with some
and her 'hair in dis'order I 'really 'good 'records I is a
'rescued her 'properly I and 'great 'aid to the tteaching
re'turned to the 'table. of into' nation.
I have been 'out of 'work I With 'new 'interests, I and 'con-
through 'no 'fault of my stant 'calls on her 'time, I
'own I for 'two 'months. she led a 'useful and 'busy
In 'less than a 'week after e 'xistence.
'this, I 'we 'three, I having 'Not very 'long ago, I during a
'squandered our 'earnings in 'holiday in the tWest 'C~un-
Chi'cago, I were 'back at the try, I I 'went 'out I one 'fine
'old 'camp I'seeking em'ploy- but trather 'cold 'March
ment. 'morning Ifor a 'long 'ramble.

e) Tune I. followed by Tune II.

He 'goes for a 'walk in the I'll 'tell him wha.t I 'think of
'evenings, I 'generally. him, I when he 'comes to-
,
I shall ar'rive i~ 'London at morrow.
'six, I if I'm 'lucky. I'll 'a.sk her if she'll 'come, I
I 'don't 'think he 'ought to 'go, I when I 'see her on 'Satur-
when he is so 'bugy, day.
I 'wa.nt to 'find a tcomfortable He 'knew what it 'meant I'more
'seat, I if 'possible. or 'less.
He 'catches the 'ten to 'eight, I Well he 'didn't 'come I as a
when he's 'early enough. 'matter of 'fact.
I
He'll have 'nothing 'left, I if he I 'don't 'like that one par-
'spends his 'money at 'that 'ticularly. .
rate. I 'don't 'go that way I 'usually.

101
 Longer sentences and connected texts involving the use
of the two unemphatic intonations.
Not e. Some of these extracts could be said with a certain amount
of emphasis.
1. He 'felt in his 'pocket I and was 'glad to 'find his tlatchkey
and his 'money I - for with 'these 'two I a 'man com'mands
the 'wor~d.
2. The 'Scotch 'dialect I is 'rich in 'terms of re'proach I against
the 'winter 'wind. j They are 'all 'words I that 'carry a 'shiver
with them.
3. 'No situ'ation I could be 'more com'manding I for the 'head
'city of a 'King,lom; I'none 'better'chosen I for 'noble 'prospects.
4. He is the 'jolliest of com 'panions I and the 'steadiest of
'friends, I and perhaps the most 'genuine 'book-lover in
'London.
5. He 'never 'read the 'papers I till the 'evening/ 'partly because
ho 'hadn't 'time J and 'partly because ho so tseldom found
'anything 'in them.
6. Like 'most 'old 'people I he was 'fond of 'talking about 'old
'days, I and 'as he had known thosts of 'interesting and im-
'portant 'men, I had. a te'nacious 'memory, I and spoke the
most 'finished 'English, I it was a 'pleasure to 'listen to his
,, .
,rem1 mscences.
7. 'Finding myself before St. 'Paul's, I I 'went 'in. j I 'mounted
to the 'dom~; I I 'saw 'thence / 'London, I with its 'river, I and
its 'bridges, I and its 'churches; I I 'saw an 'tique 'Westminster, I
and the 'green 'Temple 'Gardens I with the 'sun upon them.
8. The su'premacy of his po 'litical 'genius I was ,en 'tirely beyond
'question. I He was the 'first 'statesman of the 'age. I He
'governed the 'passions and 'sentiments of a fgreat 'nation I
I
102
 as 'if they had 'been but tkeys and 'chords I of one 'vast
'instrument, J and his 'hand trarely 'failed J to e'voke 'har-
mony I 'even out of the twildest 'storms.
9. He 'went 'through 'life J 'bearing the 'load of a tpeople's
'sonows upon his shoulders I with a 'smiling 'face. J As 'long
as he 'lived, J he was the 'guiding-'star of a tbrave 'nation, I
and 'when he 'died, I the 'little 'children I 'cried in the 'sk?ets.
10. 'l'he 'lights of the 'farm'house I 'shone on the tother 'side of
the tlittle 'field J be'hind 'lilac bushes. I The 'farmhouse 'pump I
'gave out a 'cry like a 'guinea fowl for a few minutes, I
'Then the 'lights 'went 'out.
11. 'Comin!J out of the 'theatre, I we found it 'utterly im'possible
to get '11. 'taxicab; J and 'though it was 'raining slightly, I
'walked through 'Leicester 'Square I in the 'hope of 'picking
one 'up I as it re'turned down ,Picca'dilly. I At 'Piccadilly
'Circus, I 'losing 'patience I we 'beckoned. to a 'four-'wheeler J
and re'signed ourselves I to a 'long 'slow 'journey,
12. He 'came down'stairs I at' eight 'thirty, I as 'usual, I and 'found
'breakfast ready I in the 'empty 'dining-room. J ''fhis 'pleased
him, J because there was 'nothing in 'life he thllted 'more J
than to be 'hurried.
la. We had been 'working 'four 'days, J and on the 'evening of
that 'fourth 'day I 'we 'three Janda 'number of 'others J were
'resting ourselves I in a 'quiet 'place near the 'camp.
14. 'One 'night, Jin Indi'ana, J when it had 'rained 'nearly through-
'out the 'day 1I 'made my 'fire J and 'camped under a tthick-
leaved 'tree, I where the 'ground was tdrier than in the 'open.
15. 'Whilst 'seated there, I 'smoking and 'talking, I there 'came
a'long trour 'strangers, I who 'seated themselves I at 'some
'distance from us, I but within 'earshot of our ,conver'sation.

103
 16. She 'told me tvery ex'plicitly, I to 'follow the 'path I until I
'came to the 'end of the 'wood, I and 'then I should 'see the
'village I be'low me I in the 'bottom of the 'valley.
17. "A 'clear 'fire, I a 'clean 'hearth, I and the 'rigour of the
'game". I 'This was the tcelebrated 'wish I of 'old 'Sarah
'Battle I 'now with 'God, I 'who, I 'next to her de'votions, I
'loved a tgood 'game at 'whist.
18. The 'Palace of 'Holyrood I has been 'left a'side I in the 'growth
of 'Edinburgh, I and 'stands I 'grey and 'silent I in a 'work-
man's 'quarter I and am.ong 'breweries and 'gasworks. I It is
a 'house of 'many 'memories. I 'Great 'people of 'yore, I 'kings
and 'queens, I buf'foons and 'grave am'bassadors, I 'played
their tstately 'force I for 'centuries J in 'Holyrood. •
19. 'Late one 'Saturday 'evening I I 'watched in a 'milk shop I
at 'Breda I a ,consci'entious 'Dutch woman I at 'work. I She
had 'just 'finished 'scrubbing the 'floor I and 'polishing the
'brass, I and was 'now en'gaged I in 'laying 'little 'paths of
'paper I in 'case any tchance 'customer should come in J 'over
'night I and 'soil the 'boards I before 'Sunday.
20. He 'knew that he could re'Iy on his town 'judgment, I and
'never 'scrupled to 'give it I to a 'public which 'never 'tired
of 'asking for it.
21. And Just 'then I 'something must have 'stirred in him, I for
he 'turned up his 'swollen 'nose I and 'stared at my com-
'panion, I and a 'little 'later I 'rubbed the tdry 'pinkness of
his 'tongue I against my 'thumb.
22. With 'that, JI 'shook myself, I 'got once 'more into my 'boots
and 'gaiters, I and 'breaking up the 'rest of the 'bread for
the 'donkey, I 'strolled a'bout I to 'see in 'what 'part of the
'world I I had a'wakened. \

104
23. I 'ate some 'chocolate, I 'swallowed a 'mouthful of 'brandy, I
and 'smoked a ciga'rette I before the 'cold should have 'time
to distable my 'fingers. I And by the 'time I had got tan
'this 'done, I and had 'made my 'pack I and 'bound it on the
'pack-saddle, I the 'day was ttip-toe on the 'threshold of the
'east.
24. 'Some of the tvery 'best of 'Jefferies' 'short 'essays I are
'devoted to 'London 'scenes; I for e'xample I 'those on "'Sun-
light in a tLondon 'Square", I "'Venice in the 'East 'End", I
and "The 'Pigeons at the 'British Mu'seum", I 'No 'reader can
tever for' get I the 'wonderful desc'ription of an tearly 'sum-
mer 'morning I on 'London 'Bridge, I of the 'visits to the
'pictures at the tNational 'Gallery, I and the 'Greek 'statues
at ·the Mu'seum; I and a'bove 'all, I of the 'streams of 'human
'life I in 'front of the 'Royal Ex'change.
25. 'Under the 'carver's 'hand, I it seems to 'cut like 'clay, I to
'fold like 'silk, I to 'grow like tliving 'branches, I to 'leap like
'living 'flame. I 'Canopy 'crowning 'canopy, I 'pinnacle 'piercing
'pinnacle, I it 'shoots and 'wreathes itseir into an en tchanted
'glade, I in'extricable, I im'perishable, I 'fuller of 'leafage than
tany 'forest, I and 'fuller of 'story thau tany 'book.
26. To 'light a 'fire I is the in'stinctive and re'sistant 'act of.
'man, I 'when, i at the 'winter 'ingress, I the 'curfew is 'sounded
· through'out 'Nature. I It 'indicates a spon ttaneous, Prom-
,ethean re 'belliousness I against the 'fiat I that this re' current
'season I shall bring 'foul 'times, I 'cold 'darkness, I 'misery and
'death. I 'Black 'chaos comes, I and the 'fettered 'gods of the
'earth 'say, I 'Let there be 'light.
27. It was the most ext'raordinary looking little 'gentleman I he
had 'ever ·'seen in his 'life. I He had a 'very 'large 'nose, I
'slightly 'brass-coloured, I his 'cheeks were 'very 'round I and

105
 'very 'red, I and might have 'warranted a ,suppo'sition I that
he had been 'blowing a reffractory 'fire I for the 'last 'eight
and 'forty 'hours; I his 'eyes 'twinkled 'merrily I through 'Jong
'silky 'eyelashes, I his mous'taches 'curled ftwice 'round I
like a 'corkscrew I on 'each 'side of his 'mouth; I and his 'hair, I
of a 'curious 'mixed 'pepper and 'salt colour, I de'scended 'far
over his 'shoulders. I He was about 'four 'feet 'six in 'height, /
and wore a 'conical 'pointed 'cap I of 'nearly the 'same 'alti-
tude, I 'decorated with a 'black 'feather / some 'three 'feet
'long./ His 'doublet was pro'longed be'hind I into 'something
re'sembling a tviolent e,xagge'ration I of what is 'now 'termed
a "'swallow tail", I but was 'much obs'cured I by the 'swelling
'folds of an etnormous 'black 'glossy-looking 'cloak, I which
must have been 'very 'much 'too 'long in tcalm 'weather, I
as the 'wind, I 'whistling round the 'house, I carried it 'clean
'out from the 'wearer's 'shoulders I to about 'four 'times his
'own 'length.

Section B . .
Examples I. Tune I. with Intensity.
(Range widened and stress increased.)
Of "course. You're the most cou"rageous
It's "wonderful. "creature I "ever "met.
We "did what we were "told. This is the most a"mazing "tale
It's "perfectly ab'surd. I "ever "heard in any "life.
The man's a "wonderful en- I'm "l1anged if I can "under-
"thusiust. " sfand it.
I "won't "hear "anything I'm "tired of "waiting.
a"bout it. "Why pn "earth did you "inter-
I ,,won't "s tan d 1't ,,any ,,longer. "feri?
106
"What in the "name of "fortune "Do "stop "talking.
are you "doing? ''How ''co~ld you I
''Where in the "world can he ''How "splendid it is!
"be? U"pon my "word!

Examples Ila.
The last stressed word made specia]ly prominent,
the rest having normal stress and intonation.
It's 'not 'my "business. I 'haven't 'seen him since
The 'man's a "fraud. "Monday.
I 'ordered it "specially. She 'said it didn't "matter.
It was 'quite "cheap. You 'don't 'know how "ignorant
I 'can't under"stand it. I am.
He 'quite a" grees with me. 'That would.be ''splendid.
The 'house isn't "large enough. It 'isn't e'xactly what I
I should 'like you to "meet liim. "want.

Questions.
'Why don't you "alter it? 'How do you know it's "wrong?
'How "old are you? 'What's it all a"bout?
'What can you "see? 'How do you like my new
'Where shall we "go? "hat?
'Where have you "put it? 'Why don't you 'leave it till
'When are you "going? to"morrow?
'What are you going to "do 'What do you call "this thing?
about it? 'How many 'times have you
'Howdoyou'thinkhe's"looking? "been there?
'Why didn't you 'find ont 'Where are you 'spending
"sooner? "Christmas?

107
 Examples lib.
One word made specially prominent, the rest
unstressed.
It's not my "business. Bu.t I don't "want the money.
The man's a "fraud. I "don't want the money.
I ordered it "specially. "I don't want the money.
It was quite "cheap. I "told you not to do it.
I can't under"stand Jt. I told you not to ''do it.
"I can't understand it. But I haven't "paid him.
I "can't understand it. But I "haven't paid him.
She's not so "well this morning. 'l'hen we'll "all come.
We "always have this trouble. "Talking wouldn't have been
"John knows nothing about it. any good.
John knows "nothing about Talking wouldn't have been
it. any "good.
"Everybody finds it difficult. I thought ''you were going to
"I must take it in hand. do it.

Questions.
What's the "time? Why didn't you find out"sooner?
Why don't you "alter it'? How do you know it's "wrong?
What can you "see? What's it all a"bout?
Where have you "put iti' How do you like my new "hat?
When are you "going? Why don't you leave it till
How much does it ''cost? to-"morrow?
What are you going to "do What do you call "this thing?
about it? How many times have, you
How do you think he's "looking? "been Ithere?
108
 Examples Ilc.
Two or more words made specially prominent,
the rest unstressed.
It's "not "my business. He "may be "alive.
I "ordered it "specially. It's "perfectly ab "surd.
I "can't under"stand it. But "some people ''love their
"John knows "nothing about work.
it? "I have "other things to do.
But I "haven't "paid him. "You don't know how "ignorant
"Talking wouldn't have been I am.
any "good. "That would be "splendid.
"I thought "you were going to "That makes it all "right, of
,,
do it. course.

Questions.
"Why don't you "alter it? "How do you know it's "wrong'i>
Why don't you ''leave it till "How many times have you
to-"morrow? "been there?

Examples III a.
a) One non-final word emphasised.
I "wish he 'would. I don't "want to 'tire you.
I've "tried 'that way. I "think that would be 'best.
He "can't be 'la1.y. I'm not "good at this sort of
I "know 'that. thing 'nowadays.
"Talking wouldn't have been l'm "glad you 'think so.
any 'good. I never "thought of 'that.
I "can't make it without 'eggs. I ''think it's all 'right again.
She '' said it didn't 'matter. I "thought he would do 'that.
8 Armstrong-Ward, Intonation, 2. Aull.
109
 "That wasn't exactly my 'reason. We "won't go into all that 'now.
It's "quite 'possible. She's not so "well this 'morning.
I think I'd better "go 'now. "That's 'strange.
You "needn't be so 'shocked. "Let me know how you get 'on.
I "hope I haven't kept you You look "terribly 'pale.
'waiting. I "don't think he 'knows.
I "wish you wouldn't inter'rupt. He 'hasn't "definitely re'fused.
I'd "rather you 'didn't. I felt "certain the article would
I should "like to meet the be all 'right.
'Browns. I'd for" gotten I told her 'that.
It '')von't take ve\·y 'long. I've "no doubt about 'that..
I should "like to 'see one. But "surely you must 'know.
She's "prettier than I ex'pected. I "ca-q't do it in a 'day.
I didn't "ruean to dis'turb you. I never "thought of 'that.
It's "so nice to 'see you again. You'll "never be able to keep
I "think it's all 'right. it 'up.
I "knew you wouldn't 'do it. You know I"never ask'questions.
I'm "sorry to have kept you "Do tell me what you've been
'waiting. 'talking about.
"That's all 'right. "That's the sort of man 'he is.
It"wasn't a great deal of'trouble. I "do hope you'll have a good
It "seems rather a 'pity. 'journey.
"Don't. .:io 'that. The lunch was "dreadful, 'so-
We "all used to do 'that sort cially.
of thing. I '' never ask questions about
It's ''always like 'that. your 'private affairs.

Requests.
"Let me know how you get 'on. Ex"cuse me one 'm<;>ment.
"Don't go back just 'yet. "Don't trouble to 'answer it.
"Come and see me 'soon. "Do ~top 'talking.

110
 Examples III b.
Two non-final words emphasised.
I "didn't "mean to 'boast. I didn't "specify any par"ti-
It "isn't e"xactly what I 'want. cular 'house.
It "wasn't a "great deal of The "master's in an "awful
'trouble. 'temper.
But there are" surely some"good It's "quite out of "fashion
I
pictures in the 'Gallery. now.

Examples Ille.
Emphatic questions which can be answered by
"yes" or "no."
"Are you sure you posted the "Are they violets'r
letter? "ls there going to be a storm?
"Must you invite all these? "Was there an accident?
"Don't you think we shall like it? "Haven't you any money?
"Isn't it possible to get a doctor? "Oughtn't you to go to-morrow?
"Do you believe me? "Wouldn't he have helped you?.
"Do you understand it? "Is there any danger?
Questions asking for the repetition of an answer.
"What do you say he did? I "How many yards would you
"When did you say he'd come? like?

Examples Illd.
Last stressed word emphasised (in addition to
one or more others):
I. Fall-rise spread over a number of syllables.
We "all used to do "that sort I'm not "good at this sort of
of thing. thing "nowadays.
You "needn't 'make so much "Do tell me what you've been
"noise about it. "talking about.
s•
111
 It's "so nice to "see you again. I "think it's all "right again.
I didn't ''know it was "you The lunch was "dreadful "so·
standing there. cially.
I "never ask questions about.
your "private affairs.

II. Fall-Rise spread over two syllables.

I don't "want the "money. I 'didn't "mean to dis"turb you.
He "can't be "lazy. I "knew you wouldn't "do it.
She "said it didn't ''matter. It ''wasn't. a great deal of
I'm sur"prised neither of you "trouble.
remembers where I "put it. It "seems 'rather a "pity.
I·"don't want to "tire you. She's not so "well this "morning.
I'm "glad you "think so. "That's the sort of man "he is.
I "hope I haven't kept you I "do hope you'll have a good
"waiting. ';journey.
I'd "rather you "didn't. You'll "find it "lonely.
I should "like to "see one. I "shouldn't do it "that way.
She's "prettier than I ex"pected. ".After "all, there "is a "limit.

III. Fall-rise compressed into one syllable ending

in voiced sound.
I "wish be "would. I "don't think he "knows.
I "can't make it without "eggs. He ''hasn't "definitely re''fused.
I 'think I'd better "go "now. But "&urely you must "know.
I should "like· to meet the I "can't do it in a ''day.
"Browns. It "wasn't ''bad.
It "won't 'take 'very "long. I'm ·,,not going to,Ber"lin.
We "won't go into all that I "didn't say "blue.
,,
now. It "ish't a "tree.
"Let me know how you get I "dotiit feel "cold.
" on. He "isn't very "strong.
You look "terribly "pale. I "don't think he'll "go.

112

---- -------·-·-
I ''think he'll "go. It "isn't "gold.
He's "got a "car. It will be "hard to "prove.
You '' ought to go "there. 1 "don't think it'll "rain.
I "didn't do it ''then. I didn't "know you could "read.
I "hope you'll come "soon. There's ''more than I can "use.
"Don't go to "bed. I "wish he'd "go.
There was an "awful "crowd. There's "lots here for "me.
I "didn't think '' that of "you. It's "bitterly "cold.
"Don't do it a" gain. She has "nice "eyes.
"Don't put it in your "bag. It's "no use looking for it
"Don't leave it be"hind. "here.
I'm "not going by "train. He can't af"ford to buy a "car.

IV. Fall-rise compressed into one syllable ending

in a voiceless sound.
I "know "that. I "shouldn't "call it "black.
I "think that would be "best. You'll "never be able to keep
I 'never "thought of "that. it "up.
You "needn't be so "shocked. I 'didn't "know you could read
I "wish you wouldn't. inter"rupt. "French.
I "think it's all "right. There isn't "time to go 'back.
It's "always like "that. It's tha "trifles that "count.
I felt "certain the article would You could ''easily take it "off.
be all "right. I "don't mind paying what it's
I'd for" gotten I told her "that. "worth.

Examples IV.
Emphatic Tunes I. and II. with additional emphasis.
I. Rise-level.
I see a "ml'.n'vellous im'prove· It's a ''splendid oppor'tunity.
ment. I found him in a "towering
He's an in "tolerable 'nuisance. 'rage.

113
 What an ap"palling 'day! I shall "never 'finish.
He has an "awful 'cold. If"only they'd 'leave me a'lone.
She's an ex"ceptionally 'good
'judge.
II. R i s e · f a II.
"We can't help you. "Lovely!
"That won't do. "Marvellous!
She "said it didn't matter. It's in"tolerahle!
That's what "I was going to say. "Non sense!
"I should like a "drink. Good "gracious!
He "hadn't a "chance. It's "quite ah "surd.
"That would be "splendid. It's "most ri"diculous.
It looked "perfectly "beautiful. The "view's mag"nificent.
It "seems im"possible. But I ''hadn't "heard.
''Thank you. I "don't think it's "fair.
''Wonderful! I felt so "angry.
"Plenty! "You're "lucky.
m. Rl s e .fall· rise.
It "isn't the "noise I object to. After ''ali, there ''is a "limit.
I "think he "means to do it. You "didn't say it was "private.
"That isn't what "I was going I "don't think he'd "mind.
to say. It "isn't "new.
I can "go on "Monday, I if I should "like to meet the
"that's any good. ''Browns.
We could "see him. He's "got a "car.
He "can't be "lazy. It's "bitterly "colll.
It "isn't the "money we're She has "nice ''eyes.
anxious about. It's "no use "looking for it "here.
She "said it didn't "matter. He "can't be very "strong.
You can "do it in "London. They ohght to be "back by
It's "quite "possible. "now.\
It was "dreadful, "socially. I can't af"ford to buy a "'car.

114
He ''does look "ill. There isn't "time to go "ha.ck.
I didn't ''know, "then. It's the "trifles that "count.
It's 'very bad for "trade. We oughtn't to ex''pect them to
It'll be "hard to "prove. "walk.
That '.'isn't what I "meant. You could "easily take it "off.
You "needn't be so "shocked. I "don't mind paying what it's
I ''think it's all "right. "worth.

Sentences containing more than one sense-group.

As a. 'matter of 'fa.et, I I 'find The 'question we 'want to 'ask!
it rather "difficult. is as 'much "our business as
You 'won't ''see anything I if "yours.
you "do come. ""Why", she said, J "I'd no i''dea
One "can't stay here for "ever, J you were anywhere near 'here."
"charming though it may "be. "I'd no idea "you were J until
You "can't "walk, it's 'too "far.
J ''recently," he returned.
A 'little 'over"whelming, I"isn't VI' e "thought we were pro"greS!i-
he? ing J - "now we know we're
I "don't for" get 'injuries, I and only "changing.
I don't ''want to.

Longer sentences and connected texts involving both

tunes with and without emphasis.
1. "I 'don't want ad'vice for my"self; J 'give "her some."
2. "I'm "sorry there isn't any "fire for you; J 'here's some 'hot
"water though."
3. It 'depends on the e "ditions J as to 'how many you can get
out of the 'money.
4. There'll be ''no difficulty about the im"portant questions; J

there 'never "is; I it's the "trifles that "count.

5. "I haven't a "penny in the "world." I "'Can't you "earn one? J

"Other people do.''

115
 6. "'Is your ob"jection Jan ob'jection to 'marriage as an insti'tut-
ion, J or 'merely an 'objection to 'marrying tme 'personally?"
7. "I 'sat 'next her; J and I 'never said a tsingle 'thing to her
the 'whole 'time J - 'couldn't 'think of a tbiessed 'word. I
And not a "word did 'she say to 'me."
8. "I'm 'glad you've 'come, sir! JI was 'worrying 'what to 'do." J
"Oh, you "needn't "worry," said Jimmy kindly. J ''It's "not
so "serious as it "looks."
9. ""Heavens, J "what ·am I to ''do. J I've "done "everything." J
"'Yes, "you ''have,/ but "she 'hasn't. I "She's done "nothing, I
She doesn't know "how to. I "You've got to "show her."
10. ""Nonsense! J "That attitude is 'old-"fashioned. J This is 'no
'longer an 'age of pa''rochialism I but of ,compe"tition, J in
'art and 'science J 'just as 'much as in 'commerce - I ,co-
ope'ration with your ''own group, / but with 'those out"side
it, / ,compe'tition to the 'death."
11. "'There," he said, J "it's 'all 'altered. J There isn't 11, "single
"thing, J not a 'chair, J or a 'footstool, or a 'candlestick J that
'isn't in 'some 'place J where it 'wasn't. I And the room doesn't
look a "bit 'better, J and you won't he a "bit better 'pleased
with it J to-'morrow."
12. A. "'Oh, J before the 'end of the 'week J I shall have got 'rid
of him. J I'll 'say he 'died in 'Paris I of 'apoplexy. "Lots
of people die of apoplexy, J'quite 'suddenly, I'don't they?" J
B. "'Yes, J but it's he"reditary, my dear fellow. J It's the sort
of thing that 'runs in "families. J You had "much better say
a se'vere ''chill I ' ·
A. "You are 'sure a se'vere 'chill isn't' hereditary?" J
B. "Of 'course it isn't!'' I
A. "Very 'well, then. J My 'poor 'brother J is 'ca1Tied 'off
'suddenly J in 'Paris, J by a se'vere 1chi11. J "That gets rid
of "him.'' I

116
13. A 'few 'evenings ago I I was 'helping a 'friend I to 'make
'out ~ 'list of invi'tations I for a 'party she was giving. J The
'list grew tlonger and 'longer, I and 'finally I I 'said:
"'If you in'vite 'any "more people I you'll 'spoil the 'whole
'thing, I because your 'room isn't "large enough for 'this
crowd. I "Must you invite all these? I 'Mrs 'B., for instance? I
I 'thought you didn't ''like her. I .And 'Miss 'Q? I You 'say
she's so ''spiteful I and 'always 'rubs you the 'wrong 'way?'' I
"She "does, 'too. I But I simply "can't leave her 'out. I
'Nor Mrs. 'B. I
"Oh, 'why haven't you the 'courage to tstop doing what you
'don't 'want to?" I cried. I "'Seems to "me I you're "always
'running a'bout with 'people who 'don't 'matter, I 'not because
you en''joy it, I but because they ex''pect it I or you "think
they do.
14. "Everything is taken seriously in "these grim days, I 'even
'short 'stories. I There is 'said to be a de"mand for short
stories, I be'gotten amongst 'many "other things, I by that
'reckless 'parent, I the 'Spirit of the 'Age. I There "is no such
demand. I The 'one and 'only de'mand I 'poor 'wearied
hu'manity has tever 'made, I or ever "will make, of the story-
teller, I be he as 'long-'winded as 'Richardson I or as 'breath-
less as 'Kipling, I is to be made 'self-for'getful for a season. I
'Interest me 'somehow, I 'anyhow; I make me· 'mindless of
the 'room I am 'sitting in, I or of the 'people a'bout me; I
'soothe me, I ex'cite me, I 'tickle me, I 'make me "better,\
'make me "worse; I 'do what you "like with me, I only 'make
it 'possible for me to keep treading 'on, I and a 'joy to 'do
so. I 'This is our de'mand. I There is 'nothing un'reasonable
in it. I It is a 'matter of ex'perience. I 'Authors have done
tall 'this for us, I and are 'doing it to-'day. I It's their 'trade, I
and a 'glorious one.

117
 15. The 'stranger 'came 'early in 'Feliruary, I one 'wintry 'day, I
through a 'biting 'wind I and. a 'driving 'snow, I the 'last
'snowfall of the 'year. I He 'came over the 'Down, J 'walking
from 'Bramblehurst 'Railway Station, I and 'carrying a tlittle
'black port'manteau I in bis 'tbickly·'gloved 'hand. I He was
'wrapped 'up from thead to 'foot, I and the 'brim of his 'soft
'felt 'hat I 'hid tevery 'inch of his 'face I save the 'shining
'tip of his 'nose; I the 'snow bad 'piled .itself age.inst bis
tshoulders and 'chest, I and 'added a twhite 'crest I to the
'burden he 'carried. J He 'staggered into the 'tCoach and
'Horses' J 'more 'dead than a'live, I and 'flung his port'man-
teau down. I "A 'fire," he cried, I "in the 'name of 'human .
'charity! J A 'room and a 'fire!" I
He 'stamped I and 'shook the 'snow from off himself in the
'bar, J and 'followed Mrs. 'Hall into her 'guest parlour I to
'strike his 'bargain I And with 'that much intro'duction, J
'that J and a 'couple of 'sovereigns flung upon the table, I he
'took up bis 'quarters in the 'inn.
16. A 'very 'absent-'minded '.Bishop I was 'once 'travelling by
'train I in his 'diocese, I and 'when the 'ticket-collector I
'came for the 'tickets, J the 'Bishop 'couldn't "find 'his. J ""Ne,;er
'mind, my lord,'' said the ticket-collector, who 'knew him 'well, J
"it'll "do at the 'next 'station." I But at the 'next 'station I
there was the 'same 'difficulty: I the Bishop 'couldn't 'fin a
bis 'ticket 'anywhere. I ""Don't 'bother about it; I it "really
doesn't 'matter", said the ticket-collector kindly. I "'No, 'no, I
I "must "find it,'' said the Bishop in distress, I and 'turning
out his 'pockets as be 'spoke. I "I 'want to 'know where
I'm "going."
17. 'Here we've been tthree 'years I 'buried\ in the 'country, I
and as 'happy as a 'bird I the 'whole 'time.\ I 'say as a "bird, J
because "other people have used that simile I to des'cribe

118
 "absolute 'cheerfulness, I although I 'don't believe 'birds are
tany 'happier than any one 'else, I and they ''quarrel dis-
" gracefully. I I've been as 'happy then, we'll say, I as the
'best of birds, I and have had 'seasons of 'solitude I at 'inter-
vals I before 'now I 'during 'which I 'dull is the tlast 'word
to 'describe my 'state of 'mind. I "Everybody, I it is 'true, ]
'wouldn't 'like it, I and I had some \·isitors here I a 'fortnight
ago I who 'left I after 'staying about a 'week I and "clearl.r
not en"joying themselves. \ They found it 'dull, I I 'know, I
but "that, of course, was their 'own "fault; \ 'how can you
make a person 'happy atgainst his 'will? I You can 'knock
a tgreat 'deal 'into him I in the 'way of "learning I and what
the 'schools 'call "extras, I but if you 'try for "ever I you
won't 'knock ta.ny 'happiness I into a 'being who "hasn't
got it "in him to "be happy. I The 'only re'sult, I 'probably, I
would "be I that you 'knock your "own out of your"self.
18. It is ex 'tremely 'difficult I to 'gage the 'wear and 'tear of
'work I that we are ;not 'used to 'do. I 'Every 'man J is 'apt
to 'think his "neighbour has an 'easy 'time of it. I 'He who
'delves for his 'bread I 'talks as if "all the 'work of the 'world
was tdone by 'hands. I The 'man of "business J 'thinks in his
"heart, I that "poets and "painters ''play. I The 'man of
'letters I 'envies the 'arti'san I whose 'work 'grows thour
by 'hour I in re'sponse to the 'effort 'spent on it. I A ''plan-
ter's life I sounds like an: ever'lasting 'holiday on 'horseback. I
And "most of us I have 'heard of Mr. 'Darwin's 'housekeeper I
who 'thought her 'master would be tall the 'better I for
"'something to 'do",
19. Of 'William and 'John 'Scott, I 'afterwards 'Lord 'Stowell J
and 'Lord 'Eldon, I 'Lord 'Russell 'used to 'tell wiih tinfinite
'zest I a 'story which he de'clared to be thighly characte'ristic I
of the "methods I by which they made their 'fortunes and

119
 po'sition. j 'When they were 'young 'men at the 'Bar, I 'having
had a 'stroke of pro'fessional 'luck, I they de'termined to
"celebrate the occasion I by having a 'dinner at a/tavern \
and 'going to the 'play.
'When it was 'time to 'call for the 'reckoning, I "William
Scott I 'dropped a 'guinea. I 'He and his 'brother tsearched
for it in 'vain, I and 'came to the con'clusion I that it had
'fallen between the 'boards I of the un 'carpeted 'floor. I
"'This is a 'bad ;job," said William, I "we must 'give up
the 'play." I
"'Stop a 'bit," said John; I ""I know a trick worth "two of
'that," I and 'called the 'waitress. I
"'Betty," said he, I "we've 'dropped "two 'guineas. I 'See if
you can 'find them." I 'Betty went 'down on her 'hands and
'knees, I and 'found the "one guinea, I which had 'rolled under
the 'fender. I '
"That's a 'very 'good 'girl, Betty," said John Scott, I 'pocket-
ing the 'coin; I and 'when you 'find the "other I you can
"keep it for your 'trouble." I And the 'prudent 'brothe,rs I
'went with a tlight 'heart to the 'play, I and 'so e "ventually I
to the 'Bench and the ·woolsack. I
20. Dex'terities of 'phrase I 'sometimes re'coil with fdire ef'fcct
upon their 'author. I A 'very 'popular "clergyman of my
acquaintance I ''prides himself I on 'never for' getting an
in thabitant of his 'parish. I He was "stopped one day in the
''street I by an ng'grieved pa'rishioner I 'whom, I to 'use a
'homely 'phrase, I he 'didn't 'know from 'Adam. J 'Ready in
re'source I he pro'duced his 'pocket- book, I and 'hastily
'jotting 'down a memofrandum of the pa'i;ishioner's 'grievance, J
he 'said, I with an in'sinuating 'smilei' I "It's 'so "stupid
of me,\ but I 'always for'get how to 'spell your 'name."

120
 \
11'J -'0-'N -'E -'S," was the gruff response~; I and the 'shepherd
and the 'sheep I went their 'several 'ways 1'!11 'mfitual dis'gust.
21. The 'house-surgeon of a 'London 'hospital I was at'tending
to the 'injuries of a tpoor 'woman I whose 'arm had been
setverely 'bitten. I 'As he was 'dressing the 'wound I he 'said, I
"I 'can't 'make 'out I 'what 'sort of 'animal "bit you. I This
is 'too "small for a "horse's bite, I and 'too "large for a
"dog's." I "'Oh sir," replied the patient, I "it "wasn't an
"animal; I it was a'nother "lady. I 'Surely the 'force of
ur'banity I could 'no 'further 'go.
22. The 'mere 'fact of 'never having a 'holiday I is 'not in it"self
dis'tressing. I 'Holidays 'often are tover'rated dis'turbances
of rou'tine, I 'costly and un'comfortable, I and they 'usually
need a"nother holiday I to cor'rect their 'ravages. I 'Men who
'take 'no 'holidays I 'must not, therefore, I 'necessarily I become
'objects of our 'pity. I But I con'fess to feeling 'sorry I for
'those 'servants of the 'public I who ap'parently I 'not only
'never take a 'holiday them"selves, I but who spend 'all their
'lives in astsisting 'others to 'get a'way. I
It is 'probably "no pri'vation to a "bathing machine man I
'never to 'enter the 'sea; I up'roariously 'happy in that 'ele-
ment I as his 'clients can 'be, I 'their 'pleasure, I in which he
has 'no 'share, I 'does not, I I i'magine, I em'bitter his e'xi-
stence. I 'Similarly, I 'since a 'waiter either "has 'eaten I or is
'soon to 'eat, I we 'needn't 'waste 'sympathy Jon his un'end-
ing 'task I of setting se'ductive 'dishes before 'others. I But
it is con'ceivable I that 'some of those tweary and de'jected
'men I whom one 'sees at Vic"toria for example, I in the
'summer, I e'ternally 'making au 'effort, I how'ever 'unsuc-
'cessful, I to 'cope with the 'exodus of 'Londoners to the tSouth
'Coast, I 'really would 'like "also I to re'pose on 'Brighton

121
 , I I
beach, I Bft 'nol"Their destiny I is .for 'ever to 'help ''others
to that pfradise/ I and re 'main at Vic'toria them 'selves, I 'Just
as 'Moses. ."»';as de'nied the tChildren of 'Israel's 'Promised,
'Land, I 'so are the 'porters. I The "engine-driver can go, I
the "stoker can go, I the "guard can go I - indeed they ''must
go I - but the 'porters get tno 'nearer than the 'carriage
'doors I and 'then 'wheel 'back agai_n.
23. At 'five o'clock the 'following 'day, I tho 'old 'man 'sat
a'1ono, I a ci 'gar between his 'lips, I and on a 'table by his
'side, I a 'cup of 'tea. j Ho was 'tired, I and 'before ho had
'finished his ci'gar I ho 'fell as'leep. I A 'fly settled on his
hair, I his 'breathing 'sounded 'heavy in the tdrowsy 'silence, I
his 'upper 'lip I under tho 'white mous'tacbe I 'puffed tin and
'out. I From be'tween the 'fingers of his tveined and 'wrinkled
'hand I the ci' gar, I 'dropping on the 'empty 'hearth, I 'burned
itself 'out.
24. "It "seems to "me I that in "your place I I'd 'come 'here I at
'least 'once a 'week." I
"'Oh no, you "wouldn't," said the other man. I "You ''think
you would, I but you "wouldn't. I You 'wouldn't have "time. j
You'd "always "mean to go, I but you never "would go. J
There's 'better fun than "tha,t I·"here in "Paris. I "Italy's the
place to see "pictures; I 'wait till you 'get "t)iere. I "There I
you "have to go; I you 'can't do anything "else."
25 There was an in' dignant 'letter from a ,corres"pondent 'yester-
day, I com 'plaining of the be'haviour of a "railway-porter I
at Vic"toria, I on re'ceiving a 'tip of ''si:;pence I for'carrying
a ''handbag I 'thirty 'yards I to a 'taxi-cab. I An 'incident of
"this kjnd I 'makes one tmore con'vinced than "ever I that it
would be a 'great 'deal "better I if "rail\vay porters I and
"other people who expect tips. I would ' ca.rr:irI a 'tan'ff I 'roun d
their 'necks, I 'showing us extactly 'how 'much I they would

122
 '\

.\ \
like us to '1)ay. \ Or they 'might wear a ~'nec~ce \ of 'little
'coloured e'lectric 'bulbs \ which would \show 'lights \ of
'different 'colours \ for 'different 'sums. \ 'Th'QS· \ a 'ghastly
"green light switched on\ would mean "twop°:nco, \ a "blue
light I "sixpence, \ a "rosy light \ a "shilling,\ a "heliotrope
light I "two shillings, \ and 'so on\ to the 'rainbow-'coloured
'light that 'meant a tpound 'note.
'Railway porters should re"member \ in the "meantime I that
'most of us "like giving 'tips. \ We 'long for the af'fection of
our tfellow 'creatures, \ and 'if we can 'bring the "love light \
into a' pair of 'human'' eyes \ for so 'small a'sum as a "shilling, \
we con'sider the 'money twell 'spent.\ 'One of the 'charms
of being trich must 'be \ that you can give o"normous 'tips I
to 'everybody who 'looks as if he 'wanted one, \ and 'pass
through the 'world \ to a per"petual ac'companiment \ of
'happy, af'fectionate 'faces. j 'How 'miserable an ex"perience
it 'is I to see a "railway porter I 'just after you have 'tipped
him I 'looking as if he tdidn't 'care if you were 'dead. j 'How
"hard it is I to 'bear the 'disapproving 'frown \ of an 'under-
'tipped 'waiter. \ To "underlip \ is to make 'two 'people
'wretched \ - the 'tipped and the 'tipster. \ 'Each of you
'leaves the 'other \ 'blushing for 'human 'nature. \ A 'railway
porter might "easily forgive the ma"terial wrong you have
done him; I he 'cannot for"give you I for ha"ting des'troyed
his 'faith.

The Little Queen.

26. 'Once upon a 'time I there was a 'king who trailed to 'please
his 'subjects I and was in "consequence \ in 'instant 'peril.\
'Hurriedly col 'lecting tsuch 'treasures as he 'could, \ 'he and
his 'young 'queen\ 'crossed the "frontier 'one 'night\ with a

123
 'few ~fait~ul re;tainers I and 'settled in a setcluded 'castle \
in a 'friendly 'country. I
On the 'first 'wet 'day I the 'queen was 'missing. j 'High anti
'low I the re'tainers 'searched for her, I and at 'last she was
dis"covered l'in the 'middle of an topen 'space in the 'forest, I
'holding up her 'face to the 'rain. \
"Horror-stricken, I they 'hurried to her 'aid; \ but she 'waved
them 'back. I
''"Do let me 'stay a little 'longer," she pleaded.\ ""All my
'life I I have 'longed to 'feel the 'rain \ and I was "never
al'lowed to. \ "All my 'life I there have been 'coaches and
um'brellas." I
And a'gain I the 'little 'queen I 'held up her 'face to the
'drops.

After the Theatre.

27. "'Look "here," he· said, I ""don't run a'way like 'this. \ It's
''pouring. j 'You 'wait 'here I and I'll 'get you a "taxi." I
""Oh, I but I "always go by "tube,'' she said.
"You "can't go by tube to''night, \ 'not in this "rain, I And
you look "frightfully "tired."
She 'glanced at him 'oddly, i and 'laughed a little.
"'Do I?" she said. I "'Well, I'm "not.\ Not a "bit tired, I and I
can "quite well go by tube. I It's "quite 'closeY I
"You 'can't do tanything of the 'sort. \ 'Stand 'here 'out of
the 'rain I while I 'get a 'taxi." I And 'off he 'ran. I
For a "moment I she was on the 'verge of trunning 'off by
her'self, I going to the 'tube as 'usual I and 'getting 'home
her town 'way, I for 'why should she be 'forced into an ex-
tpensive 'taxi? I But she 'thought it would be "rude, I and
'waited.

124
 I

PRICE : SEVEN SHILLINGS AND SIXPENCE NET