Alice’s Adventures in Wonderland in the International Phonetic Alphabet
ˈÆlɪsɪz Ədˈventʃəz ɪn ˈWʌndəˌlænd

By Lewis Carroll

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“Ɪn ðæt dɪˈrekʃən,” ðə Kæt sed, ˈweɪvɪŋ ɪts raɪt pɔː raʊnd, “lɪvz ə ˈHætə: ənd ɪn ðæt dɪˈrekʃən,” ˈweɪvɪŋ ðiː ˈʌðə pɔː, “lɪvz ə Mɑːtʃ Heə. ˈVɪzɪt ˈaɪðə jʊ laɪk: ðeə bəʊθ mæd.”		“In that direction,” the Cat said, waving its right paw around, “lives a Hatter: and in that direction,” waving the other paw, “lives a March Hare. Visit either you like: they’re both mad.”
“Bʌt Aɪ dəʊnt wɒnt tə ɡəʊ əˈmʌŋ mæd ˈpiːpl,” ˈÆlɪs rɪˈmɑːkt.		“But I don’t want to go among mad people,” Alice remarked.
“Əʊ, jʊ kɑːnt help ðæt,” sed ðə Kæt: “wɪər ɔːl mæd hɪə. Aim mæd. Jɔː mæd.”		“Oh, you ca’n’t help that,” said the Cat: “we’re all mad here. I’m mad. You’re mad.”
“Haʊ duː jʊ nəʊ Aim mæd?” sed ˈÆlɪs.		“How do you know I’m mad?” said Alice.
“Jʊ mʌst biː,” sed ðə Kæt, “ɔː jʊ ˈwʊdnt hæv kʌm hɪə.”		“You must be,” said the Cat, “or you wouldn't have come here.”
ˈLuːɪs ˈKærəl ɪz ə pen neɪm: Tʃɑːlz ˈLʌtwɪdʒ ˈDɒdsən wɒz ðiː ˈɔːθəz rɪəl neɪm ənd hiː wɒz ˈlektʃərər ɪn ˌMæθɪˈmætɪks ɪn Kraɪst Tʃɜːtʃ ˈⱰksfəd. ˈDɒdsən bɪˈɡæn ðə ˈstɔːrɪ ɒn 4 Dʒuːˈlaɪ 1862, wen hiː tʊk ə ˈdʒɜːnɪ ɪn ə ˈrəʊɪŋ bəʊt ɒn ðə ˈrɪvə Temz ɪn ˈⱰksfəd təˈɡeðə wɪð ðə ˈRevərənd ˈRɒbɪnsən ˈDʌkwɜːθ, wɪð ˈÆlɪs ˈLɪdl (ten jɪəz əv eɪdʒ) ðə ˈdɔːtər əv ðə Diːn əv Kraɪst Tʃɜːtʃ, ənd wɪð hɜː tuː ˈsɪstəz, Ləriːnə (ˈθɜːˈtiːn jɪəz əv eɪdʒ) ənd ˈIdɪθ (eɪt jɪəz əv eɪdʒ). Æz ɪz klɪə frɒm ðə ˈpəʊɪm æt ðə bɪˈɡɪnɪŋ əv ðə bʊk, ðə θriː ɡɜːlz ɑːskt ˈDɒdsən fər ə ˈstɔːrɪ ənd rɪˈlʌktəntlɪ æt fɜːst hiː bɪˈɡæn tə tel ðə fɜːst ˈvɜːʃən əv ðə ˈstɔːrɪ tə ðəm. Ðeər ɑː ˈmenɪ hɑːf ˈhɪdn ˈrefrənsɪz meɪd tə ðə faɪv əv ðəm θruːˈaʊt ðə tekst əv ðə bʊk ɪtˈself wɪtʃ wɒz ˈpʌblɪʃt ˈfaɪnəlɪ ɪn 1865.		Lewis Carroll is a pen-name: Charles Lutwidge Dodgson was the author’s real name and he was lecturer in Mathematics in Christ Church, Oxford. Dodgson began the story on 4 July 1862, when he took a journey in a rowing boat on the river Thames in Oxford together with the Reverend Robinson Duckworth, with Alice Liddell (ten years of age) the daughter of the Dean of Christ Church, and with her two sisters, Lorina (thirteen years of age), and Edith (eight years of age). As is clear from the poem at the beginning of the book, the three girls asked Dodgson for a story and reluctantly at first he began to tell the first version of the story to them. There are many half-hidden references made to the five of them throughout the text of the book itself, which was published finally in 1865.
Ðiː ˌꞮntəˈnæʃənl Fəʊˈnetɪk ˈÆlfəbɪt ɪz ə ˈsɪstɪm ɒv fəʊˈnetɪk nəʊˈteɪʃən beɪst ˈpraɪmərɪlɪ ɒn ðə ˈLætɪn ˈælfəbɪt. Ɪt wɒz dɪˈvaɪzd baɪ ðiː ˌꞮntəˈnæʃənl Fəʊˈnetɪk Əˌsəʊsɪˈeɪʃən æz ə ˈstændədaɪzd ˌreprɪzenˈteɪʃən ɒv ðə saʊndz ɒv ˈspəʊkən ˈlæŋɡwɪdʒ. Ðə ˈAɪ ˈPiː ˈEɪ ɪz juːzd baɪ ˌleksɪˈkɒɡrəfəz, ˈfɒrɪn ˈlæŋɡwɪdʒ ˈstjuːdənts, ənd ˈtiːtʃəz, ˈlɪŋɡwɪsts, spiːtʃ ǝn ˈlæŋɡwɪdʒ pəˈθɒlədʒɪsts, ˈsɪŋəz, ˈæktəz, kənˈstrʌktɪd ˈlæŋɡwɪdʒ kriːˈeɪtəz, ənd trænsˈleɪtəz.		The International Phonetic Alphabet is a system of phonetic notation based primarily on the Latin alphabet. It was devised by the International Phonetic Association as a standardized represen­tation of the sounds of spoken language. The IPA is used by lexicographers, foreign language students and teachers, linguists, speech-language pathologists, singers, actors, constructed language creators, and translators.
Ðɪs ɪˈdɪʃən əv ˈÆlɪsɪz Ədˈventʃəz ɪn ˈWʌndəˌlænd prɪˈzents ðə tekst ɪn ən ˌꞮntəˈnæʃənl Fəʊˈnetɪk ˈÆlfəbɪt trænsˈkrɪpʃən. Ðə træns­ˈkrɪpʃən rɪˈflekts ðə ˈstændəd ˈriːdʒənli ˈnjuːtrəl fɔːm əv ˈspəʊkən ˈBrɪtɪʃ ˈꞮŋɡlɪʃ nəʊn æz “Rɪˈsiːvd Prəˌnʌnsɪˈeɪʃən”. Ɡrɑːntɪd ðæt məʊst ˈlɪŋɡwɪsts əˈɡriː ðæt nɒt mʌtʃ mɔː ðæn 4% əv ðə ˌpɒpjʊˈleɪʃən əv ˈBrɪtən spiːk ɪt təˈdeɪ, ˈⱭː ˈPiː wɒz ˌnevəðəˈles trəˈdɪʃnəlɪ beɪst ɒn ˈedjuːkeɪtɪd spiːtʃ ɪn ˈsʌðən ˈꞮŋɡlənd; ɪt ɪz stɪl ˈwaɪdli tɔːt ənd ˈdɪkʃənrɪz fə ˈneɪtɪv ˈspiːkəz ənd ˈlɜːnəz əv ˈɪŋɡlɪʃ stɪl meɪk juːs əv ɪt ɪn ðeə trænsˈkrɪpʃənz.		This edition of Alice’s Adventures in Wonderland presents the text in an International Phonetic Alphabet transcription. The tran­scription reflects the standard, regionally-neutral form of spoken British English known as “Received Pronunciation”. Granted that most linguists agree that not much more than 4% of the population of Britain speak it today, RP was nevertheless traditionally based on educated speech in southern England; it is still widely taught and dictionaries for native speakers and learners of English still make use of it in their transcriptions.
Tʊ ˈprɒdjuːs ðə tekst hɪər Aɪ fɜːst ˈprəʊsest ðə tekst θruː Əlekˈseɪ Vɪnɪˈdɪktəfs “ˈFəʊnətaɪzə”, ə tekst kənˈvɜːʃən ˈprəʊɡræm wɪtʃ ɪmˈplɔɪz ðiː ˈⱭː ˈPiː trænsˈkrɪpʃən juːzd ɪn ðə ˈsevnθ ɪˈdɪʃən əv Vləˈdiːmə ˈKɑːləvɪtʃ ˈMʏlləz ˈꞮŋɡlɪʃ ˈRʌʃən ˈDɪkʃənrɪ (ˈMɒskəʊ, 1960). ˈSʌbsɪkwəntlɪ Aɪ red θruː ðə tekst ˈkeəflɪ ənd meɪd ə ˈfeəlɪ lɑːdʒ ˈnʌmbər əv əˈdʒʌstmənts. Ɪn ˈmenɪ ˈkeɪsɪz ðeə wɜː ˈdʒʌdʒmənt kɔːlz tə biː meɪd, ənd Aɪ həʊp ðæt Aɪ hæv dʌn ə ˌsætɪsˈfæktərɪ dʒɒb əv ɪt. Məʊst əv ðiːz ˈtʃɔɪsɪz wɜː ˈfeəlɪ mʌnˈdeɪn, sʌtʃ æz wen tə juːz [ənd] ənd wen tə juːz [ənd] ɔː [əŋ] ɔː wen tʊ meɪk ju ːs əv ə ˈlɪŋkɪŋ “r” (æz ɪn her idea [hɜːr aɪˈdɪə] ˈrɑːðə ðæn [hɜː aɪˈdɪə]). Aɪ hæv nɑːt əˈtemptɪd tuː ɪnˈsʌrt ən ˌepenˈθetɪk “r” (æz ɪn her idea of [hɜːr aɪˈdɪər əv]) sɪns ðɪs ɪz kənˈsɪdərd səbˈstændəd tʊ [hɜːr aɪˈdɪə əv]. Fɔː “Hjckrrh” ɪn Tʃæptə Naɪn, Aɪ tʃəʊz [hdʒkr̥ː].		To produce the text here I first processed the text through Alexei Vinidiktov’s “Phonetizer”, a text-conversion program which employs the RP transcription used in the seventh edition of Vladimir Karlovich Müller’s English Russian Dictionary (Moscow, 1960). Subsequently I read through the text carefully and made a fairly large number of adjustments. In many cases there were judgement calls to be made, and I hope that I have done a satisfactory job of it. Most of these choices were fairly mundane, such as when to use [ænd] and when to use [ənd] or [ǝŋ] or when to make use of a linking r (as in her idea [hɜːr aɪˈdɪə] rather than [hɜː aɪˈdɪə]). I have not attempted to insert an epenthetic r (as in her idea of [hɜːr aɪˈdɪər əv]) since this is considered substandard to [hɜːr aɪˈdɪə əv]. For “Hjckrrh” in Chapter IX, I chose [hdʒkr̥ː].
Pəˈhæps ɪt ɪz nɒt ˈpɒsəbl tʊ əˈtʃiːv kəmˈpliːt pəˈfekʃən ɪn ə trænsˈkrɪpʃən əv ə 27,500-wɜːd ˈnɒvəl—bʌt Aɪ bɪˈliːv ðæt ðə tekst hɪər ɪz ˈfeəlɪ kənˈsɪstənt ənd ˈriːdəbl. Aɪ ˈwelkəm kəˈrekʃənz frɒm ˈriːdəz huː wɪʃ tə səbˈmɪt ðəm.		Perhaps it is not possible to achieve complete perfection in a transcription of a 27,500-word novel—but I believe that the text here is fairly consistent and readable. I welcome corrections from readers who wish to submit them.
Bɪˈkɒz ðɪs ɪz ə ˈnɒvəl, ənd ment tə biː red, Aɪ dɪˈsaɪdɪd tə rɪˈteɪn sʌm ˌɔːθəˈɡræfɪk ˈfiːtʃəz wɪtʃ ɑː nɒt ˈnɔːməli kept ɪn fəʊˈnetɪk trænsˈkrɪpʃən: ˌpʌŋktjʊˈeɪʃən, ɪˈtælɪsaɪˈzeɪʃən, ənd kəˌpɪtəlaɪˈzeɪʃən. Aɪ hæv rɪˈteɪnd ˈKærəlz ˌpʌŋktjʊˈeɪʃən wɪð ðiː ɪkˈsepʃən əv ðiː əˈpɒstrəfɪ ˈmɑːkɪŋ ðə ˈdʒenɪtɪv (bɪˈkɒz Duchess’s voice dʒʌst lʊkt rɒŋ æz ˈDʌtʃɪs’ɪz vɔɪs). Məʊst ˈAɪ ˈPiː ˈEɪ ˈkærɪktəz hæv fəˈmɪljər ɪˈtælɪk ənd ˈkæpɪtl fɔːmz, bʌt fə ðə kənˈviːnjəns əv ðə ˈriːdər Aɪ ɡɪv ðə ˈrepətwɑː hɪə:		Because this is a novel, and meant to be read, I decided to retain some orthographic features which are not normally kept in phonetic transcription: punctuation, italicization, and capitaliza­tion. I have retained Carroll’s punctuation with the exception of the apostrophe marking the genitive (because Duchess’s voice just looked wrong as ˈDʌtʃɪs’ɪz vɔɪs). Most IPA characters have familiar italic and capital forms, but for the convenience of the reader I give the repertoire here:
Aa Ɑɑ Ɒɒ Ææ Bb Dd Ðð Ee Əə Ɜɜ Ff Ɡɡ Hh Ii Ɪɪ Kk Ll Mm Nn Ŋŋ Oo Ɔɔ Pp Rr Ss Ʃʃ Tt Θθ Uu Ʊʊ Vv Ʌʌ Ww Zz Ʒʒ Aa Ɑɑ Ɒɒ Ææ Bb Dd Ðð Ee Əə Ɜɜ Ff Ɡɡ Hh Ii Ɪɪ Kk Ll Mm Nn Ŋŋ Oo Ɔɔ Pp Rr Ss Ʃʃ Tt Θθ Uu Ʊʊ Vv Ʌʌ Ww Zz Ʒʒ
—ˈMaɪkəl ˈEvəsən ˈWestˌpɔːt 2014		—Michael Everson Westport 2014