(3.) The pronunciation of the other provinces presents many extensive departures from the true mandarin. The tones are seven or eight in number, and are often found inverted in position, as well as contradictory in nature to the names they bear. The Fúh-kien and Canton dialects have long been the subject of foreign study, and have received abundant illustration. Ngán-hwei and Kiangsi have also many eccentricities of pronunciation.
[ [1] Vide in K’áng-hí, the Fán-ts’eih spelling, quoted from the previously existing Dictionaries. In K’áng-hí’s table of sounds, the former model is to some extent departed from, in favour of the Northern mandarin. The terms 北音南音 are common both in books, and in the conversation of the natives. Mandarin pronunciation has also its dictionaries, such as 五方元音, but it is the old tonic dictionaries and new works founded on them to which reference is here made.
8. The tones may be partially described according to their natural character. In attempting this, we intentionally avoid for the present, the usual Chinese terms 平上去入 ping, even, záng, rising, k’ü‘, going, zeh, entering, because, being the same in all dialects, they do not in the majority of cases, represent the actual effect of the sounds on the ear. When first adopted in the reign of Liang wu ti, A.D. 402 to 450, they must have represented the tones of the dialect, spoken by Shen yoh[1] the writer who selected them a native of Hu cheu only 100 miles from Sháng-hái. But when applied according to universal practice, to the sounds given to the same characters in other parts of the empire, these four names convey no idea of the actual pronunciation. The descriptions given of the tones by native authors, are consequently often incomprehensible.
A. Upper acute tone. We pronounce monosyllabic words, when speaking with moderate emphasis, in a quick descending tone. It is heard in commands as Gó, Fíre, Go at ônce. In naming any object, English speakers usually adopt this intonation for a monosyllable, or the penultimate of a dissyllable. It might be called the affirmative tone. It represents the 上平 záng‘ bing, or upper first tone at Sháng-hái and Sú-cheú, as 天 t’íen heaven; while in the dialect of Amoy, it is the second, and in the mandarin of Pe-king, the first tone.
B. Upper even tone. This is a sound without deflection like a long note in music, and is not so common in English conversation as the former. When high in key, it is in Sháng-hái the upper second tone, as in 水 sz; water; 火 hú, fire, 土 t’ú, earth. In Sz-ch’uen mandarin, and in the Fúh-kien of Amoy, it is the upper first tone.
C. Upper quick rising tone. This is nearly like the staccato of musical notation, and is usually heard in interjections of surprise and indignation, and frequently in questions. If quick and high, it is in Sháng-háe the upper third tone, as 信 sing, a letter, 菜 ts’é, vegetables. In Pe-king mandarin. It is the lower first tone.
D. Upper slow rising tone. This is a prolonged intonation rising more slowly than the last, and is not needed for the Sháng-háe dialect.
E. Upper short tone. This is the intonation of syllables short in quantity. Long and short quantity may be predicated of vowels or of syllables. In Latin, the short ă of m-ă-gis, becomes long by position in magnus. The converse of this example takes place in Sháng-hái pronunciation, where the long and short a and o are all found in a short tone.[2] In such cases, we write them all with a final h; the presence or absence of the accent marking the quantity of the vowel, while that of h marks the quantity of the syllable; as in 濕 sáh, wet; 薩 sah, in Pú sah, disciple of Buddha; 哭 k’óh weep; 悪 oh, wicked. This tone might be divided into two, as it ascends or descends; but as only the former occurs in Sháng-hái sounds, we count but one of these, to avoid too great subdivision.
F. Lower acute tone. In proceeding to tones in a lower pitch of voice, we enumerate them in an order corresponding to that followed above; thus the same natural description, except as regards key, will readily apply to them. The lower acute tone is not needed for the Shánghái sounds, except in cases of combination. In the Sú-cheú dialect, it represents the lower second tone, while in Fúh-kien, if set very low, it will be the upper third tone.
G. Lower even tone. A low musical sound without deflection. It is the lower first tone at Sháng-hái, as in 能 nung, can. 埋, má, bury. In the mandarin of Nán-king, it is the upper first tone, while in the dialect of Amoy, it is the lower third tone.