⟨ i⟩: French s i, ⟨ e⟩: German S ee, Scots s ay, ⟨ æ⟩: Swedish l ära ⟨ y⟩: French l une, ⟨ ə⟩: French p eu, ⟨ œ⟩: Swedish f ör ⟨ ï⟩: Welsh un, ⟨ ë⟩: German Gab e, ⟨ ä⟩: English s ir ⟨ ü⟩: Norwegian h us. Nasal vowels with an italic nasal consonant letter, such as ⟨ a𝑛⟩ or (for French) ⟨ a ŋ⟩. That is, italic a was ⟨ ɑ⟩, and italic ɐ, ⟨ ɒ⟩. Italic a takes its traditional shape, which would later be made distinct in the IPA. Other than the back unrounded vowels and the value of ⟨ə⟩ for IPA (but also for English b ird, in broad notation), Sweet's notation is essentially that of the IPA. This conflicts with the presentation of the IPA, in which high and close are synonymous, as are low and open. Sweet described vowels as narrowed with the tongue raised as in high vowels, but the jaw open as in low vowels. In the case of the mid back unrounded vowel ⟨a⟩, the description of its place of articulation does not accord well with some of the words given as examples. This corresponds to descriptions of vowels as lax and tense. In "wide" vowels, the tongue is described as relaxed and flattened in "narrow", it is tense and more convex. Apart from Sweet's use of italic h for voicelessness, the rest of the alphabet continues intact in the modern IPA. ⟨ ñ ᵹ ɹ λ ꞁ⟩ were eventually replaced with ⟨ ɲ ɣ ʕ ʎ ʟ⟩ in the IPA. He resurrected three Anglo-Saxon letters, ash ⟨ æ⟩, eth ⟨ ð⟩ and thorn ⟨ þ⟩, the first two of which had the pronunciations they retain in the IPA. The IPA letter ⟨ ɔ⟩ acquired its modern pronunciation and first use with this alphabet. Henry Sweet, A Handbook of Phonetics, 1877, p. Ellis, in his ‘Palæotype,’ uses it to denote the allied English sound in but. The ə was first employed by Schmeller to denote the final e-sound in the German gabe, &c. These new letters are perfectly distinct in shape, and are easily written. This is by turning the letters, thus - ə, ɔ. There is, however, one simple method of forming new letters without casting new types, which is very often convenient. Sweet adopted from Ellis and earlier philologists a method creating new letters by rotating existing ones, as in this way no new type would need to be cast: If the beginner has once learnt to pronounce a, e, i, o, u, as in glass, bet, bit, not, dull, he simply has to remember that long vowels are doubled, as in biit-"beat", and fuul-"fool", and diphthongs formed by the juxtaposition of their elements, as in boi-"boy" and hai-"high" Narrow Romic utilized italics to distinguish fine details of pronunciation Broad Romic was cruder, and in it the vowels had their English "short" sounds when written singly, and their "long" sounds when doubled: There were two variants, Broad Romic and Narrow Romic. There were no capital letters there were letters derived from small capitals, though these were distinct letters. In Romic every sound had a dedicated symbol, and every symbol represented a single sound. It descends from Ellis's Palaeotype alphabet and English Phonotypic Alphabet, and is the direct ancestor of the International Phonetic Alphabet. The Romic Alphabet, sometimes known as the Romic Reform, is a phonetic alphabet proposed by Henry Sweet. For the distinction between, / / and ⟨ ⟩, see IPA § Brackets and transcription delimiters. For an introductory guide on IPA symbols, see Help:IPA.
This article contains phonetic transcriptions in the International Phonetic Alphabet (IPA).
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