During the last generation the growing interest in phonetics as a science, and the recognition of its valuenbsp;in the study of foreign languages, have revolutionisednbsp;language teaching in Continental and English schools.nbsp;There are now several elementaiy books on the soundsnbsp;of English, French, and German.

The author of this book is a successful teacher of many years� experience, and his pupils and fellow-teachers will welcome this outhne of his lessons. Thenbsp;so-called natural method gives perfect results undernbsp;perfect conditions. But when the teacher is facednbsp;with the problem of turning English-speaking school-children and adults into Irish speakers, these conditions are lacking. One student in a hundred may benbsp;a good mimic, but the other ninety-nine, whose earsnbsp;and speech organs are accustomed to one system ofnbsp;sounds, cannot unconsciously assimilate a verynbsp;different one. They hear Irish sounds during onenbsp;hour in the day, or perhaps one hour in the week.nbsp;Or rather they do not even hear them. The teachernbsp;says cr�, gaoth, cuid; the pupil hears and repeatsnbsp;Cray, gay, kid, with three faults in every word. Afternbsp;years of work the learner realises�sometimes, alasnbsp;does not realise�that everything he says is absurdnbsp;and irritating, if not unintelligible, to the nativenbsp;speaker. The cure is phonetic drill from the start.nbsp;The pupil must be taught to put his tongue and lipsnbsp;into the right position, and drilled to produce new

sounds consciously until practice has made the reproduction unconscious and natural.

Even an elementary book on sounds must have definite symbols to represent them. As M. Paulnbsp;Passy, the French phonetician, says, � writing anbsp;treatise on speech sounds with their ordinary representation or spelling as a basis would resemble writingnbsp;a treatise on arithmetic, using only the Romannbsp;numerals.� Finck, in his book on the Aran dialect,nbsp;and Henebry, in his sketch of the dialect of Waterford,nbsp;use alphabets of their own devising. Quiggin, in hisnbsp;invaluable book on Donegal Irish, uses the symbolsnbsp;of the International Phonetic Association, which, asnbsp;applied to Irish, are costly and complex. The Simplified Spelling system, here adopted, has been foundnbsp;to work well in practice, especially when used bynbsp;learners and teachers who speak English with annbsp;Irish accent, that is, midway between the Englishnbsp;and the Gaelic accent.

AUTHOR�S PREFACE TO THE SECOND EDITION.

Since the first edition of The Sounds of Irish was published three years ago, the position of Irishnbsp;in the primary and secondary schools has beennbsp;radically altered. In the schools controlled by thenbsp;Belfast Government the old attitude of indifferencenbsp;to the national language is persisted in by the centralnbsp;educational authority, but in the rest of Ireland,nbsp;the driving force behind the language now comesnbsp;from the centre, and is being responded to sympathetically by those whose duty it is to carry outnbsp;the educational schemes in the schools. Managersnbsp;and teachers are co-operating with the centralnbsp;educational authorities in the effort to rake thenbsp;study of Irish as a living language a reality. Thisnbsp;effort, however, cannot succeed unless it is basednbsp;on those scientific principles of language-study whichnbsp;have been applied to the teaching and study ofnbsp;other living languages in England and the Continentnbsp;in recent years.

The sounds of the new language must be taught methodically, and the teachers must know thenbsp;organic formation of the sounds of the new languagenbsp;and of the mother tongue of the students, so as tonbsp;be able to correct defective pronunciation or accentnbsp;and react against the tendency on the part of allnbsp;learners to bring the sounds of their native speechnbsp;into the language they are learning. Fortunately,nbsp;the English spoken by most learners of Irish innbsp;Ireland contains many of the pure Irish sounds.nbsp;Starting with this initial advantage, there is nonbsp;reason why most of our learners, and especiallynbsp;those in the primary and secondary schools, shouldnbsp;not learn to speak Irish with the pronunciation and

AUTHOR�S PREFACE.

accent of native speakers. But they must have phonetically-trained teachers to enable them to donbsp;so. This was fully recognised by the DaiUCommissionnbsp;on Secondary Education in 1921, when they includednbsp;Phonetic Drill as a specific part of the work for eachnbsp;of the four years leading up to the examinationnbsp;for the Junior Leaving Certificate. It is also recognised by an ever-increasing number of teachersnbsp;in both primary and secondary schools.�

Based as it is on actual experience of teaching the sounds of Irish to English-speaking learners innbsp;Ireland, this book deals with actual difficulties whichnbsp;confront teachers and students from day to day.nbsp;It contains many hints for teachers and studentsnbsp;which suggested themselves in the course of class-work. For instance, the remark of a student lastnbsp;summer that breath m is a /� through the nose suggested the new hint for the teaching of the breathnbsp;liquids eontained in this edition. Similarly, the newnbsp;hint on the teaching of the nasal vowels arose outnbsp;of the aetual teaehing of these sounds last year.

In the main, the book has stood the test of experience. It has been supplemented here and there with additional hints and information, and two newnbsp;sections have been added to improve its usefulnessnbsp;to teachers who use it as a text book on Irish phonetics,nbsp;but it has not been found necessary to make anynbsp;impoj�tant alterations either in matter or arrangement. The author will be grateful to teachers andnbsp;students for any further criticisms or suggestionsnbsp;which they may offer. He desires to thank mostnbsp;gratefully the Rev. Richard Fleming for grantingnbsp;permission to quote from the writings of Canon O�Learynbsp;in selecting the pieces for transliteration given in thisnbsp;edition.

CONTENTS.

Preface by Osborn Bergin nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;... in

Contents nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;... vii

15 Vowels and Consonants nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;... 11

74-76 Glides (Sleamhnaiu) nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;...nbsp;nbsp;nbsp;nbsp;... 38

The Sounds of Irish

INTRODUCTION.

1. nbsp;nbsp;nbsp;A book on the sounds of Irish is an indispensablenbsp;part of the equipment necessary for the scientificnbsp;study and teaching of the language. Hitherto nonbsp;suitable book has been available. The smaller pamphlets and handbooks are too general in character,nbsp;and the larger works are too technical for ordinarynbsp;use. This book is based on experience gained in thenbsp;course of many years in teaching Irish with the aidnbsp;of phonetics to all classes of English-speaking students.nbsp;Among these students were priests, nuns, Christiannbsp;Brothers, lay teachers in primary and secondarynbsp;schools, doctors, lawyers, civil servants, clerks,nbsp;manual workers, and children. With such a variety ofnbsp;material for observation it was possible to draw somenbsp;general conclusions as to the sounds in Irish whichnbsp;English-speaking learners find difficult, and to devisenbsp;ways of overcomii^ such difficulties. The results ofnbsp;all this obser\�ation and experience will be found innbsp;this book.

2. nbsp;nbsp;nbsp;Tire part dealing with the material and organsnbsp;of speech is short and avoids the use of technicalnbsp;language. Some students of Irish, who have had anbsp;surfeit of what Professor Sweet calls �paper phonetics,� have turned against phonetics altogether,nbsp;and the heads of a college for the teaching of Irish see

THE SOUNDS OF IRISH.

nothing incongruous in advertising � no phonetics � as an attraction for their college. Outside Ireland itnbsp;is a commonplace of language teaching tliat the usenbsp;of phonetics is necessary, especially for adult students.nbsp;In some of the best secondary Schools in Ireland thenbsp;value of phonetics is fully realised. But there is anbsp;good deal of ignorance and prejudice to be overcomenbsp;before Ireland takes her place with Continental countries, or even with England, in the Scientific study andnbsp;teaching of Modern languages.

3. nbsp;nbsp;nbsp;There are probably some people in Ireland today who, notwithstanding all the discussion of thenbsp;past twenty years, think that phonetics meansnbsp;phonetic Spelling. It is not more than ten years since anbsp;candidate for a professorship of phonetics in an Irishnbsp;college set out as his chief qualification for the position that he was able to write shortliand at the rate ofnbsp;150 words a minute ! Ignonince anti prejudice arenbsp;hard to kill, and it nia}' be well to state that the sciencenbsp;of phonetics is not another name for shorthandnbsp;writing or phonetic sjjelling. It deals with the organicnbsp;formation anti production of the sounds of humannbsp;Speech. The representation of the sounds in writingnbsp;bears the sanie relation to phonetics as the tonicnbsp;sol-fa or the staff notation bears to music. The soundsnbsp;themsehes and the representation of the sounds arenbsp;two distinct and separate things, and should not benbsp;confounded.

4. nbsp;nbsp;nbsp;The teacher of music uses symbols to teach thenbsp;individual notes of music and combinations of notesnbsp;in Scales and simple meloflies, leading by degrees tonbsp;the higher forms of musical composition. In thenbsp;same way, the teacher of lai^ages teaches the individual sounds and combinations of sounds in words

THE SOUNDS OF IRISH.

and phrases, as a preliminary to the teachir^ of the masterpieces of the language and literature. It willnbsp;help him in his work if he has at his disposal a systemnbsp;of writir^ which will represent the sounds withnbsp;scientific accuracy, and for this reason a phoneticnbsp;alphabet is used by the language teacher who is anbsp;trained phonetician. Where the ordinary spellingnbsp;is irregular, as it is in the case of Irish, French, andnbsp;English, a phonetic alphabet is an absolute necessity for the teaching of the language to non-nathenbsp;Speakers. Fortunately there is a system of writingnbsp;Irish now in use which is both simple and scientific,nbsp;and by which the sounds can be represented withnbsp;sufficient accuracy for all the requirements of thenbsp;language teacher. That system is used in thisnbsp;book (� 11).

5. nbsp;nbsp;nbsp;The teaching of the language must be based on thenbsp;living speech. In this book the speech of the nativenbsp;district of the late Canon O�Leary is token as thenbsp;basis. The student who can speak Irish with as goodnbsp;an accent and pronunciation as Canon O�Leary didnbsp;will probably consider himself a proficient Irishnbsp;speaker. He will speak a language which is the same innbsp;texture as that which he will find in the best writtennbsp;Irish of the past two hundred years. It is the Irishnbsp;of the heart of Gaelic Munster, and the deviationsnbsp;from it in the other parts of Munster in which Irishnbsp;still lives are very few (� 90).

6. nbsp;nbsp;nbsp;In the second part of the book a number ofnbsp;exercises are given on the individual sounds and soundsnbsp;in combination and on continuous prose and verse.nbsp;The examples are all from the literature or the livingnbsp;speech, many of the lines being from the writings ofnbsp;Canon O�Leary and from eighteenth century and later

Irish poetry. The little stories, proverbs, verses and prayers at the end are from a collection taken down bynbsp;the author from the narration of Mrs. Kelleher, Gortinnbsp;na Cuxli, Ballingeary, one of the finest Irish speakersnbsp;alive to-day, and one whose help has been givennbsp;without stint to every student who has sought it. Thenbsp;author takes advantage of this opportunity to thanknbsp;her for placing her wealth of Gaelic lore at his disposal. He also desires to acknowledge his indebtednessnbsp;to Dr. O�Daly, who was the first to teach Ireland thenbsp;value of phonetics in making fluent and accuratenbsp;Irish speakers, and to thank many friends who helpednbsp;in the production of this book, particularly Professornbsp;Bergin and Dr. D. A. Mahony, Glasnevin. Dr. Mahonynbsp;read the manuscript and proofs and made many valuable suggestions which have been adopted.

This edition contains a number of pieces in prose and verse for transliteration from the simplified spellingnbsp;into the historical spelling and vice versa, and anbsp;series of questions in Irish intended as tests of thenbsp;student�s knowledge of phonetics and of the application of phonetics to the teaching of Irish. Thisnbsp;additional matter can be used for home exercisesnbsp;in classes in which this book is used as a text booknbsp;on Irish phonetics.

MATERIAL AND ORGANS OF SPEECH.

7. Breath.�Breath is the material out of which the sounds of human speech are made. Good breathing,nbsp;therefore, is essential for good speaking. If the breathnbsp;is taken in short gasps, instead of a harmonious flow

of sound, pleasing to the ear, we get jerky bits of sentences, as happens when one is panting for breath after running or other physical exercise. Good deepnbsp;breathing makes for good health as well as for goodnbsp;speaking, and should be insisted upon by the teacher.

When we breathe we take air into the lungs and emit it again. It passes out without interruption innbsp;ordinary breathing, but in speaking it is mouldednbsp;by the organs of sjjeech ; the vocal chords, the tongue,nbsp;the palate, the teeth, the lips, etc.

8. The Vocal Chords.�^For teaching the sounds of any language, and especially for teaching thenbsp;sounds of the Irish language, it is necessary to understand the way in which the vocal chords work. Thesenbsp;chords are situated in the larynx or upper part ofnbsp;the wind-pipe, in the part of the throat in which thenbsp;� Adam�s Apple � is seen in a man. When we breathe,nbsp;they are apart, but they can be drawn towards eachnbsp;other. When they are drawn towards eaeh other, thenbsp;breath, as it escapes from the lungs through the windpipe, causes them to vibrate and produce what arenbsp;known as voiced sounds. Vowels and diphthongs arenbsp;voiced, as a rule, but each group of consonantsnbsp;has both voiced and unvoiced sounds.

The vibration of the vocal chords can be felt in different ways. The vibration for the v of five or thenbsp;z of size or any other voiced consonant can be feltnbsp;by touching with the fingers the part of the throat innbsp;which the vocal chords are situated, by putting thenbsp;little fingers in one�s ears, or by putting the hand on thenbsp;top of the head while any of these sounds is beingnbsp;produced. In standard English speech which is pronounced in the same way as witch. In English asnbsp;spoken in Ireland, the wh of which, what, why.

whig, etc., is a breath consonant. A comparison of the two pronunciations is a useful exercise on thenbsp;working of the vocal chords.

9. nbsp;nbsp;nbsp;The Velum.�-The velum or soft palate ends innbsp;a tail called the uvula, the movement of which cannbsp;easily be observed by the aid of a hand-mirror. Onnbsp;leaving the throat the breath passes through thenbsp;mouth or through the nose, or through both. It isnbsp;then that the modifications into the different varietiesnbsp;of vowels and diphthongs and the different groups ofnbsp;consonants take place. In good breathing the mouthnbsp;is closed, the velum is lowered, and the breath passesnbsp;out through the nose. The velum is also lowered fornbsp;the production of nasal consonants and nasal vowelsnbsp;and nasal diphthongs. For nasal consonants thenbsp;breath passes through the nose, and for nasal vowelsnbsp;and nasal diphthongs it passes through the mouthnbsp;and the nose. As all three classes of sounds occur innbsp;Irish, it is important that the working of the velumnbsp;should be understood by students from the beginning.

10. nbsp;nbsp;nbsp;The Tongue, Lips, Teeth, Etc.�-When thenbsp;breath is escaping through the mouth or throughnbsp;the mouth and nose, it can be moulded into annbsp;almost endless variety of sounds. Not only has eachnbsp;language sounds peculiar to itself, but sounds whichnbsp;are common to different languages differ in qualitynbsp;and are classified as distinct from each other. Thenbsp;speaker of one language rarely adverts to the mannernbsp;in which he moves his organs of speech in speaking,nbsp;but the teacher of languages will see that his studentsnbsp;know how they use their lips, tongues, velums, vocalnbsp;chords, etc., in producing the sounds of their mother-tongue and those of any languages they are learningnbsp;(� 12). When they obtain conscious power over their

vocal organs they have mastered the first essential for becoming accurate and fluent speakers of the newnbsp;language.

11. For the representation of the sounds in writing some system is necessary which will, as far as practicable, conform to the principle of one sign onenbsp;sound. The alphabet of the International Phoneticnbsp;Association provides such a system, and is used largelynbsp;for works on the sounds of English, French, andnbsp;German, and also for exact scientific transcriptionsnbsp;of Irish speech. It is, however, unsuitable for ordinary use in Irish, owing to the complex phoneticnbsp;system of the language. The difficulty of representingnbsp;two or more qualities of each consonant is met in thenbsp;historical Irish spelling by the adoption of glides,nbsp;and not by conforming to the principle of one signnbsp;one sound, as is done in the case of transcriptions ofnbsp;Irish into the International Phonetic Alphabet, innbsp;which special devices are resorted to to indicate thenbsp;different qualities of the consonants. The alphabetnbsp;devised by the Rev. Dr. O�Daly and Dr. Osbonrnbsp;Bergin for the representation of the sounds of Irishnbsp;adheres to the system of glides, and is a simple and atnbsp;the same time a sufficiently accurate instrument fornbsp;the ordinary treatment of the sounds of Irish. Thenbsp;simplified spelling is based on the historical Irishnbsp;spelling. The normal phonetic values of the lettersnbsp;in the historical spelling are preserved, and newnbsp;symbols are employed to represent sounds, for eachnbsp;of which several symbols qre used in the historicalnbsp;spelling. The system of simplified spelling is now

well known, and a great body of material for teaching and reading has been printed in it. Newnbsp;books are printed in it every j'ear. It meets allnbsp;the requirements of the teacher who desires to use anbsp;phonetic script in his Irish classes.

CHARACTERISTICS OF IRISH SPEECH.

12. It has been stated already that the teacher of languages will make sure that his students know hownbsp;they use their vocal organs in producing the soundsnbsp;of their mother-tongue. It is well to emphasize thisnbsp;point. In the first place, it is easier for the studentnbsp;to study the movements of the vocal organs for thenbsp;sounds of his everyday speech than for new soundsnbsp;which he is learning. Secondly, the student in tryingnbsp;to produce a new sound usually produces a soundnbsp;akin to it in his native language, and in order to react against this tendency it is necessary that he shouldnbsp;know the organic difference between the two sounds.nbsp;In the case of Irish-born students of Irish there isnbsp;an additional reason why they should know something of the organic formation of the sounds of thenbsp;English which they speak. Irish-English differs verynbsp;much from standard Spoken English. It is a mixturenbsp;of Irish sounds and English sounds and of Irish syntaxnbsp;and English syntax.

Dis is c�lts d�s and tis fat hi t�ld mi vas to d�nt are examples of Irish-English from one district in whichnbsp;the adult Irish speakers Speak English in preferencenbsp;to their own beautiful Irish. In dis is c�lts d�s, fornbsp;these are cold days, w'e have the mixture of the soundsnbsp;and syntax of the two languages. Lahanta fuaranbsp;ish ea iad so is the way in which the same idea would be

expressed by these Irish speakers, if they were using their native language, which they speak so accurately.nbsp;In the English phrase they use the singular of thenbsp;verb as in Irish, they use s instead of z, there beingnbsp;no z in their Irish speech, and they make the adjectivenbsp;cold agree in number with the plural noun days, asnbsp;they would in Irish. Similarly, tis fat hi t�ld mi vasnbsp;to d�nt is the English of their perfect Irish ish � duertnbsp;sh� hum nd gan � ghidnav. The same idea in ordinarynbsp;English would be expressed by the words he told menbsp;not to do it.

These are extreme examples taken from the speech of a district in which Irish has not yet died out, butnbsp;in no part of Ireland is pure English spoken. Thenbsp;mixture of the sounds and syntax is heard everywhere ; it is heard in Sandy Row, Belfast, as well asnbsp;in the heart of Cork. On the other hand, in English-Irish, or learners� Irish, this process is reversed.nbsp;Every competent speaker of Irish is familiar withnbsp;examples of English-Irish which correspond to thenbsp;examples of Irish-English quoted above. It is unnecessary to give examples here ; but the student willnbsp;be well-advised to be on his guard against carryingnbsp;into his Irish the sounds and constructions of hisnbsp;English speech. Until he has a full mastery of thenbsp;Irish sounds, he cannot hope to speak with the fluency,nbsp;rhythm and accuracy of the native Irish speaker.nbsp;But once he has mastered the sounds, there is nothingnbsp;to prevent him from speaking like the best nativenbsp;speakers.

13. If the sounds of the two languages as spoken by the native speakers of each in its homeland arenbsp;compared, it will be found that there are eertainnbsp;fundamental differences in the articulation of Irishnbsp;2

14. Irish-English has many of the pure Irish-Irish sounds and some of the Irish-Irish quality of articulation. Irish-English has a good deal of the tensenessnbsp;of Irish-Irish, the pure 0 vowel instead of the Englishnbsp;diphthong, broad and slender d and t, friction c broad,nbsp;Irish-Irish diphthongs instead of English-English diphthongs, and like Irish-Irish it has no friction d or t.

Inside Irish-English itself there are many variations of sound, which, as a rule, can be traced to definite areas in different parts of the country. Butnbsp;the speaker of any variety of Irish-English has a great

advantage over the speaker of English-English in approaching the study of Irish. These points will benbsp;dealt with as they arise in the treatment of the groupsnbsp;of sounds in the following pages.

15. It is convenient at this point to define the difference between vowels and consonants. For the production of a vowel the breath, voiced in its passage through the larynx by the action of the vocal chords,nbsp;escapes through the mouth, or through the mouth andnbsp;nose, without being impeded or stopped. For thenbsp;production of a consonant the breath or voice is eithernbsp;stopped or impeded in some way. A diphthong is thenbsp;union of two vowel sounds. It may be slurred or unslurred. In a slurred diphthong the sounds of thenbsp;component vowels are blended. In an unslurrednbsp;diphthong the sound of each of the componentnbsp;vowels is heard separately.

16. For all sounds, whether vowels or consonants, it is important to observe the distinction betweennbsp;broad and slender. An exact appreciation of the distinction is necessary to any person who wishes tonbsp;become a correct speaker of Irish.

(a) Broad sounds, both vowels and consonants, are produced with the main body of thenbsp;tongue held down in the lower jaw as muchnbsp;as possible, with the result that there is anbsp;wide and deep, that is, a broad, cavity ornbsp;space within the mouth during the production of these sounds.

(6) For slender sounds, both vowels and consonants, the main body of the tongue is raised and held up within the arch of thenbsp;upper jaw or palate as much as possible,nbsp;with the result that there is a narrow andnbsp;shallow, that is, a slender, space or cavitynbsp;within the mouth during the production ofnbsp;these sounds.

17. nbsp;nbsp;nbsp;Accordingly, while broad sounds are being articulated the sides of the tongue must be kept down atnbsp;or below the edges of the upper double teeth; whilenbsp;slender sounds are being articulated, the sides of thenbsp;tongue must be pressed up between the gums of thenbsp;upper double teeth.

18. nbsp;nbsp;nbsp;There is generally a perceptible retraction ornbsp;drawing in of the lips from the natural position in thenbsp;case of slender sounds, whether consonant or vowel,nbsp;and the lips are either advanced, or, at least, left unretracted and loose, in the case of all broad sounds.

19. The accompanying � vowel triangle � showsnbsp;all the Irish vow'els and diphthongs. Most speakersnbsp;of Irish-English use all the Irish vowels, except thenbsp;nasal vowels, in their English speech. The na,salnbsp;vowels are indicated by the circumflex accent. Sometimes, however, the pure Irish quality of the vowelsnbsp;is missing. The articulation, too, is generally not sonbsp;tense as it is in Irish-Irish. Attention should be drawnnbsp;to the tenseness of Irish articulation, in the first stagesnbsp;of the study of the language. For all Irish sounds,nbsp;consonants as w'ell as vowels, the vocal organs take up

their positions more precisely than they do for English, the articulation of which sounds indolent to the earsnbsp;of a Frenchman or a native Irish speaker.

20. With a little more tenseness than for their ordinary English speech most speakers of Irishnbsp;English can pronounce correctly the five long Irishnbsp;vowels �,, �, �, �, i, and the corresponding short vowelsnbsp;a, 0, u, e, i. d is the easiest of all sounds to produce.nbsp;It is the first sound every baby utters, the reasonnbsp;being that for this sound the tongue lies fiat in thenbsp;mouth and no muscular action of the lips or cheeksnbsp;is required. For � the tongue is raised to the frontnbsp;of the mouth, and raised still more for L For � itnbsp;is drawn back, and drawn back still more for �.nbsp;d, therefore, is at the lowest point of the � vowelnbsp;triangle,� and i and � at the top of each of the sides.nbsp;The 1 and u positions represent respectively the slendernbsp;and broad positions for all Irish sounds. The positionnbsp;for each of the short sounds a, o, u, e, i, is substantiallynbsp;the same as for the corresponding long sounds, thenbsp;long sounds being held longer (� 29).

THE SOUNDS OF IRISH.

These sounds d, �, �, �, i, a, o, u, 8, i, should be repeated by the students a number of times in differentnbsp;order to familiarise them with the movements of theirnbsp;tongues, and also to make sure that they producenbsp;clear, bright vowels.

21. nbsp;nbsp;nbsp;Some natives of Dublin tend to diphthongisenbsp;the � and to pronounce a mixed i-� vowel instead of u.nbsp;The meyul for the mail, shin fayin for shing J�n, ski�lnbsp;for school, and bi�k for book are examples. Nativesnbsp;of some of the Ulster counties also produce the mixednbsp;i-� vowel instead of u and a variety of e instead of i.nbsp;The teacher should look out for such faults as thesenbsp;and correct them at once.

22. nbsp;nbsp;nbsp;Speakers who diphthongise � do not diphthongise e, as the sound is not held long enough tonbsp;develop a diphthong. By noting the tongue positionnbsp;or e, and by saying e and keeping on the sound, thenbsp;student can be corrected and the � sound produced.

23. nbsp;nbsp;nbsp;Students who produce the mixed i-u vowelnbsp;put the tongue in the i position and push out the lipsnbsp;to the � position, thus producing a sound somewhatnbsp;like the French u sound represented by y in the International Phonetic Alphabet. The remedy is to drawnbsp;the tongue back to the u position.

24. nbsp;nbsp;nbsp;Northern students who produce e instead of inbsp;should be well drilled in the three long sounds �, �, i,nbsp;so as to get them to feel that the tongue is highernbsp;up for i than for e.

25. nbsp;nbsp;nbsp;The neutral or irrational vowel sound, represented by a in the small circle abox'e and by annbsp;inverted e (9) in the International Phonetic Alphabet,nbsp;offers no difficulty. It occurs in unstressed positionsnbsp;and cannot be mispronounced without an effort.

27. The five nasal vowels are produced in exactly the same way as the long vowels d, �, u, �, and h exceptnbsp;that for the nasal vowels the velum is lowered, and thenbsp;breath escapes through the nose as well as throughnbsp;the mouth while they are being pronounced.

Care should be taken to teach these vowel sounds, as they are a distinctive characteristic of Irish speechnbsp;and are liable to be ignored by English-speakingnbsp;learners. A teacher of French who failed to teach thenbsp;pronunciation of the French nasal vowels would benbsp;considered incompetent. So should a teacher ofnbsp;Irish who failed to teach the Irish nasal vowels. Thenbsp;teacher should be on his guard, however, againstnbsp;what is known as the nasal � twang � heard innbsp;American-English.

There are no nasal vowels in standard English speech. Some singers, even operatic singers, andnbsp;many self-trained public speakers, who are accustomed to addressir^ very large meetings, nasalisenbsp;some of their vowels, because the nasality gives themnbsp;greater resonance and consequently greater carryingnbsp;power. Careless speakers also sometimes nasalisenbsp;vowels when they occur next to nasal consonants innbsp;English. This, however, is slovenly pronunciationnbsp;and should be discouraged. It arises from the lowering of the velum in anticipation of the nasal consonantnbsp;before the vowel is completed, or the failure to raisenbsp;the velum when the nasal consonant is completednbsp;and before the vowel begins.

On the other hand, some speakers of English in Dublin substitute non-nasal consonants for the corresponding nasal consonants. They speak like a

THE SOUNDS OF IRISH.

person with a cold in the head. It is a popular belief that a person speaks through his nose when he has anbsp;cold in the head; the exact opposite, of course, isnbsp;what occurs. The nasal cavity is obstructed, andnbsp;b is pronounced instead of m, d instead of n, and gnbsp;instead of ng. Good bordig, for good morning,' thenbsp;bad is cobig hobe, for the man is coming home ; andnbsp;Bary had a little lab, for Mary had a little lamb, arenbsp;examples of this type of defective pronunciation.

It is desirable in Dublin schools, where there is a tendency towards this pronunciation, to react againstnbsp;it by drilling the pupils in the pronunciation of m,nbsp;n, and ng. The humming of octaves with the tonguenbsp;in position for m, n, or ng is good practice. It willnbsp;help to make the students conscious of the way innbsp;which the velum works for the production of thenbsp;nasal vowels of Irish, and is a good preliminary exercise towards that end. The students should also benbsp;drilled in the pronunciation of the nasal vowels themselves. A good plan is to get the class to pronounce

THE SOUNDS OF IRISH.

um, keeping on the m for a naoment, then opening the lips while the velum is stil lowered and finishing with a nasalnbsp;vowel thus : um�a, um�o, um��, um��, um�i.

28. nbsp;nbsp;nbsp;The sounds represented by a and y never occurnbsp;alone in Irish, and are best practised in conjunctionnbsp;with consonants. Most learners pronounce themnbsp;without difficulty except when they occur next tonbsp;the guttural (velar) consonants. Some studentsnbsp;pronounce them as if they were � and 1, or w� and wl.nbsp;Gr�lgi and Grw�lgi are common mispronunciations fornbsp;the name of the Irish language. The tongue shouldnbsp;not be raised as for �, nor should the lips be roundednbsp;as for w�.

29. nbsp;nbsp;nbsp;The following are exact descriptions of the waynbsp;in which the eight simple vowel sounds are produced :�

For amp; the tongue is held in the hollow of the lower jaw ; the lower jaw itself is dropped ; and the lips arenbsp;neither moved out nor drawn in.

For � the tongue is dravm back somewhat, the lower jaw is dropped somewhat; the lips are movednbsp;out somewhat.

For � the tongue is drawn well back; the lower jaw is dropped somewhat; the lips are moved far out.

For a the tongue is moved forward very slightly ; the lower jaw is dropped verj^ considerably; the lipsnbsp;are not drawn in.

For y the tongue is moved forward slightly; the lower jaw is dropped considerably ; the lips are not drawn in.

For a the tongue, lower jaw, and lips are in about the ordinary mouth breathing or rest position.

For � the tongue is moved well forward and raised high up ; the lower jaw is dropped shghtly; the lipsnbsp;are drawn in.

THE SOUNDS OF IRISH.

For i the tongue is moved very much forward and raised very high up ; the lower jaw is dropped verynbsp;slightly ; the lips are drawn well in.

When an Irish vowel is short it requires much the same tongue, lower jaw, and lip positions as when itnbsp;is long. These positions, however, are taken up morenbsp;strictly for a long vowel than for a short one.

Long; nbsp;nbsp;nbsp;6, �, a, y, �, i, a, 6, �, �, I.

Short: a, o, u, e, i, a.

It will be seen that the acute (') accent is used to denote quality The grave accent (') is used over shortnbsp;vowels to indicate stress or distinctness, not quality.nbsp;Students shoirld not lengthen final i when stressednbsp;(di, ici); nor should they pronounce unstressed final inbsp;(gili, fili) like i or English final y.

au nbsp;nbsp;nbsp;dunbsp;nbsp;nbsp;nbsp;aynbsp;nbsp;nbsp;nbsp;aynbsp;nbsp;nbsp;nbsp;ounbsp;nbsp;nbsp;nbsp;6unbsp;nbsp;nbsp;nbsp;oynbsp;nbsp;nbsp;nbsp;ei

ua nbsp;nbsp;nbsp;uenbsp;nbsp;nbsp;nbsp;yanbsp;nbsp;nbsp;nbsp;yenbsp;nbsp;nbsp;nbsp;eynbsp;nbsp;nbsp;nbsp;ianbsp;nbsp;nbsp;nbsp;ienbsp;nbsp;nbsp;nbsp;i�,

32. nbsp;nbsp;nbsp;The sounds of the unslurred diphthongs arenbsp;plainly indicated by the symbols of the vowel soundsnbsp;which compose them. They are as follows :�

ua=� a nbsp;nbsp;nbsp;ya=y anbsp;nbsp;nbsp;nbsp;ie=i e

ue=u e nbsp;nbsp;nbsp;ia= 1 anbsp;nbsp;nbsp;nbsp;ye=y e

i�=i d

33. nbsp;nbsp;nbsp;The sounds of the slurred diphthongs cannot benbsp;indicated so plainly, owing to the blend, but thenbsp;elements that compose them are substantially asnbsp;follows :�

au=�, u, au=a u, ou=� i!, ay=^ y (short), Sy=S y (short), oy = 5 y (short), ey=a y (bothnbsp;short), and ei = a (short) i.

THE SOUNDS OF IRISH.

The approximate Sounds of the slurred diphthoi^s are heard in the following English words as usually pronounced in Ireland : au and ou in gown [gaun or goun],nbsp;ay and oy in rice [rays or toys], ey in fire [feyrj, andnbsp;ei in kine [cein].

The sounds represented by ei and au are somewliat like the sounds represented by ei and au, respectively,nbsp;in German, as in Freiburg, Faust.

34. Students who can pronounce the vowels properly should have no difficulty with the diphthongs. The mistake of pronouncing ua as �, and ia as I, should,nbsp;however, be guarded against.

ua becomes ue in the nominative plural and the genitive singular of nouns and the genitive andnbsp;vocative singular masculine and dative singularnbsp;feminine of adjectives. Examples : Luan, Luen, D�nbsp;Luen; fear muar, p�ca an ir vuer; a ir vuer; annbsp;rahineach rua, sa rahinig rueg, er chiua-leabuig uer.

The diphthong ue also occurs in the primary forms of many words, as fuer, chueg (verbs), and buert,nbsp;cuerd (nouns).

ia becomes ie in the genitive sii^lar and sometimes in the dative singular of nouns, as Brian � Brien; shgian, er an shgien. The dative singularnbsp;of grian is gr�n. It should be observed that wordsnbsp;which are written in the ordinary spelling with ia,nbsp;without a strong consonant following are pronounced ie, as Die, (Dia), bie {biadh). ye and ie represent the same diphthong, except that ye beginsnbsp;broad. Example: ryel not riel, initial r being broadnbsp;in Irish except when aspirated (� 88). Similarlynbsp;ya and ia represent the same diphthong, except thatnbsp;in ya the diphthong begins broad, as in ryan, not riaa.

THE SOUNDS OF IRISH.

Southern Irish instead of the vowel � with the broad ending (�a) in all cases of monosyllabic M'ords, and innbsp;the first sj'llable of longer words, but the vowel soundnbsp;is preserved in the second syllable of dissjdlabic wordsnbsp;such as p�ip�ar, buid�al, Sishg�al. Examples of thenbsp;ik diphthong are : bidl, shgidl, Shidna, Shidtaas (commonly mispronounced shame us!) The older pronunciation �a is generally heard in poetry.

35. nbsp;nbsp;nbsp;Of the slurred cUphthongs, au and du are thenbsp;same, except that the latter is nasal; Examples:nbsp;aun, auras; historical spelling arm, amhras. Thesenbsp;are a quality diphthongs. Similarly, ou and 6u arenbsp;the same, except that 6u is nasal. Examples : doun,nbsp;doun; historical sjDclling, donn, domhan. These arenbsp;o quality diphthongs. The difference between thenbsp;two pairs is substantially the difference betweennbsp;a and 0. It is comparatively slight, so slight thatnbsp;even the strictest of the eighteenth-century poetsnbsp;rhyme them with each other. The same observationsnbsp;apply to ay, dy, and oy. Examples: ayil, ayileas,nbsp;doying; historical spelling, aill, aimhleas, doimhin.

ei and ey are pronounced alike, except that ey ends broad. Examples ; greim, leyb, gheych ; historical spelling, greim, leadKb, gheibheadh.

Nasality in both vowels and diphthongs generally arises from the neighbourhood of an aspirated m, ornbsp;where nn is followed by r.

36. nbsp;nbsp;nbsp;It should be noted that there is no movementnbsp;of the tongue, lips, jaws, or cheeks during the production of a vowel sound, and that there is suchnbsp;movement for the production of a diphthong.

THE SOUNDS OF IRISH.

THE CONSONANTS.

37. Speakers of Irish-English who find the Irish vowels and diphthongs comparatively easy to pronounce, experience difficulty in pronouncing somenbsp;of the Irish consonants. The consonants are, in fact,nbsp;the great difficulty for Irish-born speakers of English.nbsp;In the first place every Irish consonant has at leastnbsp;two qualities. It can be fully broad or fully slender,nbsp;and some of them have intermediate qualities betweennbsp;these two. The following table of consonants containsnbsp;one symbol to represent each kind of consonant.nbsp;The quality of each kind is indicated bj^ the vow'dnbsp;symbol or glide next to it (�74).

38. It will be seen from the foregoing table that the consonants can be classified in different ways. If the

groups are taken vertically we get the division into labials, dentals, gutturals or velar consonants, and

r, nbsp;nbsp;nbsp;rh, and h. Taken horizontally the groujjs are stops,nbsp;nasals, friction consonants or continuants and 1, Ih,

s, nbsp;nbsp;nbsp;sh, r, rh, and h. 1 and Ih are classified as laterals,nbsp;r and rh as semi-vowels, and h as breath, s and shnbsp;are friction consonants, but for a Special reason (� 51)nbsp;they are not put in the same line as v, f, gh, and ch.

39. It will be convenient to take the horizontal classification first. Stops are produced in the same waynbsp;in every language. For these consonants there mustnbsp;be a complete stoppage of the breath. The lips produce the stoppage for the labials, the tongue andnbsp;teeth for the dentals, and the tongue and palate fornbsp;the gutturals. Similarly, the nasals in every language are produced by the escape of the breath throughnbsp;the nose, and for friction consonants there must benbsp;audible friction.

For 1 the breath escapes between the tongue and the side or back teeth, and r is produced by the intermittent escape of breath by the trilling or rolling ofnbsp;the tip of the tongue against the front teeth, or thenbsp;trilling of the uvula against the back of the mouth.

r thus has Some of the characteristics of both vov'el and consonant (� 15), and for this reason is sometimesnbsp;called a semi-vowel.

h is a jerk of breath caused by the forcible ejection of the breath from the lungs by the action of thenbsp;abdominal muscles chiefly.

Except in the case of r, which may be lingual, as in Irish and English, or uvular, as in French, all thesenbsp;consonants are of the same type, no matter what thenbsp;language in which they occur. But while they arenbsp;the same in kind they differ in degree according to

THE SOUNDS OF IRISH.

the language in which they occur. The vertical classification enables us to consider the differencesnbsp;of degree.

40. nbsp;nbsp;nbsp;The labial group consists of the voiced consonants b, m, and v, and their corresponding breathnbsp;consonants p, mh, and f. For the Irish labials the lipsnbsp;articulate with energy. They are pushed forwardnbsp;for the broad sounds and drawn back for the slendernbsp;sounds.

b, p, m, mh, v and f broad are forn ed by putting the lips out from the teeth and keeping them soft andnbsp;somewhat rounded, at the sc.me time keeping the tipnbsp;and main body of the tongue low in the mouth.

b, p, m, mh, v and � slender are formed by drawing the corners of the mouth back so that the lips will benbsp;close to the teeth and turned inwards, at the same timenbsp;keeping the tip and main body of the tongue high innbsp;the mouth.

41. nbsp;nbsp;nbsp;In standard English speech the lips do not movenbsp;backwards and forwards in this way; they remainnbsp;more or less in the breathing position. In Irish-English there is mmre m-ovem^ent of the lips than fornbsp;English-English, but not as much as there js for Irish-Irish. The Irish of many non-native speakei-s hasnbsp;these hybrid labials which are a marked charactemnbsp;istic of English-Irish. It is important that studentsnbsp;should be taught to move the lips energetically, in thenbsp;Irish way, when they begin the study of Irish. Thisnbsp;distinction between Irish and English applies to allnbsp;the labials.

42. nbsp;nbsp;nbsp;There is a further distinction. In English thenbsp;friction consonants v and f are produced by the

THE SOUNDS OF IRISH.

audible friction of the breath escaping between the lower lip and upper teeth. In the Irish of the bestnbsp;native speakers this friction is caused by the escapenbsp;of the breath between the upper and lower lips, notnbsp;between the lower lip and upper teeth. Irish v and fnbsp;are bi-labial. English v and f are labio-dental.

43. nbsp;nbsp;nbsp;For m and mh the breath escapes through thenbsp;nose, mh, the breath consonant of m, is dealt withnbsp;specially in the Section dealing with the breathnbsp;liquids (�72).

44. nbsp;nbsp;nbsp;There are marked differences between the Irishnbsp;dentals and the English dentals. In Modern Irishnbsp;there are no friction consonants corresponding to thenbsp;friction dentals of standard English heard at the endnbsp;of the words width and with, nor are these soundsnbsp;heard generally in Irish-English, except in certainnbsp;parts of the North of Ireland. Both sounds existednbsp;in Middle and Early Irish, and they are easily acquirednbsp;by Irish people, whether Irish speakers or Englishnbsp;speakers, though they are said to be difficult soundsnbsp;for Continental learners of English to acquire. Fornbsp;these two friction dentals speakers of Irish-Englishnbsp;generally substitute the broad Irish d and t (stops)nbsp;respectively. The English words though and thaw arenbsp;pronounced as if they were the Irish words d� and td.nbsp;The pronunciation of some speakers in Cork city,nbsp;Tralee, and some other towns in the South of Ireland,nbsp;in which though is the same as dough and thaw thenbsp;same as taw, is, of course, quite exceptional. Thenbsp;usual Irish-English equivalents for the English dentalnbsp;continuants are the fan-shaped Irish-Irish dentalnbsp;stops d and t.

A knowledge of this fact has been found of great assistance in teaching the proper pronunciation ofnbsp;Irish n and 1, especially broad n and 1, sounds whichnbsp;are nearly always mispronounced by learners of Irish.

45. nbsp;nbsp;nbsp;d, t, n, nh, 1 and Ih broad are formed by pressingnbsp;the sides of the tongue all round against the inside ofnbsp;the upper teeth and gums of the upper teeth, keepir^nbsp;the main body of the toi^ue as low as possible in thenbsp;mouth.

46. nbsp;nbsp;nbsp;d, t, n, nh, 1 and Ih slender are formed by pressingnbsp;the front and sides of the tongue all round againstnbsp;the inside of the upper teeth and gums of the uppernbsp;teeth, keeping the main body of the tongue as highnbsp;as possible in the mouth.

47. nbsp;nbsp;nbsp;For English d, t, n, and 1 the tongue is notnbsp;spread out so as to fill the entire cavity between thenbsp;upper teeth as it does in Irish, but the tip of thenbsp;tongue is turned up and makes contact at the hardnbsp;ridge behind the upper teeth. All these sounds occurnbsp;in Irish-English also. Examples ; day, did, tail, tip,nbsp;nail, nip, lay, lip. The �� did he die though � of certainnbsp;Cork city speakers contains English d�s throughout, thenbsp;th of though being pronounced with the tip of thenbsp;tongue turned up and making contact at the liardnbsp;ridge as for dough.

48. nbsp;nbsp;nbsp;For the friction consonant the tongue shouldnbsp;be spread out towards the upper teeth. It should benbsp;brought sufficiently near the teeth to cause audiblenbsp;friction. It should not touch the teeth; if it did anbsp;stop would be produced. This is actually what happens in the normal Irish-English pronunciation ofnbsp;th, and the student who says d� for though and t�nbsp;for thaw should have no difficulty in pronouncingnbsp;the Irish n and 1 property.

Learners of Irish generally pronounce t� as if it were the English word law, and as if it were thenbsp;English word gnaw. The simple remedy for this isnbsp;to keep the tongue in the same position as that takennbsp;up for the usual Irish pronunciation of though, thaw,nbsp;and all such words. Then the student will have thenbsp;right tongue position for the Irish dentals, and willnbsp;be able to pronounce 16, l�, la, and ly correctly,nbsp;instead of calling them law, low, loo, lay, and lee.

The following diagrams show the tongue position for Irish and English 1 respectively.

It should be noted that the opening for Irish 1 is behind the last double teeth. For English 1 the breathnbsp;escapes betw'een the tongue and the side teeth at onenbsp;or both sides.

49. Some learners find it hard to pronounce the slender Irish d and t. Many pronounce them as dzhnbsp;and tsh, respectively, as in the now famous dzh�nnbsp;dzhefear {Jane Jefer) for d�n defir, and tshdk leinnbsp;{chalk line) for Teach Layn {Teach Laighean). Othersnbsp;turn up the tip of the tongue and pronounce Englishnbsp;d and t. As an aid to the correct Irish pronunciation

THE SOUNDS OF IRISH.

the tip of the tongue should be turned down so that the contact is made with the blade (not the tip) of thenbsp;tongue and the upper teeth. This is how the best ofnbsp;the old Irish speakers pronounce d and t slender.

50. nbsp;nbsp;nbsp;Breath n, represented by nh, and breath 1,nbsp;represented by Ih, are dealt with in the Special sectionnbsp;on the breath liquids (� 72).

51. nbsp;nbsp;nbsp;S and sh do not offer much difficulty aS a rule,nbsp;but care should be taken to avoid the hissii^ s ofnbsp;English. The tip of the tongue is turned down for-Irish S and the friction is caused by the escape of thenbsp;breath between the blade of the tongue and the frontnbsp;upper teeth. If the tip of the extended tongue isnbsp;placed against the gums of the lower teeth, the hissingnbsp;sound of English s is avoided and a pure Irish s pronounced.

Some native speakers pronounce the pronouns sh� and shl as s� and si after the third person singularnbsp;imperative, the third person singular imperfect indicative, and the third person singular conditional of verbs.nbsp;Examples;�^cuireach s�, chuireach s�, chuirhach s�.nbsp;The tip of the tongue remains down as for thenbsp;guttural ch instead of being raised for sh when the chnbsp;is completed.

52. nbsp;nbsp;nbsp;s broad is formed by placing the tip of thenbsp;extended tongue against the gums of the lower teethnbsp;and keeping the main body of the tongue low.

53. nbsp;nbsp;nbsp;s slender is formed by placing the tip of thenbsp;extended tongue against the gums of the lower teethnbsp;and keeping the main body of the tongue high.

54. nbsp;nbsp;nbsp;sh broad is pronounced by placing the down-turned tip of the retracted tongue some distance backnbsp;from the lower teeth and keeping the main body ofnbsp;the tongue Iffw.

THE SOUNDS OF IRISH.

55. nbsp;nbsp;nbsp;sh slender is formed by placing the down-turned tip of the retracted tongue against the gumsnbsp;of the lower teeth and keeping the main body of thenbsp;tongue high. As a rule these sounds are easily produced by learners of Irish.

56. nbsp;nbsp;nbsp;In the historical Irish spelling sh is treated asnbsp;I the slender form of s. It is in reality a different con-

and slender form like any other Irish consonant. This discovery was first made by Dr. O�Daly, whosenbsp;work for phonetics has done so much to improve thenbsp;teaching of Irish. The s of sal (saoghal) is broad andnbsp;the s of the genitive singular of the same word s�lnbsp;(saoghail) is slender. The s of sig {suidh) and of simnbsp;{suim) is also slender.

The consonant at the beginning of Sedn, seOl, siubhal, Siobhdn is not a slender S but a broad sh.nbsp;These words are pronounced Shan, sh�l, shul, andnbsp;Shuv�n, and when they are aspirated (� 88) the shnbsp;becomes an unvoiced slender guttural ch, as a Cheainnbsp;do che�l, do chiuil sh�, a Chiuvdn (� 66). Shili, shinti,nbsp;{sileadh, sinte) are examples of slender sh. When shnbsp;is followed by a � u or u its aspirated form is chnbsp;slender. When followed by other vowels its aspiratednbsp;form is h.

57. The Irish gutturals are considered to be verynbsp;difficult sounds for English-Speaking learners. Mostnbsp;of the difficulty, however, can be traced to ignorancenbsp;of the organic formation of the sounds, and thenbsp;teacher who knows phonetics is generally able tonbsp;impart the correct pronunciation. The commonestnbsp;mistake is the pronunciation of n for initial ng, anbsp;Sound which does not occur in English. Some twenty

years ago a certain Irish speaker facetiously called a licensed house in which good whiskey was sold Neavnbsp;na Ngal (Neamh na nGaedheal). The name caughtnbsp;on, and for many years the house was known asnbsp;neavnan�l, native speakers and all others adoptingnbsp;the learners� pronunciation !

For n the tongue is raised and makes contact with the upper teeth (�� 45, 46). For ng and all the othernbsp;gutturals the tip of the tongue is behind the lowernbsp;teeth, not raised as for n.

58. nbsp;nbsp;nbsp;g, C, gh, ch, ng, and ngh broad are formed bynbsp;placing the rere part of the tongue against the so/fnbsp;palate and keeping the tip and main body of thenbsp;tongue down.

59. nbsp;nbsp;nbsp;g, c, gh, ch, ng, and ngh slender are formed bynbsp;placing the rere part of the tongue against the hardnbsp;palate, keeping the main body of the tongue raisednbsp;and the tip down.

60. For the slender gutturals, as in the word ige, the tip of the tongue is pressed against the lowernbsp;teeth or the roots of the lower teeth, and the main bodynbsp;of the tongue is arched forward towards the hard

palate. For the broad gutturals, as in aguiv, the tip of the tongue is still down against the lower teethnbsp;or roots of the lower teeth, but the back of the tonguenbsp;is drawn towards the soft palate. For g, c, and ngnbsp;the tongue makes contact with the hard palate for thenbsp;slender sounds and with the soft palate for the broadnbsp;sounds. There is a complete stoppage of the breathnbsp;for g and C, as for d and t, and b and p.

For ng the tip of the tongue must be kept behind the lower teeth. As the sound does not occur at thenbsp;beginning of words in English, learners raise thenbsp;tongue to the n position against the upper teeth andnbsp;produce initial n instead of initial ng. The remedynbsp;is to keep the tip of the tongue down. As a help thenbsp;English words longing and singing may be taken andnbsp;the endings and beginnings cut off till the initial ngnbsp;is left, thus : longing, Tonga, onga, nga; singing,nbsp;singi, ingi, ngi.

It is advisable to drill the students well on the pronunciation of such pairs of words as ig�, aguiv ; ici, ac� ; fingi, unga, so as to familiarise them with thenbsp;movements of the tongue for the slender and broadnbsp;guttural stops and nasal gutturals. If this is donenbsp;the student will soon pronounce these sounds like anbsp;native.

61. nbsp;nbsp;nbsp;There remain the friction gutturals (gh andnbsp;ch) and the breath nasal guttural (ngh).

62. nbsp;nbsp;nbsp;gh slender is like initial y in English in thenbsp;Words yet and yield. Like all Irish sounds, however,nbsp;it is much more tensely articulated than the corresponding English consonant. The friction is . scarcelynbsp;audible in the English consonant, but it is distinctlynbsp;audible in the Irish friction g. Compare the Englishnbsp;words get and yet with the Irish words get (geit) and

THE SOUNDS OF IRISH.

ghet (gheit). As all speakers of English can pronounce the first pair, all they have to do to pronounce the second pair correctly is to increase the pressurenbsp;on the tongue slightly and produce the tense articulation required for the Irish sounds. Many speakersnbsp;of Irish-English pronounce a yearling with the tensenbsp;articulation of y as in the gh of a Ghiarmuid.

63. nbsp;nbsp;nbsp;gh broad does not occur in English, either innbsp;standard English or Irish-English, and is generallynbsp;considered a difficult sound for English-speakingnbsp;learners of Irish. The easiest way to teach it is bynbsp;first teaching ch broad.

64. nbsp;nbsp;nbsp;ch broad is quite common in Irish-English,nbsp;as in the word loch. It is produced by raising the backnbsp;of the tongue towards the soft palate high enough tonbsp;cause audible friction, but not so high as to causenbsp;complete stoppage. Complete stoppage would, ofnbsp;course, produce a C as in lock, which, as a matter ofnbsp;fact, is the pronunciation given to broad ch by manynbsp;learners of Irish in Dublin. They produce a C insteadnbsp;of a ch. For all students who do not pronounce chnbsp;in their English speech phonetic drill is necessary.nbsp;The Irish wmrd Idch (Ughach) is a good one to drillnbsp;with. At first the student will say l�c. He should benbsp;got to hold the C long enough to perceive that it isnbsp;a complete stop. He should then be got to pronouncenbsp;Id, and to hold the d long enough to feel the tonguenbsp;position for it, and to realise that there is no frictionnbsp;during the produetion of it. He should then be got tonbsp;raise the tongue slowly towards the soft palate untilnbsp;audible friction is produced. Then he has the broadnbsp;Ch.

65. nbsp;nbsp;nbsp;The only difference between ch and gh is that thenbsp;vocal chords are in vibration for gh. The difference

between ch and gh is the same as the difference between C and g, t and d, p and b.

By getting the vocal chords to vibrate as they do for g, d, b, m, n, I, ng, etc., any student who can pronounce the broad ch will get the broad gh also.

66. In the same way any student who can pronounce slender gh (and all speakers of English can) has onlynbsp;to relax the vocal chords as he does for p, b, t, c, s,nbsp;f, h, to get slender ch.

Slender ch is not heard in the middle or end of words in Modern Irish, at least in Southern Modernnbsp;Irish. In the West final ch slender is heard in thenbsp;word maith, the h being turned into a ch, but thisnbsp;does not occur in Southern Irish. Where final ch isnbsp;preceded by a slender vowel or where medial ch isnbsp;flanked by slender vowels in Southern Irish it is pronounced as h (� 73).

Initial slender ch is, however, very common in the living speech and should be taught carefully, asnbsp;failure to pronounce it properly is one of the distinguishing marks of learners� Irish which nativenbsp;speakers dislike so much. The word chim is a goodnbsp;word to drill with. Man5' learners pronounce thisnbsp;word as dm, arching the tongue forward so as tonbsp;make complete contact with the hard palate instead ofnbsp;arching it about mid-way between the i and c positions and producing friction.

Broad ch is heard at the beginning and end and in the middle of words in Irish, and should be articulatednbsp;well, but not too obtmsively. In addition to w'ordsnbsp;where it is represented by ch in the historical Gaelicnbsp;spelling, it is the sound heard at the end of verbs mnbsp;the 3rd person singular imperative, and 3rd personnbsp;singular imperfect indicative, and the 3rd person

THE SOUNDS OF IRISH.

singular conditional, in which positions it is represented by an aspirated d {dh) in the historical spelling A glance at an Irish dictionarj'� will show the enormousnbsp;number of words which begin with c. As all thesenbsp;words can be aspirated and become friction gutturalsnbsp;(ch) the importance of teaching the pronunciationnbsp;of ch is obvious.

67. nbsp;nbsp;nbsp;In Modern Irish gh is net pronounced, eithernbsp;slender or broad, in the middle or at end of words. Itnbsp;occurs very frequently, both slender and broad, atnbsp;the beginning of words. Not only does aspirated gnbsp;become gh, but initial d aspirated also becomes gh,nbsp;as doras, mo ghoras, drihdir, mo ghrihdir. Somenbsp;students pronounce mo ghoran as mo choran. Thisnbsp;may be partly due to the fact that the ordinary spelling, mo dhorn, conceals the fact that the consonantnbsp;is a guttural, and partlj'^ from the organic difficulty ofnbsp;the sound. Remedy; cause the vocal chords tonbsp;vibrate (� 8).

68. nbsp;nbsp;nbsp;Breath ng represented by ngh is dealt withnbsp;in the section dealing with breath liquids (� 72).

69. r is a sound which most learners of Irish findnbsp;difficult. It is a lingual r like English r, but unlikenbsp;English r it is always well trilled, except when it isnbsp;slender. In standard English r is not pronouncednbsp;before consonants or at the end of words. It is pronounced at the beginning of words, between vowelsnbsp;and after consonants, but it is not rolled or trilled.nbsp;In Irish-English r is pronounced in all positions andnbsp;is rolled more than the pure Engli.sh r. For this reasonnbsp;very little effort is required by Irish people to getnbsp;the proper pronunciation of broad Irish r.

70. nbsp;nbsp;nbsp;Broad r is formed by letting the upturned tipnbsp;of the tongue trill behind the rc'ots of the upper teeth,nbsp;keeping the main body of the tongue low in the mouthnbsp;as for all broad consonants. Students should be gotnbsp;to pronounce ra, r6, ru, ra, ry, trilling or rolling thenbsp;r well. It will be found that they will soon be ablenbsp;to produce a well trilled Irish r alone, keeping up thenbsp;trill as long as the breath lasts.

71. nbsp;nbsp;nbsp;Slender r is much more difficult. It is one ofnbsp;the sounds of Irish that many non-native speakersnbsp;fail to acquire, and care should be taken to teach itnbsp;thoroughly. It is produced by placing the upturnednbsp;tip of the tongue behind the ivory of the upper teeth,nbsp;keeping the main body of the tongue high.

This r cannot be trilled like the broad r. The explanation is simple. For ell broad sounds, bothnbsp;vowels and consonants, the main body of the tonguenbsp;is low in the mouth, and for all slender sounds thenbsp;rnain body of the tongue is high in the mouth.

Dr. O�Daly once told the author that for broad consonants the stream or column of air passing through the mouth is of the dimensions of the column of air passingnbsp;through for the production of the vowel �, and fornbsp;slender consonants the narrow or slender columnnbsp;required for the vowel 1 is sufficient. This wouldnbsp;explain why broad Irish r can be trilled as long as thenbsp;flow of breath lasts, while slender r cannot.

For the production of broad r the tongue is pressed against the upper teeth and the escaping breath forcesnbsp;it down. It returns again and is forced down again,nbsp;and this can continue as long as the breath lasts. Thenbsp;volume of air is sufficient to resist the pressure of thenbsp;tongue and produce the intermittent flow of soundsnbsp;which constitutes a trilled r.

duce this effect, and after the first trill, if the pressure of the tongue is strong, a dental Stop d or t is produced,nbsp;or, if the pressure of the tongue is weak, a dentalnbsp;friction consonant, somewhat like the English frictionnbsp;dental dth, or th, is produced.

A good plan is to teach slender r between vowels first, before teaching final slender r, or slender r beforenbsp;or after consonants. The name of Ireland, Eri� is annbsp;admirable word to begin with. The student by usingnbsp;this word is enabled to feel the movement of the tipnbsp;of the tongue upward from the � position to the backnbsp;of the upper teeth.

In South-west Leinster this sound, even in English, is turned into zh. Mairi becomes Mazhi. Some Dublinnbsp;children pronounce a t in their English which is verynbsp;like an Irish slender r prolonged with weak tonguenbsp;pressure, a sort of friction consonant with the tonguenbsp;behind the ivory of the upper teeth, as for slender rnbsp;in Irish. Teachers in Dublin schools have observednbsp;this pronunciation in it is, hit, etc.

72. r is the last of the liquids, and the breath liquids may now be conveniently dealt with. The articulationnbsp;of m, n, 1, ng, and r as voiced consonants has beennbsp;explained. Each of these consonants has also a breathnbsp;or unvoiced form, and the breath forms occur verynbsp;frequently in Irish.

When a word beginning with t or S and followed by n, I, or r falls unde^ the influence of an aspiratingnbsp;word (� 87), the n, I, or r is unvoiced. The t or snbsp;becomes h and unvoices the following consonant.nbsp;The same thing occurs when a t is aspirated in thenbsp;middle of a word and precedes or follows an m, n,nbsp;1, ng, or r.

Verbs of the first conjugation which end in m, n, 1, or r also have unvoiced m, n, 1, or r in the conditional and future indicative, except in the secondnbsp;person singular conditional. Examples :�

sn�h nbsp;nbsp;nbsp;mo hnahnbsp;nbsp;nbsp;nbsp;tn�itinbsp;nbsp;nbsp;nbsp;ana hnaiti

sl�inti nbsp;nbsp;nbsp;mo hidintinbsp;nbsp;nbsp;nbsp;tlachtnbsp;nbsp;nbsp;nbsp;mo hlacht

sr�n nbsp;nbsp;nbsp;mo hr�nnbsp;nbsp;nbsp;nbsp;trdchtnbsp;nbsp;nbsp;nbsp;mo hrdcht

sm resists aspiration, except in certain districts, mo hmuinti is heard in Coicaghuini. m, n, I, and rnbsp;are also unvoiced when they are initial sounds ofnbsp;words following words ending in h. is mah lium,nbsp;deh mliana (is maith Horn, deich mbliana) arenbsp;examples.

Of course the other voiced consonants are also unvoiced in such positions, and in the conditional and future indicative of first conjugation verbs exceptnbsp;in the second person conditional, mah go le�r isnbsp;pronounced macale�i; mah ghuing, machhing, etc.nbsp;The first person future indicative of tog is t�cad,nbsp;and the third person conditional h�cach. Firstnbsp;conjugation verbs ending in b and d undergo anbsp;similar change. Examples: leypuing (leadhbfainn),nbsp;cimedtad (cimeddjad).

Sufficient has been said to show that these sounds occur very frequently. They should, therefore, benbsp;taught at an early stage. They are not hard to teachnbsp;if the students have mastered the articulation of thenbsp;voiced forms of the same consonants. Practicallynbsp;the only difference between the two sets is that fornbsp;the unvoiced forms (represented by mh, nh, Ih, ngh,

THE SOUNDS OF IRTSH.

and rh) the vocal chords are relaxed, as they are for p, t, and C, which are the unvoiced forms of b, d, and g.

A long experience of teaching all classes of adult students has proved that the best way to teach thenbsp;breath liquids (mh, nh, Ih, ngh, and rh) is to first getnbsp;the students to articulate slowly the voiced formsnbsp;(m, n, 1, ng, and r) and to observe carefully the waynbsp;in which these sounds are produced. Then get themnbsp;to relax the vocal chords, as for p, t, c, and h, notnbsp;changing the lip or tongue position. Breath ng (ngh)nbsp;occurs in very few words in Irish, but all the othernbsp;breath liquids are very common.

Breath m (mh) may be described as h (� 73) through the nose, that is h with the lips in position for m.nbsp;A corresponding description applies to nl, Ih, ngh, andnbsp;rh.

In the case of initial breath 1 and r (hi and hr), a common mispronunciation is cl and cr. mo hlatnbsp;is pronounced as mo clat, and mo hr�n as mo cr�n.nbsp;It is better to teach mo lat as a preliminary than tonbsp;begin to teach mo hlat directly, so that the studentnbsp;will realise that the middle consonant is an 1, notnbsp;a cl, and keep the same tongue position for the Ih;nbsp;mo hr�n should be treated similarly.

English learners of Welsh also find the breath 1 a difficult sound. They generally pronounce it as thlnbsp;with the friction dental before the 1. If any Irishnbsp;learners of Irish make this mistake they can be corrected by following the directions given above.

73. h is pure breath and has a jerky sound as in English. It occurs frequently as an initial in English,nbsp;and in this position it causes no trouble to learnersnbsp;of Irish. It is not pronounced at the end of words ornbsp;before unstressed syllables in English-English, but it

occurs in all such positions in Irish, and care should be taken to articulate it well.

In Irish-English h is pronounced before unstressed syllables as in the proper names Mahony, Mahon,nbsp;Cahill. Students who can pronounce these names asnbsp;they are commonly pronounced in Ireland will have nonbsp;difficulty with medial h, whether it is followed by anbsp;stressed or an unstressed syllable. If they pronouncenbsp;the names in the English way as M�ni, Man, andnbsp;Cedil, they must be taught to articulate the h. Thenbsp;American pronunciation of Mahony as Mah�ney,nbsp;where the stress is passed on to the second syllablenbsp;and the h pronounced, may help the student to pronounce the h before the unstressed vow'el.

There remains the final h, which all learners of Irish find difficult. It is heard in words like cah, mah,nbsp;tr�h, and these words are not properly pronouncednbsp;unless the breath jerk is heard at the end. Bynbsp;emphasising the pronunciation of initial h the studentnbsp;can be got to feel the way in which h is produced andnbsp;to produce it at the end as well as at the beginningnbsp;of words.

74. We have now got all the simple elements of Irish speech. The main division of consonants is intonbsp;broad and slender, but in the case of some consonantsnbsp;there are degrees of broad and slender.

A consonant is to be sounded broad when it is in contact with a broad vowel, and slender when it isnbsp;in contact with a slender vowel. Sometimes a slendernbsp;consonant sound precedes or follows a broad vowelnbsp;sound, or vice versa. In that case the nature of thenbsp;consonant is indicated by the introduction of a vowelnbsp;symbol (called a glide) before or after the symbolnbsp;representing the sounded vowel (�� 77 and 78).

75. The combinations of vowels used in this waynbsp;as glides are as follows :�

�

e�, �i, and e�i i�, �i, and i�inbsp;ea, ai, and eainbsp;eo and oinbsp;iu

In all these combinations the vowel is distinguished from the glide, so that even in the case of digraphs andnbsp;trigraphs there is no ambiguity in this Spelling.

These combinations, of course, must not be mistaken for combinations of symbols representing real and fully-developed diphthong sounds (� 31).

76. nbsp;nbsp;nbsp;h, s, and sh do not require glides. They maynbsp;be preceded by broad followed by slender, or vicenbsp;versa. Examples : drohad(droicAead); dxohid (droichid);nbsp;b�har {hothar); b�hir {(bothair); d�hin (dothain);nbsp;casig {casjaidh); fasid (jdsaid); gluashig (gluaisfidh).

77. nbsp;nbsp;nbsp;Even when students have mastered the individual vowel, diphthong, and consonant sounds, theynbsp;still find certain combinations of sounds difficult.nbsp;All difficulties, however, can be overcome if the students pronounce the individual sounds well, observingnbsp;clearly the distinction between broad and slender.

78. nbsp;nbsp;nbsp;Perhaps the most difficult combinations arenbsp;the monosyllabic combinations of broad and slendernbsp;consonants with glides, such as bdir, bair, geat.

dair, fair, lair, mair, call, call, cuin, caip, cnig, peac, lium, loit, buir, geal, etc. Some of these sounds arenbsp;really very hard for English-speaking students.

Combinations like cuir, cuin, do not occur in English, and English-speaking learners generally turn themnbsp;into either cir, cin, or cwir, cwin, in the latter casenbsp;pronouncing the English words queer, queen- The onlj�'nbsp;way to correct such bad pronunciation is to teach the organic formation of the individual consonants thoroughly.

79. nbsp;nbsp;nbsp;Combinations of consonants which are oftennbsp;mispronounced are labials and gutturals, particularlynbsp;the latter, followed by slender r, and gutturals followednbsp;by broad 1. Bri, Brian, cr�, chr�, grian, ghrian, arenbsp;examples. If the student has been taught the slendernbsp;labials and the slender r properly, a little attention willnbsp;enable him to pronounce the combination properly.

80. nbsp;nbsp;nbsp;The gutturals with slender r are more difficult.nbsp;For these a drill in the formation of the sounds may benbsp;necessary. Repetition of the English words kith andnbsp;kin will enable the student to feel the tongue positionnbsp;for the final consonant of each. The tongue is near thenbsp;edge of the upper teeth for kith and turned up tonbsp;make contact at the hard palate for kin. By pronouncing the combination kir the tongue positionnbsp;at the end is between the positions for kith and kin.nbsp;A repetition of kith, kin, kir, has been found helpful asnbsp;a drill to secure the proper pronunciation of cr�, Criost.

81. nbsp;nbsp;nbsp;In English cr combinations the r is voicelessnbsp;at the start under the influence of the breath consonant c. In Irish the r is voiced throughout in suchnbsp;combinations. This adds to the difficulty whichnbsp;English Speakers experience in pronouncing suchnbsp;words as cr�, Criost correctly. If they can pronouncenbsp;these correctly they will have no difficulty with gr�,nbsp;grian, which begin with the voiced guttural.

82. nbsp;nbsp;nbsp;When c and g aspirated (ch and gh) are followed by slender r some students find them difficult,nbsp;as an Chr�, Ahirish er Chrlost, an ghxian, mo ghrihAir.nbsp;The difficulty, however, in this case, is due to defectivenbsp;articulation of the aspirated slender gutturals, andnbsp;the remedy is to give the student a good drilling innbsp;these sounds.

83. nbsp;nbsp;nbsp;The same observation'applies to the pronunciation of cl broad and gl broad, and chl and ghl broad,nbsp;cl and gl are common combinations in English, andnbsp;what the student naturally does, unless checked andnbsp;properly taught, is to pronounce the English combinations of such words as close and glory when theynbsp;try to pronounce the Irish words cl� and gl�iri. Thenbsp;remedy is to teach the tongue position for the broadnbsp;gutturals and the broad 1.

84. nbsp;nbsp;nbsp;Many learners find Sg broad in words which endnbsp;in slender consonants a difficult combination. Theynbsp;pronounce sgaipi as sgapa or sgeaipi, and sgull asnbsp;sell or scwll. When they are asked to say sgull theynbsp;say the English word squeal! If they avoid lipnbsp;rounding, they cannot say squeal. The othernbsp;mispronunciation, sell, may be corrected bynbsp;pronouncing the Sg with the tongue against the softnbsp;palate for the g, holding the consonant for a second sonbsp;that the tongue position is felt, then breaking thenbsp;contact and adding 11.

85. nbsp;nbsp;nbsp;The teacher of Irish who has had a training innbsp;phonetics knows that written words are not the unitsnbsp;of living speech. The words in a living language arenbsp;not divided by Space marks like the words in a newspaper or a book. Nor are they all run together indiscriminately. A language is spoken in breath groups,nbsp;and the character of the groups will depend on whether

the language is spoken in a conversational or in an oratorical nianner. But, whether the breath groups arenbsp;pronounced slowly or rapidly, and whether they arenbsp;long or short, certain words are always run togethernbsp;and pronounced as one group by- native speakers.nbsp;The student who wishes to become a good Speakernbsp;will not only try to acquire the correct pronunciationnbsp;of the individual sounds and of the sounds in combination, but will try to phrase his speaking and readingnbsp;as native speakers do. By this means he will acquirenbsp;the correct bias or accent.

Irish is a language of uneven stress like English, and English-speaking learners of Irish, as a rule, havenbsp;none of the difhculty that they experience in acquiringnbsp;the accent of French, with its more or less even stress.nbsp;Where they fail is in neglect of the proper grouping, andnbsp;in not running the words together where elision occurs.

86. Elision occurs very frequently in Irish. When two short vowels come together in Irish, one at thenbsp;end of a word and the other at the beginning of thenbsp;next word, the unstressed vowel drops out. Unstressed vowel endings are often disguised by aspirated consonants in the ordinary spelling, as innbsp;moladh, pronounced mola, but even where they arenbsp;not so disguised this phenomenon of Irish speech isnbsp;often neglected by students and teachers. Then thenbsp;student is puzzled when he finds himself among nativenbsp;speakers and hears the words run together. Begnbsp;mdla eli ige amdiieach is pronounced as beg m�l �elinbsp;�ge �mdireach.

Compare the English I�m going home, are you ? I am. This dropping of vowels is common enough innbsp;such positions in English, but it is not the samenbsp;phenomenon as the elision of unstressed vowels innbsp;Irish. The vowels written at the end of many words

in the ordinary spelling of English are not pronounced. In Irish final vowels are always pronounced, exceptnbsp;where elision takes place.

87. nbsp;nbsp;nbsp;In Irish as in Welsh the initial sounds of wordsnbsp;sometimes undergo changes under the influence ofnbsp;preceding words. These changes take the form ofnbsp;aspiration or eclipsis of the original sound. In thenbsp;historical spelling of Irish both the original letter andnbsp;the aspirating or eclipsing letter are Written, but innbsp;the ordinary spelling of Welsh and in the Simplifiednbsp;Spelling of Irish only the letter which is pronouncednbsp;is written.

Primary	Aspirated	Eclipsed
Form	Form	Form
b	V	m
p	f	b
!	(drops out)	V
m	V	(no change)
d	gh	n
t	h	d
g	gh	ng
c	ch	g
s	h or t	(no change)
sh	h or ch	(no change)

88. nbsp;nbsp;nbsp;The following table shows the changes whichnbsp;take place under aspiration and eclipsis.

h is the usual aspirated form of S, but aspiration caused by the definite article an or the prepositionnbsp;and article san or sa results in the s being replacednbsp;by t. Examples: suil, an tiiil, sa tiiil.

When r falls under the influence of an aspirating word, it is aspirated like other consonants. Initial rnbsp;is always broad; when aspirated it becomes slender.nbsp;Examples: ra, d tea; ry, a ri; ruih, do tih.

EXERCISES.

89. The exercises in the following pages are intended for use in classes where this book is used as a textbook on Irish phonetics. They may also prove helpfulnbsp;to private students. They are arranged so as to affordnbsp;examples for drill on the individual sounds and on thenbsp;sounds in combination in continuous speech. Thenbsp;phonetic spelling is given on the left-hand pages andnbsp;the historical spelling on the opposite pages. Thenbsp;examples on the individual sounds are given oppositenbsp;the phonetic symbol representing the particular soundnbsp;dealt with, and for convenience of reference the phonetic symbol is repeated before the examples in thenbsp;historical spelling. It would be impossible in manynbsp;cases to give instead of the phonetic symbol thenbsp;various ways in which the sound is represented in thenbsp;historical spelling. A whole line, instead of a singlenbsp;letter, would, for instance, be required to give thenbsp;different ways in which each of the vowels 1, �, a andnbsp;y are represented. The other vowels and some of thenbsp;diphthongs and consonants are also represented innbsp;more than one way in the historical spelling, and as thenbsp;examples are intended for teaching sounds rather thannbsp;spelling, the symbol representing the sound is repeatednbsp;in all cases.

There are very few classes in which it would be necessary to drill all the students on all the sounds and combinations of sounds in these lessons. But in everynbsp;class there will probably be some students whosenbsp;pronunciation of one or other of the sounds or combinations of Sounds is defective, and it would benbsp;advisable to take the whole class over all the exercisesnbsp;once or twice. This preliminary drill will disclose the

weak points in the pronunciation of individual students and enable the teacher to arrange his course of intensivenbsp;drill to Suit the requirements of his class. No attemptnbsp;has been made to indicate elision where it occurs innbsp;the prose and verse in the later exercises. That isnbsp;left to the teacher, who can easily apply the rule givennbsp;in paragraph 86.

90. All the examples are given in the pronunciation of Muskerry, which is substantially the pronunciation of allnbsp;the Irish-speaking parts of Munster. The followingnbsp;deviations from this pronunciation may be noted :�

The autonomous past of verbs which in Muskerry and all places east of that area is pronounced with g at thenbsp;end is pronounced with v at the end in West Cork andnbsp;South Kerry and ch at the end in West and North Kerry.nbsp;All three pronunciations are heard in Clare.

In Muskerry and eastern areas words in which nn slender occurs in the historical spelling are pronouncednbsp;as if they were spelled with ng ; in West Cork and Kerrynbsp;the n pronunciation is retained.

Words which are pronounced with long vowels in Muskerry and all areas to the west, such as binn,nbsp;suim, cruinn, tomhas, iomchar, are pronounced withnbsp;diphthongs in Waterford. The two pronunciationsnbsp;may be indicated as follows ;�

There is also a strong tendency towards nasalisation in Waterford. Apart from these definite groups ofnbsp;deviations there are some individual words which arenbsp;pronounced differently in different parts of Munster,nbsp;but they are not many. In texture the spoken languagenbsp;of West Munster is uniform and substantially is thenbsp;same as the literary language of Modem Irish period.

6 nbsp;nbsp;nbsp;bo, d�, g�, l�, n�, m�, v�, s�, t�ch, �g, t�g.

� nbsp;nbsp;nbsp;�d, �r, �la, c�r, du, l�, �dar, cru, am�, sgr�d�,

ba, dah, cat, gab, mah, slat. do, dol, cos, loch, moch, mol, tor, dochd�ir,nbsp;ov, olav, an�cht.

e ber, ber, de, ce, cel, fesh, lesh, ver. i di, sir, bill, fihi, nihi, tihi, sig, tig, mili, tini.

� nbsp;nbsp;nbsp;c�, c�nav, c�ra,nbsp;nbsp;nbsp;nbsp;l�rav,nbsp;nbsp;nbsp;nbsp;fol�,nbsp;nbsp;nbsp;nbsp;ol�,nbsp;nbsp;nbsp;nbsp;iri�nach.

a nbsp;nbsp;nbsp;arach, la, la, na,nbsp;nbsp;nbsp;nbsp;cal,nbsp;nbsp;nbsp;nbsp;glach,nbsp;nbsp;nbsp;nbsp;bal,nbsp;nbsp;nbsp;nbsp;far.nbsp;nbsp;nbsp;nbsp;Gal,nbsp;nbsp;nbsp;nbsp;bach.

by, dy, ly, cry, faly, cyra, gady, lys, clyv, myv, ryv, fylach, lyd, sgorycht, cysach, lychhn.

THE SOUNDS OF IRISH.

badhadh, da, gadh, la, ma, na, pagh, radh, ta. bo, d�, g�, l�, n^a, m�, bh�, s�gh, t�ch, �g, t�g.nbsp;�d, bhur, ubhla, cubhar, dubhadh, lugha,nbsp;ughdar, cradh, amudha, sgr�dughadh, marbh-adh, leanabhair, Murchadha, iongna, triomhadh.nbsp;ba, dath, cat, gath', maith, slat.nbsp;do, dol, cos, loch, moch, mol, tor, docht�ir, ubh,nbsp;ullamh, anocht.

1, uibhe, sidhe, tr�, l�gh, Aoine, airighim, bldh tighe, sgriobhaim, brigh, oidhche.nbsp;beir, beidhir, de, c�, ceil, feis, leis, bheir.nbsp;di, soir, bile, fiche, neithe, tighthe, suidh, tigh,nbsp;milleadh, teine.

lamh, lamha, sndmh, mathair, lamhach, cnamh. chomh, comhacht, comhairle, comhradh, comhar-tha, comhair, comh-dhail, tomhas, f�ghmhar.nbsp;cumha, congnamh, connradh, lonnradh, folamha,nbsp;ullmhadh, oireamhnach.nbsp;g�ibhinn, s�imh.nbsp;geimhreadh, teimheal, sgeimhle.nbsp;a�rach, la�, laogh, naoi, caol, glaodhach, baoghal,nbsp;faobhar, Gaedheal, buidheach.nbsp;buidhe, duibhe, luighe, croidhe, fallal, caora,nbsp;gadaidhe, luigheas, claidheamh, maoidheamh,nbsp;riomh, fuighlach, laighead, sgoraidheachUnbsp;cuibheasach, luigheachan.

Exercises on individual Irish Words in ua fuar, uar, bua, dua, dual, gual, rua, slua, muar.

i�. bial, briag, shgi�l, Shi�ina, Shiamas. au aun, baul, daul, maul, raun, gaun.

ie fiadh, Dia, � Briain, dhiaidh, sgiain. ya riajnh, rian, riaghalta, riabhach.nbsp;ye riaghail.

beal, br�ag, sg�al, S�adna, S�amas. au ann, ball, dall, mail, rann, gann.

�i c�igi, di�l, f�iv, f�ing, l�ib, l�ireach, m�ini, p�icin, ar�ir.

ai airim, bail, baili, cailc, cailin, caiti, dair, fairi, maiii, tair.nbsp;eai geaitiri.nbsp;eo leog, beog.nbsp;oi loit, toil, goil, goiv, roiv.nbsp;iunbsp;nbsp;nbsp;nbsp;ciun, giura, gliugar.

b�fhearr, fearr, gearr, meadhon. di dail, faghail, Maire, lair, gaire, amaireach.nbsp;edi ciseain, taisbeain, milleain, Sheain.nbsp;e� ce�l, be�l, ce�lan, de�l, de�nughadh, fe�chadh.nbsp;�i c�ir, d�ibh, foil, l�in, m�in, m�id, n�in, t�ir.nbsp;e�i ce�il, fe�il, dire�il.

�i c�ige, duil, f�ibh, f�inn, luib, l�ireach, m�in-eadh, p�icin, arbhair. i�inbsp;nbsp;nbsp;nbsp;ci�in, milli�in, figi�ir.

ea nbsp;nbsp;nbsp;geata, peata, peacadh, beach,nbsp;nbsp;nbsp;nbsp;heart, beatha,

ai airighim, bail, baile, cailc, cailin, caithte, dair, faire, mairidh, tar.nbsp;eainbsp;nbsp;nbsp;nbsp;geaitire.

ui nbsp;nbsp;nbsp;caoine, daoine, muinntir, caoire,nbsp;nbsp;nbsp;nbsp;buidhin,nbsp;nbsp;nbsp;nbsp;moill,

io nbsp;nbsp;nbsp;bfonn, chionn, ffon, Ifon, dfon,nbsp;nbsp;nbsp;nbsp;dfonan,nbsp;nbsp;nbsp;nbsp;pfopa,

d d�, d�, d�, d�, d�, dar, dy, dah, dohaj, �d, gad, gady, fada, madarua.nbsp;dnbsp;nbsp;nbsp;nbsp;di, de, deau, direach, bid, maidin, nid.

n nbsp;nbsp;nbsp;ni, ni, nil, nim,nbsp;nbsp;nbsp;nbsp;nig, niv, shin, shini, shinti.

b bad, buadh, baoghal, baoghail, buail, bo, buaibh, barr, buidhe, luba, sguab.nbsp;bid, biadh, bim, bige, bile, bi, b�, b�iceadh, beirt,nbsp;ribe, caibidil.

bh�d, bhuadh, bliaoghal, bhuail, bh�, bhuaibh, dubh, amharc, diobh, damh, neatnh, Hugh,nbsp;bhid, bbiadh, bhim, bhig, mhilleadh, daoibh,nbsp;sgriobh, luibh, g�ibhinn.nbsp;fal, f�ghmhar, fuar, gabhtha, naomhtha, lobhtha,nbsp;luthmhar.

fill, filleadh, feacadh, fighte, Life, md, magh, m�, amudha, maol, maoidheamh,nbsp;maith, mol, muc, cum, cam, cuma.nbsp;min, mile, milleadh, m�ir, im, ime, nighim, suim,nbsp;suime, bim.

d da, d�, d�ghadh, d�igh, dubha, daor, duibhe, dath, doicheall, ud, gad, gadaidhe, fada, madaruadh.nbsp;di, de, deabhadh, direach, bid, maidin, nid.nbsp;td, tog, tur, taobh, taoi, tuighe, cat, c�ta, d�anta,nbsp;slat.

ni, nighe, n�, nighim, nigh, nimh, sin, sine, sinte. nh fanfad, shndmh.nbsp;nh breithnigh, shniomh.

Ih hli, celhig, cayilhig. snbsp;nbsp;nbsp;nbsp;sal, s�, s�, sal, cas, cos, cosa, leasa.

sh Shall, sh�l, sh�l, shychain, Shuvan. sh shili, shin, shin, shinti, sherihan.nbsp;g ga. g�, gual. Gal, gy, guagan, t�g, feag, t�gag,nbsp;d�g, br�g, br�ga.

c c�, cis, cel, cili, lie, leci, mie, tuicead. ghnbsp;nbsp;nbsp;nbsp;gha, gh�, gh�, ghah, ghy, ghasara.

gh gh�, ghiri, ghet, ghili, Ghiarmuid. chnbsp;nbsp;nbsp;nbsp;loch, lach lacha, macha, muchda.

ng ngouch, ngort, c�nggar, c�ngg, teanga, l�ngg. ngnbsp;nbsp;nbsp;nbsp;ng�, bing, meng, shing, F�ngi, fingi, luingg,

rh bracht, hr�n, c�rha. c�rha, carha, orha. rh br�rhi, erhi, cuirhig, lairhach.nbsp;h hal, h�g, h�, hal, h�l, hil, cahig, cah, drohad,nbsp;dahad.

1 nbsp;nbsp;nbsp;1�., 1�, lugha, la�, luighe, lacha, falla, fal, Gaedheal,

1 l�i, l�igheamh, 11, Ie, lile, fill, filleadh, cill, eille, moDl, moille, mil.

s sal, s�gh, sugha, saoghal, cas, cos, cosa, leasa. s saoghail, suim, suime, saidhbhreas, suidhe,nbsp;suidhte, suidh, fios, lies,nbsp;sh Sean, seol, siubhal, slotbcbain, Siobban.nbsp;sh sile, sin, sin, slnte, seirbbtbean.nbsp;g gadb, g�, gual, Gaedbeal, guidbe, guagan, tog,nbsp;feadb, t�gadb, d�gbadb, br�g, br�ga.nbsp;g g�, geimbreadb, geit, gile, beidb, bige, dig, tigb,nbsp;gligln, suidb.

C ca�c�ta,c�l,caol,caoi, bac,t�gfad, taca,leac,leaca. C c�, clos, ceil, cille, lie, leice, mie, tuigfead.nbsp;gh dba, db�gbadb, dbubba, gbaotb, gbuidbe, gbaSra.nbsp;gh gb�, gbeimbreadb, gbeit, gbile, Dbiarmuid.nbsp;ch locb, lagbacb, maeba, m�cbta.nbsp;ch cblm, cbill, ebeil, ebeap.

ng i^abbadb, i^ort, combgar, cumbang, teanga, long. ng ng�, binn, mbeinn, sinn, F�inne, finne, loing,nbsp;luinge, doimbin.nbsp;ngh teangthacha.nbsp;ngh taitbneamb.

t r4db, r�s, ruadb, r�, rl, barr, barra, garraidbe, garraidbtbe, gorm, mear.

rh tbraebt, sbr�n, combartba, cumbra, caortba, ortba. rh br�itbre, uirtbe, cuirfidb, laitbreacb.nbsp;h sbal, tb�g, sbugba, sbaogbal, sbaogbail, sbaoil,nbsp;caitbfidb, catb, droiebead, datbad-

mr mreac, mreaca, mreahacht, mre�iteacht. gl gl�, gl�iri, gluini, gluin, gl�r, gluesh, glac.nbsp;gl gleaey, gleaun, gleana, gli�s, gliucas.nbsp;cl cl�, cl�, cly, cl}^, cluiti, cldr.nbsp;cl cleacht, cleas, cleaunas, cleasy, cliavan, cliav.

ghl ghl�iri, ghluini, ghluin, ghl�r, ghluesh, ghiac. ghl ghli, ghleana, ghliucas, ghlias.nbsp;chi chl�, chl�, chly, chlyv, chlar.nbsp;chi chleachda, chleas, chleaunas, chliavan.nbsp;gr grian, greim, greaun, greanta, griasy, greas,nbsp;cr cr�, criona, Criost, crih, crioch, cris, crihir.nbsp;ghr ghrian, ghrihdir, ghreanta, ghreas.nbsp;chr chr�, chriona, Chriost, chrioch, chris.

br breagh, breac, breaca, Brian, Brien, briathar, breitheamh, breall, bricin.nbsp;priochan, priomh, pr�amh, pr�ipih, priocadh,nbsp;prionnsa.

mr mbreac, mbreaca, mbreaghthacht, mbre�idhteacht. gcl�, gl�ire, gloine, gl�in, gl�r, gluais, glac.nbsp;gleacaidhe, gleann, gleanna, gl�as, gliocas.nbsp;cl�, cl�, claoi, claidheamh, claidhmhte, dar.nbsp;cleacht, cleas, cleamhnas, cleasaidhe, cliabhan,nbsp;cliabh.

ghl ghl�ire, ghloine, ghl�in, ghl�r, ghluais, ghlac-ghl dhlighe, ghleanna, ghliocas, ghl�as. chl chl�, chl�, chlaidhe, chlaidheamh, chlar.nbsp;chl chleachdadh, chleas, chleamhnas, chliabhan.nbsp;gr grian, greim, greann, greanta, gr�asaidhe, greas.nbsp;cr cr�, criona, Criost, crith, crioch, crios, crithir.nbsp;ghr ghrian, dhrithair, ghreanta, ghreas.nbsp;chr chr�, chriona, Chriost, chrioch, chrios.

b Sian go deo le bron is buert. b Is bing bial �na host,nbsp;p An Paidirin Pairteach trah na tr�gig.nbsp;p Nil pingin ig Pilib na pici ig Peaduir.

V Is beog an vah an vah a muitear, ach is fear � na an vah na dintear agns na muitear.

Ih Shliueht shleaehda er hliucht do hleachda. S Aras na siha agus na sua.nbsp;s Is fear si an� aici na si an� inead.

�

Is beag an mhaith an mhaith a jnaoidhtear, ach is fearr � na an mhaith na deintear agusnbsp;na maoidhtear.

Do mith an fear feasa f� dh�in an tighe. Beannacht D� le laanmann na marbh.

Deich mbliana � shin bhios am� chomhnaighe deich m�e � Bhaile Atha Cliath.

Duine do folcadh i dtobar na naoi mb�ithe. Maith an dion an chraobh faid is dion di f�in.nbsp;Nuair a bhrosduigh an t�ir bhog tu an rod.

Bhi tuitim na hoidhche ann agus iad gan teacht. Na diol bo mhaol, agus na ceannuigh bo mhaol,nbsp;agus na bi choiche gan bo mhaol.

THE SOUNDS OF IRISH.

sh Sh4n � Shychdin agus � a shul go sh�lta. sh A raba is a brishi shliin-chrana sh�il.nbsp;g Shin aguiv an t-aum agus gouig le ch�li.nbsp;gnbsp;nbsp;nbsp;nbsp;Gili na gr�ni.

ch A chara ghil ca rachadsa chun fain inish ? ch Is fear cial cheanuig na gha ch�l a m�intear.nbsp;ng Tig er bi�l b�hir ni haishdear � ach c�nggar.nbsp;ng Dd ng�ling doit, ni gh�lfd ghom.nbsp;ngh Vi solas na gr�ni a tainghav go sugach sav.

r Ta ruih an rash ige. r �ri na Ngal go mairi shi gan bal.nbsp;rh Ni sgarhad go brach le blah na f�li.nbsp;rh Lairhach �na ghie sun.

h Do hig sh� cosh tini �na hig f�n agus do gh�ig sh� a hdl, agus nior hig sh� conas a hit sun am�ch.

sh Sedn � Siothchain agus � ag siubhal go se�lta. sh Ag r�abadli is ag briseadh slim-chranna se�il.nbsp;g Sin agaibh an t-ara agus gabhaidh le ch�ile.nbsp;gnbsp;nbsp;nbsp;nbsp;Gile na gr�ine.

eh A chara dhil ca rachadsa chun fain anois ? chnbsp;nbsp;nbsp;nbsp;Is fearr ciall cheannuighnbsp;nbsp;nbsp;nbsp;na dhach�illa muintear.

ng Tigh ar b�al b�thair ni haisdear � ach comhgar. ng Da ng�illinn duit, ni gh�illfa dhom.nbsp;ngh Bhi solas na gr�ine ag taithneamh go sugachnbsp;samh.

r Eire na nGaedheal go mairidh si gan baoghal. rh Ni sgarfad go brath le blath na f�ile.nbsp;rh Laithreach �na dhiaidh sun.nbsp;h Do shuidh s� cois teine �na thigh f�in agus donbsp;dh�igh s� a shal, agus nior thuig s� conas anbsp;thuit san amach.

br Suilin beag breac an bhricin bhig bhrio. pr Ni raibh �inne a priocadh ach i a leogaint uirthenbsp;vr A bhreithre ba bhinne na �anluith na coille.

Vi Colamcili a gvail a b�har la agus a ghiula lene chosh. Do vuel fear er a m�har timpa. Do veananbsp;sh� gh�iv agus do veanydar do-sun.

�Mar vi ag eiri go mah Hum san ait a vi ag�m, er shishan, agus ba vah Hum ait is fairshingi nanbsp;� ail.

D�imig an fear. Do chomaineadar Colamcili agus a ghiula le�. Nior v�ada gur vuel fear eli er a m�harnbsp;umpa. Do veanydar da ch�li.

� nbsp;nbsp;nbsp;Mar ni roiv ag eiri Hum le fada san dit a vinbsp;ag�m agus do heasduig uem dit ab�edr nd �, ernbsp;shishan.

� nbsp;nbsp;nbsp;Do chomdineadar leo irish. Nuer a viodar anbsp;sh�l er feag tamuil, agus gan focal d bidl an ghiula,nbsp;do louir Colamcili lesh.

THE SOUNDS OF IRISH.

Bhi Colmcille ag gabhail an b�thar Id agus a ghiolla lena chois. Do bhuail fear ar an jnb�thar iompa.nbsp;Do bheannaigh s� dh�iv, agus do bheannuigheadarnbsp;do san.

� nbsp;nbsp;nbsp;Cad �na thaobh go bhfuilir ag aistriu ? arsanbsp;Colmcille.

� nbsp;nbsp;nbsp;Mar bhi ag �irighe go maith Horn san ait a bhinbsp;agam, ar seisean, agus ba mhaith Horn ait is fairsingenbsp;na � fhdghail.

� nbsp;nbsp;nbsp;D�imthigh an fear. Do chomaineadar Colmcillenbsp;agus a ghiolla leo. Nior bh�fhada gur bhuail fear eilenbsp;ar a mb�thar umpa. Do bheannuigheadar da cheile.

� nbsp;nbsp;nbsp;Ca bhfuilfdo thriall ? arsa Colmcille leis an dtaranbsp;fear.

� nbsp;nbsp;nbsp;Cad �na thaobh go bhfuileann tu ag aistriu ?nbsp;arsa Colmcille.

�Mar ni raibh ag �irighe Horn le fada san ait a bin agara, agus do theasduigh uaim ait ab fhearr na �,nbsp;ar seisean.

Do chomdineadar leo aris. Nuair a bhiodar ag siubhal ar feadh tamaill agus gan focal as b�al annbsp;ghiolla, do labhair Colmcille leis.

� nbsp;nbsp;nbsp;Cad �na thaobh nd labhran t�, md�s eadh ? arSanbsp;Colmcille.

� nbsp;nbsp;nbsp;Toshc nar �n she mar a roiv ige nuer a vi agnbsp;eiri lesh, ersa Colamcili.

� nbsp;nbsp;nbsp;Canahav mar shin gur chuirish do val�eht er anbsp;dara fear ? ersan giula.

�S gur mairig an duini na b\iinhach an iasacht �s. Ni abaruim leat veh leav nd sbadante,

Fear a chueg go di an t-anach agus h�ini sh� availi um hrdnh�na agus � a titim lesh an ocaras. Do vi

� nbsp;nbsp;nbsp;Do chuiris do mhallacht ar an gc�ad fbear, arnbsp;seiseai).

� nbsp;nbsp;nbsp;Toisc nar fhan s� mar a raibh aige nuair a bhinbsp;ag �irighe leis, arsa Colmcille.

� nbsp;nbsp;nbsp;Cad �na thaobh, mar sin, gur chuiris do mhallacht ar an dtara fear ? arsan giolla.

� nbsp;nbsp;nbsp;Toisc nar imthigh s� fado nuair na raibh agnbsp;�irighe leis ! arsa Colmcille.

Agus ni bhfuaras da bharr ach sdocai lainn�ir, Agus br�ga paip�ir agus gartaeribainne ramhair.

Fear a chuaidh go dti an t-aonach, agus thainig s� abhaile um thrathn�na agus � ag tuitim leis an

shgiling ige agus � a f�guint an ti er maidin, agus vi an shgiling chi�na �na f�ca ige nuer a haini sh� availi; ninbsp;leocach a chry gho i chahav. Fuer she rod le n��lnbsp;agus le n�ihi �na vahir, ach duert shishi lesh gannbsp;heart den t�rd sun do ghianav go de� irish. � P� rodnbsp;ime�ig ort,� er shishi, �nabi sbriunluihi.� Agus duertnbsp;shi an raun sun hues.

Fear a vi a rohycht la � Machroumha go Bialahangharhig agus hainig cioh bashdi anuasnbsp;go hoban er. Vi tor a fas er hav a v�hir. Donbsp;l�m an rohy den rohar agus do ghin sh� f� gh�n anbsp;tuir.

Sh� cial ata lesh a gayint shin na go m�ach fuhin ig an rohy go di go m�ach an tor a shili.

Do hinshag an shg�lin shin don Ahir Peaduir � Laeri, bean�eht D� len� anam, tranh�na sa v�rnbsp;sa vlien m�i na gi�d a na di�g agus � �na hi a n-aicinbsp;an chuen a Nun Laeri. � Mah an dion an chrav faidnbsp;is dion di f�n,� er shishan.

Fear bocht a vi aun aguS d�eiri sh� chun veh ana-hevir. Diarmuid � Brien ab ainim d�, agus ba lag lesh an ainim shin. Vi sh� er ding�ar ig sagart la,nbsp;figus d�iar sh� er a sagart ainim eli a vaishdi er. Fearnbsp;gal�nta macanta gan an eiri a n-airdi ab ea an sagart,nbsp;agus do reaguir Sh� mar sho �:�

ocras. Do bhi sgilling aige agus � ag fagaint an tighe ar maidin, agus bhi an sgilling cheadna 'na ph�canbsp;aige nuair a thainig s� abhaile ; ni leigfadh a chroidhenbsp;dho i chaitheaiuh. Fuair s� rud len� 61 agus len� ithenbsp;�na nihathair, ach dubhairt siSe leis gan heart dennbsp;ts�rd san do dh�anamh go deo aris. �Pe rud irnthe�ignbsp;ort,� ar sise, �nabi sbrionnluighthe.� Agus dubhairtnbsp;si an rann san thuas.

Fear a bhi ag rothaidheacht la � Maghchromtha go Beal Atha an Ghaorthaigh agus thainig ciothnbsp;baisdighe anuas go hobann air. Bhi tor ag ids arnbsp;thaobh an bh�thair. Do l�im an rothaidhe den rotharnbsp;agus do dhein sh� f� dh�in an tuir.

� nbsp;nbsp;nbsp;Tabharfad fuithin duit faid is fuithin dom f�in,nbsp;arsan tor.

�S� ciall ata leis an gcainnt sin na go mbeadh fuithin ag an rothaidhe go dti go mbeadh an tor ag sile.

Do hinnseadh an sg�ilin sin don Athair Peadar � Laoghaire, beannacht D� lena anam, trathn�na sanbsp;bhf�ghmhar sa bhliain mile naoi gc�ad a naoi d�agnbsp;agus � �na shuidhe a n-aiee an ohuain i nD�nnbsp;Laoghaire. �Maith an dion an chraobh fajd is dionnbsp;di f�in,� ar seisean.

Fear bocht a bhi ann agus d��irigh s� chun bheith ana-shaidhbhir. Diarmaid � Briain ab ainm do, agusnbsp;ba lag kis an ainm sin. Bhi s� ar dinn�ar ag sagart lanbsp;agus d�iarr s� ar an sagart ainm eile bhaisdeadh air.nbsp;Fear galanta macanta gan aon �irighe i n-airde abnbsp;eadh an sagart agus do fhreagair s� mar seo �:�nbsp;Ni h� Briain do bh�rd n�, do chupan,

Bunds na cayinti shin ; Bo vuel Cearul � Bala, an fili, ishdeach chun tig griasy maidin B� B�u-nuig. Bo vi an griasy piucuihi bearha ruiniish.nbsp;Buert an griasy na fiatach Cearul raun a chea2:)a gonbsp;rn�ach na focuil *�Brohad na Baundan� agus �liarh�id � aun.

� nbsp;nbsp;nbsp;Cuirim geaul leat na dianhir, ersan griasy, agus donbsp;chuir sh� punt airigid er a rn�rd. Bo chuir Cearulnbsp;plint eli er, agus do chimead sh� a lav orha. Buertnbsp;sh� an raun san, agus do shgiub sh� lesh an ddnbsp;funt.

(Miniu er shin: is f�dir lesh a vear go rn�ach an chouir agus an cunav ige rod a ghianav nuernbsp;is mah lesh f�n, ach an t� na b�ach couir na cunavnbsp;ige, ni muar d� an rod a ghianav p� uer iata sh� �nbsp;ghianav.)

(Mini�; da rn�ach droh-ghuini a juaili, do cho-san�ch na duini eli iad f�n er, agus da rn�ach droh-vaili a br�shdi do chosan�ch na bailti eli iad f�n er a nroh-vaili shin.)

Bunadhas na cainnte sin ; Do bhuail Cearbhall � Dalaigh, an file, isdeach chun tigh gr�asaidhe maidinnbsp;D� Domhnaigh. Do bhi an gr�asaidhe piocuighthenbsp;bearrtha ruimis. Dubhairt an gr�asaidhe na f�adfadhnbsp;Cearbhall rann a cheapadh go nabeadh na focailnbsp;�Droichead na- Banndan� agus �liathr�id� ann.

� nbsp;nbsp;nbsp;Cuirim geall leat na d�anfir, arsan gr�asaidhe,nbsp;agus do chuir s� punt airgid ar an mb�rd. Do chuirnbsp;Cearbhall punt eile air, agus do chimead s� a lamhnbsp;ortha. Dubhairt s� an rann san, agus do sgiob s�nbsp;leis an da phiint.

An fear laidir nuair is maith leis �, agus an fear lag nuiir fh�adfaidh s�.

(Mfniughadh ar sin: is f�idir leis an bhfear go mbeadh an chabhair agus an congnamh aige rud anbsp;dh�anamh nuair is maith leis f�in, ach an t� na beadhnbsp;cabhair na congnamh aige, ni m�r do an rud anbsp;dh�anamh p� uair fh�adfaidh s� � dh�anamh.)

(Mfniughadh: d� mbeadh droch-dhuine i mbaile, do chosn�chadh na daoine eile iad f�in air, aguS danbsp;mbeadh droch-bhaile i bpar�iste do chosn�chadh nanbsp;bailte eile iad f�in ar an ndroch-bhaile sin).

Is binn b�al ar siubhal, ach nfor dhein b�al �na chomhnuighe aimhleas riamh.

Ni h�an cial har dahad na neart har a deh fihad, agus dd aid a vairhir ish ea is m� a chihir.

Bioch gili �na hadan agus p�arla er ghluishi �na suil, Agus har vahiv a tael ish i an �li a chuirhig a cl�.

Is mairig d��ngi chuirhach dr�miri le craun r�-drd, Faid a ghe�ch sh� craun ishal a hroshach a lav,nbsp;Craun cdrhing dd irdi dsan bion shearus �.na vdr,nbsp;Agus go vdsan ula agus carha cura er a graun isnbsp;ishli bldh.

Ferime�ir a vi aun, agus vi bert vac ige, agus vi an vert a cuineav er f�sa. Vi triim ban aun, bean �gnbsp;vred, bean nd rciv r� vred ach go roiv sevireas ici,nbsp;agus bayintireach ana-hevir agus claun ici. Donbsp;chuir an vert vac an shgidl a goirli a n-ahar.

Ni th�igheann ciall thar dathad na neart thar a deich fichead, agus da fhaid a mhairfir is eadh is monbsp;a chifir.

Feirme�ir a bhi ann, agus bhi beirt mhac aige, agus bhi an bheirt ag cuimhneamh ar ph�sadh. Bhi tri�rnbsp;ban ann, bean �g bhreagh, bean na rribh r�-bhreaghnbsp;ach go raibh saidhbhreas aice, agus baintrea bhachnbsp;ana-shaidhbhir agus clann aice. Do chuir an bheirtnbsp;�

Leogshi ghiot an chrion-vean chrueg is a claim, Agus goiv le mny na sguaba leouir,

Agus, er shishan, fayig bean duv asus bo ghoun agus tig a lub churuig. Nuer iarhig an tarna mac denbsp;cad � an says mna a ghe�ch sh� f�n ish � a duert sh�nbsp;lesh na bean vrea a h�guint agus bo van agus tig ernbsp;ard.

Ni h� an vreahacht a chuirean an corcan er fiu-chuig, ersa mahir lena mac a vi a cuineav er chailin deas a f�sa. Agus ni h� an vreahacht a chuine�chnbsp;gan fiucha �, er shishan.

Er chrua-leabuig uer agus gan �adach fum, Nuer a vuelid na slueshdi an chr� er mo chul.

(Dertear dd n-abar�fa � shin er ghol er bord luingi nu baid doit na baifi hu.)

mhac an sgeal i gcomhairle a n-athar. Ba mheasa leis mac na an naac eile, agus dubhairt s� leis:

Leig-se dhiot an chrion-bhean chruaidh is a clann, Agus gabh le mnaoi na Sguabadh leabhair,

Agus, ar seisean, faigh bean dubh agus bo dhonn agus tigh i lub chorraigh. Nu. ir fhiarl'aigh an tarnanbsp;mae de cad � an sadhas mna a ghe�bhadh s� f�in is �nbsp;a dubhairt s� leis na bean bhreagh a th�gaint agus b�nbsp;bhan agus tigh ar ard.

Ni h� an bhreaghthacht a chuireann an corcan ar fiochaigh, arsa mathair lena mac a vi ag cuimhneamhnbsp;ar chailin deas a ph�sadh. Agus ni h� an bhreaghthacht a choine�chadh gan fioclradh �, ar seisean.

Ar chruaidh-leabaidh fhuair agus gan �adach f�m, Nuair a bhuailid na sluaisde an chr� ar mo chui,

(Deirtear da n-abr�chtha � sin ar dhul ar bord loinge no baid duit na baidhfidhe thu.)

Cabhair agus cail agus grasda � Dhia chughainn, Agus cabhair gach la agus taim a iarraidh,nbsp;Sacramaint na haithrighe go neartuighe Dia linn,nbsp;Agus comairghe mh�anam� ort, a Mhuire Bhain-tighearna.

CEACHTANNA.

� Isa,

Tadhg : Is doich Horn go bhfuil se buailte isteacli go daingean i ii-aigne^ na ndaoine is tuisgionaighenbsp;sa n-obair, na fuil ag Eire ach a rogha de dha nidh,nbsp;an Ghaeluinn, a h-urlabhra f�in, do chimead �nanbsp;b�al, agus seasamh ar a cosaibh f�in i lathair D�nbsp;agus an tsaoghail, nu a h-urlabhra f�in a chaitheamhnbsp;uaithe ar fad agus bealbhach Bearla chur �na b�alnbsp;chuichi, agus ansan an marcach Gallda bheith arnbsp;a muin aici go deo. Ma chuirean si an bh�albhachnbsp;as a b�al cuirfidh si dhi an marcach uair �igin, luathnbsp;mi mall. Ma tuigtear i gceart an nidh sin leanfar de�nnbsp;obair agus d�anfar i i ndeire bara.�An t-Athairnbsp;Peadar i Sgothbhualadh.

Ansan d�arduig s� a lamh agus bhuail s� an charaig dha uair agus do ghluais caise lionmhar uisge amachnbsp;as an gcaraig i dtred gur dladar na daoine agus nanbsp;beithidhigh a nddithin mdr uisge agus gur baineadh

blian nach mdr caithte um an dtaca san agus do thosnuig clann Isra�il ar iad f�in d�ullmh� agusnbsp;do chur i dtred chun dul isteach, f� dheire thiarnbsp;thall, sa tir a bhi geallta dhdibh an fhaid sin aim-sire agus go mbeidis socair istigh ann dachad bliannbsp;roimis sin mar a mbeadh a stuacacht agus a neamh-fhoidhne f�in, agus na droch bheasa do thugadarnbsp;led anios as an Eigipt.�An t-Athair Peadar inbsp;Sg�alaidheacht as an mBiobla Naomhtha.

Mo ehreach is mo shgis �s is cluiti an galar an gra, �Gus is mairig go mion she er mi nu shachduin nu la,nbsp;Chuir she osna am� chry is do lion she an t-osna vinbsp;am� lar,

Do casag slua shi oram shys ige sheanbaili an Chlair, Is disaras diov cad � an ni do leishach an gra,nbsp;Do louir bean shi lium go cuin go cneasda is go tlah ;nbsp;Nuer a h�an insa chry na bion fail har n-aish ernbsp;go brach.

Donnchadh : Agus cad a dh�anfa f�in ? Nil aon ghradh agut do chomhacht Shasana i n-�irinn achnbsp;oiread agus ata agum-sa.

Tadhg: F�aeh ad� thimpal, a Dhonnchadh, ar an ndomhan, mar a chruithnigh Dia �. Ta neartanbsp;m�ra ag oibriu ann, ins gach aon treo, coitchianta.nbsp;Tabhair f� ndeara an meid seo. Na nearta na feictearnbsp;agus na mothuightear is iad is treise dh� oibrigheannbsp;agus is iad is fairsinne agus is doimhne toradh. Ninbsp;mothuightear an neart a chuirean ag fas an brobhnbsp;f�ir, ach is treise � na an neart ata sa tdirthnigh.nbsp;Cuirean an neart na mothuightear an fas ar siubhalnbsp;ar gach aon drlach de thalamh an domhain mar anbsp;bhfuil ithir agus fliuchra agus teas gr�ine. Ni raibhnbsp;tdirthneach riamh chomh laidir leis an neart sannbsp;go l�ir. Ta fas ar siubhal anois i n-Eirinn, fas aigne.nbsp;Ta ag teacht, os comhair ar sul, ar an bhfas aignenbsp;sin, toradh nirt ata ag baint d chomhacht Shasananbsp;i n-�irinn ar chuma nar baineadh riamh fds d�nnbsp;gcomhacht san le guna na le claidheamh na le pice,nbsp;p� �cu sa la nti sa n-oidhche a deineadh iad.�Annbsp;t-Athair Peadar i Sgothbhiuzladh.

ceArd na meach.

Da lyd le ra na beacha do fuaradar ceard vrea varha. Do hep er uduir vaha a fouluim insa l�an,

Le ling na greni tainghav bailid leo a guid meala, Mar sddr a gdir a caiti sa gblri le c�l.

slAinti.

Slainti is sh�an chut. Freagra: Shidi slainti a vuil lairhach agus a garuid go l�r is gura fedr shingnbsp;amaireach na er maidin in�.

An chead fhear: An deamhan an d�ich liom go bhfeadar ce h� me f�in na c� h� aoinne eile ! Ceocunbsp;soir n� siar ata ar n-aghaidh ?

An dara fear : Ni hi sin an cheist, ach ceocu � thuaidh mi � dheas ata ar n-aghaidh ? Ni f�idirnbsp;liom a dh�anamh amach ca bhfuilim ag gabhail.

An ch�ad fhear: Is maith an bhail ort na fuil a fhios ag Meidbh tu bheith ag gluaiseacht mar sinnbsp;ar seachran. Da mbeadh a fhios aici ba ghearr gonbsp;m�infeadh si dhuit c� h� thu.

An dara fear : Ni fheadar an tsaoghal cad ta orm. Measaim gur ghabhas an b�thar so seacht n-uairenbsp;� mhaidean ?

An ch�ad fhear : Ni fh�adfa an b�thar so do ghabhail i n-aon chor � mhaidean i gan fhios domhsa.nbsp;Taim ag gabhail an bh�thair seo � mhaidean agnbsp;iille �s ag aith-fhille air, agus ni fheaca thusa go dtinbsp;an ne�mat so. Cad as tu, Ie d�thoil ?

An dara fear : � chois Leamhna sa Mhumhain. Agus da mbeinn ann aris ni thiocfainn as. Tar �isnbsp;a tuigtear gach heart.

Go vuil a v� lena hav agus ral agus shgiling len �l, A hata min cioruv agus a vrishdi den aishon vion n�,nbsp;\gus ni mar sin a vion, bion cis na haingishi �na chl�.

Nuair airigh Maois an chainnt sin agus nuair a chonaic s� an cor a bhi ar na daoine thainig br�n

ar a chroidhe. Thainig eagal air gur v�as an gcuma �n-ar dhein s� f�in an obair a thainig an diobhail.nbsp;Thainig cahu air gur tugag a leith�id d�obair riamhnbsp;le d�anamh d�. Do chaith s� � f�in ar an dtalamhnbsp;i lathair an Tighearna �gha radh go h-umhal gurnbsp;thruagh mar a chuir Dia an c�ram san i n-aon chornbsp;air. � Do labhras, a Tighearna, � ar seisean, � ad�nbsp;ainm-se i lathair Phard. Ta pion�s curtha ag Phar�nbsp;ar do dhaoine agus nilir �gha bhfuasgailt ! �

� Biodh foidhne agat! � arsan Tighearna leis, � agus chifir cad a dh�anfad-sa le Phar�. Deir s�nbsp;na leogfidh s� uaidh iad. Leogfidh. Ni headh, achnbsp;comainfidh s� uaidh go fonnmhar iad sar a mbead-sa sgartha leis.��An t-Athair Peadar i Sg�alaidh-eacht as an mBlobla Naomhtha.

Ni flair n� ta an Gh�iluing ana chrueg le fouluim. Ni vcach an iread san duini a cahav uaha da m�achnbsp;shi shimpli. Chimid fir �ga agus mna �ga a lynbsp;ishdeach er a fouluim go cry daiririv, agus chimidnbsp;irish iad, tar �sh na mlianta, b�dir, ag eiri as go do-hasda. Ta rayint raiti ac� agus rayint focal ac�,nbsp;ach go dein f�n ni cayinteoiri Galuingi iad. D�eirignbsp;le� cysach mah an aid is vi m�inteoir a deagasc,nbsp;ach ch� luah direach is vi a ghroum buelti le�, agusnbsp;na roiv de v�inteoir ac� ach leour, do hit a lug er

�rnaideach ata er an Ngaluing. Ni chuirean san an �na oram. Vi na duini shin ch� fada a ouluimnbsp;go ma vah lium go m�ach rod �igin ac� le myv asnbsp;tar �sh a s�hir. Bion aicmi duini eli a mola annbsp;letirihi�duini ueshli�duini a ghinean m�rannbsp;cayinti a dav na Galuingi ach na louran focal di.nbsp;Mo valachtsa er an letiriu �rnaideach er an chuma !nbsp;Is beog na go vuil an Ghaluing marav ige.�Shannbsp;Mac Ma a nGl�r na Ly.

Deirtear gur ghleann beag ana dheas gur bh�eadh an gleann beag i n-a raibh Nasaret suidhte an uairnbsp;sin ; na raibh aon ait i dtir Phalestin ba dheise nanbsp;�. Bhi an bade beag suidhte ar chliathan cnoeainnbsp;ar an dtaobh thoir de, agus mar bh'eadh fainne denbsp;chnocanaibh eile morthimpal ar an gcnocan san,nbsp;lasmuich den bhaile bheag, ar an dtaobh thoir, agusnbsp;iad cludaithe le coilltibh, agus Machaire Esdreldinnbsp;ar leatha uatha san soir, agus an machaire sin gonbsp;breagh glas, f�armhar, saidhbhir. Lastoir dennbsp;mhacaire sin bhi, mar ata fcs, an loch ar a dtugtarnbsp;loch, ml muir, Thib�riais, laistiar den chnoc ar anbsp;raibh Nasaret suidhte bhi an cnoc aluinn ud ar anbsp;dtugti Cnoc Charmed, an cnoc ba bhreaghtha d�anbsp;raibh le feisgint i n-aon ait an uair sin; laistiarnbsp;den chnoc san, an fharaige mhor, an Mhuir Thorriann.nbsp;Nuair a bhic dh an ghaoth ainiar, agus ba mhinicnbsp;sin, bhiodh si ag s�ide isteach on bhfaraige sin agusnbsp;ag tabhairt slainte do gach aon rud bed, agus donbsp;gach aon tsaghas fais d�a raibh ag teacht trid annbsp;dtalamh. Gaoth na faraige ainiar agus solasnbsp;na gr�ine anoir, agus iad ag obair i dteannta ch�ile,nbsp;chuiridis maise ar choilltibh, agus ar ghlasaraibh,nbsp;agus ar bhlathanaibh, agus ar bheithidheachaibhnbsp;agus ar dhaoinibh. Do tugti f� ndeara gur rug mnanbsp;Nasaret buadh i mbreaghthacht agus i ndathamh-lacht, agus i maiseamhlacht pearsan, ar mhnaibhnbsp;Phalestin eile go l�ir. Agus deirti gur bh�i Muirenbsp;Mhathair, nuair a bhi si n-a comhnuidhe �n-a measg,nbsp;do bhronn ortha an buadh maiseamhlachta san.nbsp;Sa n-ait aluinn sin iseadh do chaith an Slanuigh-thedir a shaoghal go dti go raibh s� dha bhliain d�agnbsp;d�aois.�An t-Athair Peadar i gCriost Mac D�.

Do chuireasa mo hoil Jena toil, is do ghluashamuir aran, agus is minic a vuin bean slat a vuelhach inbsp;f�n.

[Da nineach duini droh-veart ad ehuingiv agus go niarfa at aigni f�n go diucfa suas lesh ar shlinbsp;�gin, ansan diirfa ds ard an abuirt sin.]

Na tri trua is md amuh; j digi gan smaehdu, ueshli gan beahti agus crionacht gan airhi.

Nior bh�aon iongnadh go ndubhairt Gormfhiaith an chainnt adubhairt si i dtaobh an fhir a bhi osnbsp;a cdmhair an uair sin. Fear, cdrach deagh-chumthanbsp;ab eadh �. Bhi nalach trom gruaige ar a cheannnbsp;agus i ag tuitim anuas ar a shlinneanaibh. Gruaignbsp;chiardhubh ab eadh i, agus bhiodh si ag crith agusnbsp;ag taithneamh sa tsolas le gach focal da labhradhnbsp;s�. Bhi dha mhalainn throma dhubha os cionn anbsp;dha shul agus bhi an da shuil sin suidhte �n-a cheann,nbsp;gan iad rd mhdr na rd bheag, agus an t� a dh�nbsp;fh�achach direach �n-a gcoinnibh nior mhaith leisnbsp;fearg a dh�fheisgint ionta.

Ba dhdigh leaf go mbiodh sgail �igin, agus solus �igin, coitchianta ag lasadh agus ag atharughadh

THE SOUNDS OF IRISH.

ionta, f� mar a bheadh gaoth agus sgamail agus solus, la cruaidh Marta. Bhi faibrenbsp;doimhinn idir an da mhalainn f� mar a bheadh inbsp;, n-�adan le�in, agus sr�n mh�r fhada sheabhcaidhenbsp;chaoldromach anuas ar an bhfaibre, agus bealnbsp;laidir daingean lastlos deh tsr�in sin, b�al a bhinbsp;Ian d�fhiacalaibh breaghtha geala a bhi do r�ir anbsp;eh�ile go cruinn, agus gur dhoich leaf go ndeinidisnbsp;solus uatha f�in nuair a ghaireadh s�.

Bhi an cromeal trom ciardhubh os cionn an bh�il agus an fheasdg throm chiardhubh chas lastiosnbsp;den bh�al. Idir ghruaig agus maili agus faibrenbsp;�adan agus suile agus sr�n agus crom�al agus b�alnbsp;agus fiacala agus f�as�g agus ceann ar fad, bhi rudnbsp;�igin sa bhfear san a chuir i n-iuil duit, ar an ge�adnbsp;amharc, gur mhaith an bhail ort � bheith �n-a charaidnbsp;agat, agus da mbeadh s� �n-a namhaid agat gurnbsp;mhaith an bhail ort bheith a bhfad uaidh.

Bhi cosamhiacht mh�r idir a cheann agus ceann le�in, agus ansan, ba l�ir go raibh cruadhas agus anamnbsp;agus neart agus fuinneamh an le�in �n-a chabhailnbsp;agus �n-a gh�agaibh, agus da mba namhaid � gonbsp;mbeadh s� chomh tapaidh agus chomh marbhuigh-theach leis an le�n. Bhi aithne mhaith ag nanbsp;Lochlanaigh air agus sin i aithne a bhi acu air, gonbsp;raibh s� chomh tapaidh agus chomh marbhuigh-theach leis an le�n.�An t-Athair Peadar i Niamh.

Ba gh� led� vairhin, a m�ach shi lairhaeh, Nuer a ravfa a c�rac sa choga chrueg,

Na pl�r gur gh� I� go nge�ch �na d�irniv N� a meaun a cl�ca a gimead uet,

Nil aon chuma is fearr �n-a bhf�adfaimid maitheas na h-umhluigheachta dh�fheisgint �na ma chuirimidnbsp;os comhair ar sul olcas an uabhair. As an uabharnbsp;is eadh fhasan an uile shaghas uilc. An t-uabharnbsp;is� a chuirean duine ag formad le n-a chdmharsain.nbsp;As an bhformad san tagan fuath do�n chdmharsain,nbsp;agus fearg, agus mioscais, agus eiilchainnt, agusnbsp;tromaidheacht; agus ansan, dligh agus clamparnbsp;agus fuil.

As an uabhar a dh�fhasan an tsainnt. Ni bheadh leath beann ar an airgead ag fear na sainnte muranbsp;mbeadh go dtuigean s� i n-aigne go gcuirfidh annbsp;t-airgead ar a chumas bheith nios aoirde �na duinenbsp;eile, agus nios uaisle, dar leis f�in. Ar ball, nuairnbsp;a th�ighean an tsainnt i n-achran i gceart �n-anbsp;chroidhe, ni chuimhnighean s� ar uaisleacht nanbsp;ar isleacht ach ar an airgead f�in. Ach is� an t-uabharnbsp;a thosnuig an t-olc. Mar sin do gach sdrd aimhleasanbsp;d�a ndeinean an duine, ar an saoghal.

Is� an t-uabhar a chuirean an ch�ad droch lamh sa dhuine. Is gach uilc � i gcroidhe an duine. Isnbsp;leasughadh saidhbhir � do gach droch intinnnbsp;agus do gach droch mhian agus do gach drochnbsp;bh�as. Is nimh marbhuightheach � do gach sobhailcenbsp;diadha, do gach intinn mhaith, do gach deagh bh�as,nbsp;do gach deagh-shampla, do gach deagh-chomhairle,

THE SOUNDS OF IRISH.

Ar an dtaobh eile dhe, isi an umhluigheacht a mhuchan agus a mhillean agus a mharbhuigheannbsp;an t-uabhar. Isi an umhluigheacht bun-phr�amhnbsp;gach maitheasa i gcroidhe an duine. Neartuigheannbsp;si creideamh agus dochas agus carthanacht. Tugannbsp;si cead cinn do gach intinn mhaith, breis ghreamanbsp;do gach deagh bh�as, breis toradh do gach deagh-shampla, feidhm nios treise do gach deagh-chomh-airle, agus deinean si guth ard de�n chogar a labhrannbsp;grasta Dc i gcroidhe an duine.�An t-Athair Peadar inbsp;Seanm�in agus Tri Fichid.

A Ghiarmuid f Laeri duert aingir na grav hum, Go dainghach do shg�v I� is do ghnynbsp;Ach gur b�� der a galha, a durhidish sprc ghoit,nbsp;Na cuirfa-sa i a n-efeacht na a grih ;

Is na cred-shi od ghalha, a duguidish sbr� ghoin, Na cuirhing i a n-efeacht is a grih ;

Is do vuinhing a f�ar gan mo gh�aga do hny, Do ehoiriceoing iin ear er lar faire an anuig.

An ti'iisge �n-a raibh an focal deirineach tagaithe a� beal Mhaoise d�osgail an talamh f� n-a gcosaibh-sin agus do sloigeadh sios iad f�in agus a gcabannbsp;agus gach ar bhain led ! Do dhun an talamh airisnbsp;os a gcionn agus nlor fhan aon rian diobh os cionnnbsp;tailimh ach chomh beag agus da mba na beidis annnbsp;riamh. Nuair a chonaic na daoine dh�a slogadhnbsp;agus dh�a sughadh sios sa talamh iad agus nuairnbsp;airighdar an sgreadach nimhneach a chuireadarnbsp;asta ag dul sios doibh, do ritheadar chun siubhailnbsp;morthimpal le sgannra sar a sloigfi sios iad f�in.nbsp;Le n-a linn sin do ghluais teine amach o�n dTighearnanbsp;agus do loisg si an da ch�ad agus deichneabhar agusnbsp;daehad fear a bhi ag ofrail na tuise in sna turibulaibh.nbsp;�An t-Athair Peadar i Sge'alaidheacht as an mBioblanbsp;Naomhtha.

Taim inish er hairshig mo gheh bliana is tri fihid. Is ddcha gur a duerim a shacht nu a hochtnbsp;de vliantuiv is gnahy cuini nu rneauir cing a heachtnbsp;do leanav. Ta cuini agum, ach cuini tayiriv, marnbsp;a diarfa, ish ea �, er rayint sayidiuiri veh a Mach-roumha, agus is dd hum go duigim inish cad f� nearnbsp;iad a veh aun an trah �d. Do raer mar a higim annbsp;shgial inish, tr�sh mar a chuala a gahav na mlianta,nbsp;is dd hum gur chun lucht leanuna John Mitchellnbsp;do chur f� chosh do viodar aun. An chiad rod elinbsp;do hit amach gur fiu hum teacht hairish, duininbsp;cluingi do heacht ar an sal do Hiarna Veauntry.nbsp;mac ab ea �. Hedges White ab ainim don ahir. �Nie

leo a gony go Sasana nu ait �gin har faruigi ag arycht doiv f�n. An aid a viodar amuh an trah �dnbsp;do hainig galar �gin er leanuiv na sraidi, agus lenbsp;ling an ghaluir veh aun do chuireadar shgial availinbsp;an cuislean veh olav �na goir mar go roiv ceapuihinbsp;acii teacht availi. Vi dochduir �na chony sa traidnbsp;an uer ud gur v�ainim d� Dochduir Criic. Do shgrivnbsp;an Dochduir Criic chiiha a rea leo gan teacht availinbsp;toishc an ghaluir veh er leanuiv na sraidi, agus gonbsp;guirhach she shgiala chiiha nuer a v�ach an galarnbsp;imihi. Agus do chuir a giiin tamuil, tr�sh an ghaluirnbsp;a veh imihi, agus ish iad a vi go bach d�, ni nachnbsp;una-�� Sheandiin � a nGl�r na Ly.

D�iompuigh clann Isra�il go l�ir d�aon iompail amhain agus thugadar aghaidh ar a namhaid. Ninbsp;raibh aon choinne ag an namhaid leis an iompailnbsp;sin na leis an neart a bhi sa n-iompail na leis annbsp;bhfuinneamh a bhi l�i. Thuigeadar laithreach agusnbsp;iad ag tuitim go tiugh, nar bhf�idir d�ibh seasamhnbsp;i gcoinnibh an nirt sin. Thugadar iarracht ar dhulnbsp;thar n-ais isteach sa chathair. Nuair fheachadarnbsp;i dtreo na catharach ni raibh le feiscint acu ach annbsp;sgamal mor dubh deataigh ag imtheacht leis annbsp;ngaoith agus na bladhmana dearga lasrach agnbsp;eirighe suas trid an speir as gach aon phairt dennbsp;chathair. Ni fada a bhiodar ag feachaint ar an lasairnbsp;nuair siud ch�cha amach as an gcathair an chuidnbsp;ba mhd den deich mile fichid fear a bhi tar �is nanbsp;catharach do thogaint agus do chur tr� theine.nbsp;Nior bhfada gur thuit an uile dhuine riamh d�fhearaibhnbsp;na catharach nuair a bhiodar idir an da shluagh agusnbsp;bas dh�a imirt ortha lasmuigh dhiobh agus laistiarnbsp;diobh. Do thuiteadar go l�ir agus bhi an chathairnbsp;agus a raibh de shaidhbhreas innte ag clainn Isra�il.nbsp;�^An t-Athair Peadar i Sg�alaidheacht as an mBioblanbsp;Naomhtha.

CEISTEANNA.

7. nbsp;nbsp;nbsp;Cuir sios ar an ndifrigheacht ata idir nanbsp;fuaimeanna caola agus na fuaimeanna leathna.

8. nbsp;nbsp;nbsp;Cad iad na bun-difrigheachta ata idir labhairtnbsp;na Gaedhilge agus labhairt an Bh�arla ?

9. nbsp;nbsp;nbsp;An m� guta sa Ghaedhilg ? Sgriobh nanbsp;comharthai foghraigheachta a ghabhann leo. Cadnbsp;iad na cinn gur ceart aire f� leith a thabhairt d�ibhnbsp;i dtre� go mbeid siad go blasta ag na macaibhnbsp;l�ighinn ?

10. nbsp;nbsp;nbsp;An m� saghas d�-fhogharach sa Ghaedhilg ?nbsp;Conas aithnightear gach saghas diobh ? Sgriobhnbsp;na comharthai foghraigheachta a ghabhann le�.

12. nbsp;nbsp;nbsp;Cad is consan sr�nach ann ? An m� ceannnbsp;diohh sa Ghaedhilg ?

13. nbsp;nbsp;nbsp;Cad is consan s�imhithe ann ? An bhfuilnbsp;aon rud speisialta Ie radh agat i dtaobh na gconsannbsp;s�imhithe sa Ghaedhilg ?

14. nbsp;nbsp;nbsp;An bhfuil aon difrigheacht idir an gcumanbsp;�na ndeintear na beolacha (labials) sa Ghaedhilgnbsp;agus i mB�arla ? Ma ta, minigh �.

15. nbsp;nbsp;nbsp;An mar a ch�ile an chuma �na ndeintear fnbsp;agus V sa Ghaedhilg agus i mB�arla ?

THE SOUNDS OF IRISH.

16. nbsp;nbsp;nbsp;Dein peictiuiri a theasbeanfaidh ca mbionnnbsp;ban- na teangan le linn d sa bhfocal Gaedhilge d�nbsp;agus sa bhfocal B�arla do do dh�anamh. Cuirnbsp;sios ar na d�adacha (dentals) go leir sa Ghaedhilg.

17. nbsp;nbsp;nbsp;An bhfnil aon fhocail i mB�arla na h�ireannnbsp;a thabharfadh cabhair duit chun I agus n leathannbsp;na Gaedhilge do mhuineadh ? Ma ta, sgriobh iadnbsp;i mB�arla f�in agus do r�ir leitriii foghraigheachtanbsp;na Gaedhilge.

20. nbsp;nbsp;nbsp;Dein peictiuiri a teasbeanfaidh ca mbaineannbsp;an teanga leis an gcarball le linn g a dh�anamhnbsp;ins na focalaibh Gaedhilge aige agus agaibh agusnbsp;sa bhfocal B�arla give.

21. nbsp;nbsp;nbsp;An bhfuil aon fhuaim i mB�arla a thabharfadhnbsp;cabhair duit chun c s�imhthighthe caol na Gaedhilgenbsp;do mhuineadh ? Ma ta, ead � an fhuaim �, agusnbsp;innis conas a thabharfadh s� cabhair duit.

22. nbsp;nbsp;nbsp;Innis rud �igin i dtaobh c leathan scimhithenbsp;agus g leathan s�imhighthe agus cuir sios ar annbsp;gcuma �na ndeintear iad.

25. nbsp;nbsp;nbsp;Cad � an difrigheacht ata idir m, n, I, r, ngnbsp;glorach agus m, n, I, r, ng analach ? Conas a mhuinfanbsp;na cinn analacha ?

26. nbsp;nbsp;nbsp;Cad is sleamhnan (glide) ann ? Ta focailnbsp;aon tsiolla amhain ann agus sleamhnain ionta agusnbsp;gur deacair do Bh�arl�iribh iad a radh i gceart.nbsp;Tabhair somplai uait, agus innis conas a mhuinfa iad.

27. nbsp;nbsp;nbsp;Conas a mhuinfa an pr caol agus an br caolnbsp;ins na focalaibh priocadh, preab, bre�idhte, agusnbsp;Brian ?

28. nbsp;nbsp;nbsp;Conas a mhuinfa an cr caol ins na focalaibhnbsp;crioch agus criona; an gr caol ins na focalaibhnbsp;greim agus grian; an chr caol ins na focalaibh chr�nbsp;agus Chidost agus an ghr caol ins na focalaibh ghriannbsp;agus dhriothdir (ghrikdir) ?

29. Cad ta le radh agat i dtaobh cl agus gl leathan agus chi agus ghl leathan i dtosach focal ?nbsp;Conas a mhuinfa iad ?

80. I labhairt na Gaedhilge sleamhnuighean na focail isteach �na cheile uaireanta agus tuiteannbsp;fuaim lag ar lar. Sgriobh somplai a chuirfidh sannbsp;in-uil.

CEACHDA BEOGA GALUINGI�Reading Lessons for Beginners. Compiled by Norma Borthwick. Withnbsp;Illustrations by Jack B.Yeats. Edited in Simplifiednbsp;Spelling by Osborn Bergin, Ph.D. Book I. 2d. ; bynbsp;post 2jd. Book II. 2d.; by post 2|d. Book III. 4d.;nbsp;by post 5d.

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^SOP�S FABLES IN IRISH. By Canon O�Leary. Book I., edited in Simplified Spelling by Osborn Bergin,nbsp;Ph.D. 8d. ; by post 9d.

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CUINE AIRT I LAERI. Beautiful elegy on the death of Arthur O�Leary. By his Wife, Eilin Duv ninbsp;Chonuil. Edited by Shan � Cuiv. With annbsp;Introduction in English and a Vocabulary. Is. ;nbsp;by post Is. Id.

CATILINA. Canon O�Leary�s translation of Sallust�s quot; Catiline.� A charming gift book. 2s.; bynbsp;post 2s. 2d.

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CUIRT NA DALA. By SJian O Cuiv. Tliis book contains two short stories in Irish in ordinary spelling and simplified spelling face to face, and a series of questions onnbsp;the text to familiarise students with construction andnbsp;give them fluency in transposition from one tense tonbsp;another, and from direct to indirect narration, etc. Thenbsp;stories themselves deal with modern life in Ireland andnbsp;are attractive reading. They introduce a useful vocabularynbsp;for the teaching of declensions and conjugations from thenbsp;text. An admirable book for senior standards in primarynbsp;schools and junior standards in secondary schools. 6d.

FICHE DUAN. An anthology of twenty poems of the Modern Irish period by the best authors, beginning with a poemnbsp;by Piaras B�aslai and going back in chronological ordernbsp;to Keating�s poem on the Flight of the Earls. Selected bothnbsp;for their literary and linguistic content, these poems arenbsp;an excellent introduction to the study of Modern Irishnbsp;poetry. They are varied in subject and treatment, andnbsp;introduce a great number of metres. They contain manynbsp;moulds of Irish speech, which makes them very usefulnbsp;for teaching the language as well as the literature. Innbsp;Gaelic and Simplified spelling. Edited with notes andnbsp;an explanation of the metre of each poem by Shan �nbsp;Cuiv. Is. dd.

THE IRISH VERB SIMPLIFIED. By Osborn Bergin, Ph.D., and Shdn � Cuiv. Two specimen verbs, one in the firstnbsp;conjugation and the other in the second, classified innbsp;parts according to the different moods and tenses, withnbsp;an idiomatic sentence for each part showing how thenbsp;verbs are used by the best speakers and writers of Irish.nbsp;The sentences for each verb are connected in sense, sonbsp;that they can be easily memorised and provide modelsnbsp;of the best usage. ' In Gaelic and simplified spelling onnbsp;opposite pages. 2d.

SG�ALTA � FILI NA R�iVIHA. By D�mhnall � Mathgh-amhna. This is a series of stories from the Latin poets, now told for the first time in Irish. They introduce studentsnbsp;to a section of the world�s greatest literature throughnbsp;Irish, and, while enriching the Irish language, providenbsp;refreshing reading. They are told in pure, idiomatic Irish.nbsp;An ideal class book for Irish schools and colleges. Ordinarj'nbsp;and simplified spelling facing. Is. 6d.

CAOINE AIRT UI LAOGHAIRE. This beautiful elegy on the death of Art � Laoghaire by his wife, Eilin Duv Ninbsp;Chonail, is one of the finest compositions in Modern Irish.nbsp;The metre is simple, and there is much less inversion ofnbsp;the prose order of the words than in lyric poetry. Itnbsp;contains many of the moulds of speech used in conversation and, for this reason, is most suitable as a text tonbsp;be memorised by learners. Edited by Shan � Cuiv. Withnbsp;an introduction in English and vocabulary. Gaelic andnbsp;simplified spelling on opposite pages. Is.

	Labials	Dentals		Gutturals
	Voice 1 Breath	Voice	Breath	Voice	Breath	V.	Br.
Stops (or Plosives)	b nbsp;nbsp;nbsp;j P	d	t	g	c
Nasals	m i mh	n	nh	ng	ngh
Fricatives (or Spirants ornbsp;Continuants)	V nbsp;nbsp;nbsp;f	�	�	gh	ch
Laterals		I	Ih	1
Fricative			s	1 1
Fricative	j		sh
Semi-VO ��els						r	rh
Breath	1						h

A. G. van HAMEL

221

Xxc OC^i f

SOUNDS OF IRISH

SHAN � CUfv

BROWNE amp; NOLAN, LIMITED

Instituut voor

Keltische taal�en letterkunde der Riilcstiniversifeif te Utrecht

PREFACE.

AUTHOR�S PREFACE TO THE SECOND EDITION.

AUTHOR�S PREFACE.

CONTENTS.

The Sounds of Irish

INTRODUCTION.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

MATERIAL AND ORGANS OF SPEECH.

CHARACTERISTICS OF IRISH SPEECH.

Irish-Irish.

(� 19)-

66).

English-English.

;rHE

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

Long; nbsp;nbsp;nbsp;6, �, a, y, �, i, a, 6, �, �, I.

Short: a, o, u, e, i, a.

au nbsp;nbsp;nbsp;dunbsp;nbsp;nbsp;nbsp;aynbsp;nbsp;nbsp;nbsp;aynbsp;nbsp;nbsp;nbsp;ounbsp;nbsp;nbsp;nbsp;6unbsp;nbsp;nbsp;nbsp;oynbsp;nbsp;nbsp;nbsp;ei

ua nbsp;nbsp;nbsp;uenbsp;nbsp;nbsp;nbsp;yanbsp;nbsp;nbsp;nbsp;yenbsp;nbsp;nbsp;nbsp;eynbsp;nbsp;nbsp;nbsp;ianbsp;nbsp;nbsp;nbsp;ienbsp;nbsp;nbsp;nbsp;i�,

ua=� a nbsp;nbsp;nbsp;ya=y anbsp;nbsp;nbsp;nbsp;ie=i e

ue=u e nbsp;nbsp;nbsp;ia= 1 anbsp;nbsp;nbsp;nbsp;ye=y e

i�=i d

au=�, u, au=a u, ou=� i!, ay=^ y (short), Sy=S y (short), oy = 5 y (short), ey=a y (bothnbsp;short), and ei = a (short) i.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE CONSONANTS.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRTSH.

dair, fair, lair, mair, call, call, cuin, caip, cnig, peac, lium, loit, buir, geal, etc. Some of these sounds arenbsp;really very hard for English-speaking students.

EXERCISES.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

CEACHTANNA.

� Isa,

ceArd na meach.

slAinti.

THE SOUNDS OF IRISH.

THE SOUNDS OF IRISH.

CEISTEANNA.

THE SOUNDS OF IRISH.