Last updated

In linguistics, an elision or deletion is broadly defined as the omission of one or more sounds (such as a vowel, a consonant, or a whole syllable) in a word or phrase. However, it is also used to refer more narrowly to cases where two words are run together by the omission of a final sound. [1] An example is the elision of word-final /t/ in English if it is preceded and followed by a consonant: ‘first light’ is often pronounced /fɜ:s laɪt/. [2] Many other terms are used to refer to particular cases where sounds are omitted.


Citation forms and contextual forms

A word may be spoken individually in what is called the citation form. This corresponds to the pronunciation given in a dictionary. However, when words are spoken in context, it often happens that some sounds that belong to the citation form are omitted. Elision is not an all-or-nothing process: elision is more likely to occur in some styles of speaking and less likely in others. [3] Many writers have described the styles of speech in which elision is most commonly found, using terms such as ‘casual speech’, [4] ‘spontaneous speech’, [5] ‘allegro speech’ [6] or ‘rapid speech'. [2] In addition, what may appear to be the disappearance of a sound may in fact be a change in the articulation of a sound that makes it less audible. For example, it has been said that in some dialects of Spanish word-final ‘-ado’, as in ‘cansado’ (tired) is pronounced /ado/ in citation form but the /d/ is omitted in normal speech, giving ‘cansao’. More careful description will show that the Spanish phoneme /d/ is usually pronounced as a voiced dental fricative [ð] when it occurs between vowels. In casual speech it is frequently weakened to a voiced dental approximant [ð̞]. [7] The most extreme possibility is complete elision resulting in a diphthong with no observable consonantal tongue gesture. [8] In this view, elision is the final stage in lenition or consonant weakening, the last phase of a cline or continuum describable as d > ð > ð̞ > ∅. Whether the elision is of vowel or consonant, if it is consistent through time, the form with elision may come to be accepted as the norm: tabula > tabla as in Spanish, mutare > muer 'change, molt' in French, luna > lua 'moon' in Portuguese. It is usual to explain elision and related connected-speech phenomena in terms of the Principle of least effort or 'economy of effort'. “If a word or expression remains perfectly intelligible without a certain sound, people tend to omit that sound. [9]

Historical elisions

There are various ways in which the present form of a language may reflect elisions that have taken place in the past. This topic is an area of Diachronic linguistics. Such elisions may originally have been optional but have over time become obligatory (or mandatory). An example of historical elision in French that began at the phrasal level and became lexicalized is preposition de > d' in aujourd'hui 'today', now felt by native speakers to be one word, but deriving from au jour de hui, literally 'at the day of today' and meaning 'nowadays,' although hui is no longer recognized as meaningful in French. In English, the word ‘cupboard’ would originally have contained /p/ between /ʌ/ and /b/, but the /p/ is believed to have disappeared from the pronunciation of the word about the fifteenth century. [10]

Elision and contractions

In many languages there is a process similar but not identical to elision, called contraction, where common words that occur frequently together form a shortened pronunciation. [11] This may be a historical case (for example, French ‘ce est’ has become ‘c’est’ /se/ and it would now be incorrect to say ‘ce est’ /sə e/) or one that is still optional (in English, a speaker may say ‘that is’ /ðæt ɪz/ or ‘that’s’ /ðæts/). Contractions of both sorts are natural forms of the language used by native speakers and are not considered substandard. [12] English contractions are usually vowel-less weak form words. [12] In some cases the contracted form is not a simple matter of elision: for example, “that’s” as a contraction is made not only by the elision of the /ɪ/ of ‘is’ but also by the change of final consonant from /z/ to /s/; “won’t” for “will not” requires not only the elision of the /ɒ/ of ‘not’ but also the vowel change /ɪ/ --> /oʊ/ and in English RP ‘can’t’ and ‘shan’t’ change vowel from /æ/ of ‘can’ and ‘shall’ to /ɑː/ in /kɑːnt/, /ʃɑːnt/. In some languages employing the Latin alphabet, such as English, the omitted letters in a contraction are replaced by an apostrophe (e.g., isn't for is not). Written Greek marks elisions in the same way.

Elision in poetry

Elision is frequently found in verse. It is sometimes explicitly marked in the spelling, and in other cases has to be inferred from knowledge of the metre. Elisions occurred regularly in Latin, but were not written, except in inscriptions and comedy. Elision of a vowel before a word starting in a vowel is frequent in poetry, where the metre sometimes requires it. For example, the opening line of Catullus 3 is Lugete, O Veneres Cupidinesque, but would be read as Lugeto Veneres Cupidinesque (audio). [13] There are many examples of Poetic contraction in English verse of past centuries marked by spelling and punctuation. Frequently found examples are over > o'er and ever > e'er. Multiple examples can be seen in lines such as the following from Elegy Written in a Country Churchyard by Thomas Gray, published in 1751:


The term deletion is used in some modern work instead of elision. [14] When contemporary or historic deletion is treated in terms of Generative phonology it is usual to explain the process as one of substituting zero for a phoneme, in the form of a phonological rule. [15] The form of such rules is typically

  X --> ∅     (i.e. the segment x becomes zero)

An example of a deletion rule (for /r/-deletion in English RP) is provided by Giegerich. [16] If we start with the premise that the underlying form of the word ‘hear’ has a final /r/ and has the phonological form /hɪər/, we need to be able to explain how /r/ is deleted at the end of ‘hear’ but is not deleted in the derived word ‘hearing’. The difference is between word-final /r/ in ‘hear’, where the /r/ would form part of the rhyme of a syllable, and word-medial /r/ which would form the onset of the second syllable of ‘hearing’. The following rule deletes /r/ in ‘hear’, giving /hɪə/, but does not apply in the case of ‘hearing’, giving /hɪərɪŋ/.

                rhyme     /r/ --> ∅/  _____


Even though the effort that it takes to pronounce a word does not have any direct influence on writing, a word or phrase may be spelled in a way that reflects elisions. This happens in poetry, as explained above, and in drama in order to reflect the presence of elisions or non-standard speech forms. The term eye dialect is sometimes used to refer to this practice.



Examples of elision in English:

WordIPA before elisionIPA after elision
natural /ˈnæərəl/ /ˈnærəl/
laboratory (British English) /ləˈbɒrətəri/ /ləˈbɒrətri/
laboratory (American English) /ˈlæbərətɔːri/ /ˈlæbrətɔːri/
temperature /ˈtɛmpərəər/ /ˈtɛmpərər/ , /ˈtɛmprəər/ , sometimes /ˈtɛmpəər/
family /ˈfæmɪli/ /ˈfæmli/
vegetable /ˈvɛətəbəl/ /ˈvɛtəbəl/ or devoiced into /ˈvɛtəbəl/
fifth /ˈfɪfθ/ /ˈfɪθ/
him /hɪm/ /ɪm/
going to /ˈɡ.ɪŋt/ /ɡənə/ (gonna)
it is, it has /ɪtˈɪz/ , /ɪtˈhæz/ /ɪts/ (it's)
I have /ˈhæv/ /v/ (I've)
is not /ɪzˈnɒt/ /ˈɪzənt/ (isn't)

Most elisions in English are not mandatory, but they are used in common practice and even sometimes in more formal speech. This applies to nearly all the examples in the above table. However, these types of elisions are rarely shown in modern writing and never shown in formal writing. In formal writing, the words are written the same whether or not the speaker would elide them, but in many plays and classic American literature, words are often written with an elision to demonstrate accent:

"Well, we ain’t got any," George exploded. "Whatever we ain’t got, that’s what you want. God a’mighty, if I was alone I could live so easy. I could go get a job an’ work, an’ no trouble. No mess at all, and when the end of the month come I could take my fifty bucks and go into town and get whatever I want. Why, I could stay in a cathouse all night. I could eat any place I want, hotel or any place, and order any damn thing I could think of. An’ I could do all that every damn month. Get a gallon of whisky, or set in a pool room and play cards or shoot pool." Lennie knelt and looked over the fire at the angry George. And Lennie’s face was drawn in with terror. "An’ whatta I got," George went on furiously. "I got you! You can’t keep a job and you lose me ever’ job I get. Jus’ keep me shovin’ all over the country all the time."

John Steinbeck, Of Mice and Men 1937, 1.89 [17]

Other examples, such as him and going to shown above, are generally used only in fast or informal speech. They are still generally written as is unless the writer intends to show the dialect or speech patterns of the speaker.

The third type of elision is in common contractions, such as can't, isn't, or I'm. The apostrophes represent the sounds that are removed and are not spoken but help the reader to understand that it is a contraction and not a word of its own. These contractions used to be written out when transcribed (i.e. cannot, is not, I am) even if they were pronounced as a contraction, but now they are always written as a contraction so long as they are spoken that way. However, they are by no means mandatory and a speaker or writer may choose to keep the words distinct rather than contract them either as a stylistic choice, when using formal register, to make meaning clearer to children or non-native English speakers, or to emphasize a word within the contraction (e.g. I am going!)

In non-rhotic accents of English, /r/ is dropped unless it's followed by a vowel, making cheetah and cheater completely homophonous. In non-rhotic accents spoken outside of North America, many instances of /ɑː/ correspond to /ɑːr/ in North American English as /æ/ and /ɒ/ are used instead of /ɑː/ .


The consonant in the partitive case ending -ta elides when it is surrounded by two short vowels except when the first of the two vowels involved is paragoge (added to the stem). Otherwise, it stays. For example, katto+takattoa, ranta+tarantaa, but työ+tätyötä (not a short vowel), mies+tamiestä (consonant stem), jousi+tajousta (paragogic i on a consonant stem).


Elision of unstressed vowels (usually /ə/) is common in the French language and, in some cases, must be indicated orthographically with an apostrophe. For further information about final vowel elision, see Elision (French).

Elision of vowel and consonant sounds was also an important phenomenon in the phonological evolution of French. For example, s following a vowel and preceding another consonant regularly elided, with compensatory lengthening of the vowel.


Nouns and adjectives that end with unstressed "el" or "er" have the "e" elided when they are declined or a suffix follows. ex. teuer becomes teure, teuren, etc., and Himmel + -isch becomes himmlisch.

The final e of a noun is also elided when another noun or suffix is concatenated onto it: Strafe + Gesetzbuch becomes Strafgesetzbuch.

In both of the above cases, the e represents a schwa.


Elision (brottfall) is common in Icelandic. There are a variety of rules for its occurrence, [18] but the most notable is the loss of trailing consonants in common particles as well as the merger of similar vowel sounds. For example, the ubiquitous ég er að (verb) structure ("I am verb-ing") becomes transformed to éra (verb); the full particles is spoken only when a person is sounding the sentence out word by word. Another noteworthy and extremely common example along this line includes the phrase er það ekki? ("really?") which is pronounced as erþakki. A common example of internal consonant loss in Icelandic is gerðu svo vel ("here you go", "please"), pronounced gjersovel (the hidden j sound is unrelated to the elision and occurs when a /kʰ/ or /k/ precedes /ɛ, i, ɪ, ai/). Another special case of elision is the loss of /θ/ from the start of þetta ("this", "that"), which is sometimes pronounced etta (hvað er þetta (what is this?) -> hvaretta?). The pronunciation of the full word tends to lay emphasis on it ("What is this?") while the elision of the word leads to its deemphasis ("What is this?"). The loss of the /θ/ in þetta is similar to how /ð/ can be lost in "that" and "this" when asking a question and speaking swiftly in English.


Elision is found in the Ulster dialect of Irish, particularly in final position. Iontach, for example, while pronounced [ˈiːntəx] in the Conamara dialect, is pronounced [ˈintə] in Ulster. n is also elided when it begins intervocalic consonant clusters. Anró is pronounced aró; muintir is pronounced muitir.


Elision is extremely common in the pronunciation of the Japanese language. In general, a high vowel (/i/ or /u/) that appears in a low-pitched syllable between two voiceless consonants is devoiced and often deleted outright. However, unlike French or English, Japanese does not often show elision in writing. The process is purely phonetic and varies considerably depending on the dialect or level of formality. A few examples (slightly exaggerated; apostrophes added to indicate elision):

松下さんはいますか? Matsushita-san wa imasu ka? ("Is Mr. Matsushita in?")
Pronounced: matsush'tasanwa imas'ka
IPA:  [matsɯɕi̥tasaɰ̃ɰa imasɯ̥ka]
失礼します Shitsurei shimasu ("Excuse me")
Pronounced: sh'tsureishimas'
IPA:  [ɕi̥tsɯɾeː ɕimasɯ̥]

Gender roles also influence elision in Japanese. It is considered masculine to elide, especially the final u of the polite verb forms (-masu, desu), but women are traditionally encouraged to do the opposite. However, excessive elision is generally viewed as basilectic, and inadequate elision is seen as overly fussy or old-fashioned. Some nonstandard dialects, such as Satsuma-ben, are known for their extensive elision.

It is common for successive o sounds to be reduced to a single o sound, as is frequently encountered when the particle を (wo/o) is followed by the beautifying or honorific お (o). See Japanese particles and Honorific speech in Japanese.


Latin poetry featured frequent elision, with syllables being dropped to fit the meter or for euphony. Words ending in vowels would elide with the following word if it started with a vowel or h; words ending with -m would also be elided in the same way (this is called ecthlipsis). [19] [20] In writing, unlike in Greek, this would not be shown, with the normal spelling of the word represented. For instance, line 5 of Virgil's Aeneid is written as "multa quoque et bello passus, dum conderet urbem", even though it would be pronounced as "multa quoquet bello passus, dum conderet urbem".

Other examples of elision in Latin literature include:


Dropping sounds in connected speech by native speakers is very common in this language from Kerala, southern India. For example, entha becomes ntha and ippol becomes ippo.


The change of Latin into the Romance languages included a significant amount of elision, especially syncope (loss of medial vowels). Spanish has these examples:

In addition, speakers often employ crasis or elision between two words to avoid a hiatus caused by vowels: the choice of which to use depends upon whether or not the vowels are identical.[ citation needed ]

A frequent informal use is the elision of d in the past participle suffix -ado, pronouncing cansado as cansao. The elision of d in -ido is considered even more informal, but both elisions common in Andalusian Spanish. Thus, the Andalusian quejío for quejido (“lament”) has entered Standard Spanish as a term for a special feature of Flamenco singing. Similar distinctions are made with the words bailaor(a) and cantaor(a) as contracted versions of the literal translations for dancer and singer exclusively used for Flamenco, compared to the bailarín and cantante of standard Spanish. The perceived vulgarity of the silent d may lead to hypercorrections like * bacalado for bacalao (cod) or *Bilbado for Bilbao . [21]


Tamil has a set of rules for elision. They are categorised into classes based on the phoneme where elision occurs:

Class namePhoneme
Aaythakkurukkamthe special character akh


Elision is a major feature of Welsh, found commonly in verb forms, such as in the following examples:

Related Research Articles

H Letter of the Latin alphabet

H, or h, is the eighth letter in the ISO basic Latin alphabet. Its name in English is aitch, or regionally haitch.

Modern Hebrew is phonetically simpler than Biblical Hebrew and has fewer phonemes, but it is phonologically more complex. It has 25 to 27 consonants and 5 to 10 vowels, depending on the speaker and the analysis.

Latin phonology and orthography Phonology of the Latin language

Latin phonology continually evolved over the centuries, making it difficult for speakers in one era to know how Latin was spoken before then. A given phoneme may be represented by different letters in different periods. This article deals primarily with modern scholarship's best reconstruction of Classical Latin's phonemes (phonology) and the pronunciation and spelling used by educated people in the late Roman Republic. This article then touches upon later changes and other variants. Knowledge of how Latin was pronounced comes from Roman grammar books, common misspellings by Romans, transcriptions into other ancient languages, and from how pronunciation has evolved in derived Romance languages.

In Historical linguistics, sound change is the change of a language's pronunciation over time. Sound change can consist of the replacement of one speech sound by another, or a more general change to the speech sounds that exist such as merging together two sounds or creating a new sound. Speech sounds can be completely lost of the affected sound, or a new sound could be created a place where there had been none. Sound changes can be environmentally conditioned, meaning that the change only occurs in a some sound environments, whereas in other environments the same speech sound is not affected by the change.

Unless otherwise noted, statements in this article refer to Standard Finnish, which is based on the dialect spoken in the former Häme Province in central south Finland. Standard Finnish is used by professional speakers, such as reporters and news presenters on television.

Schwa Vowel sound as in the first syllable of "about"

In linguistics, specifically phonetics and phonology, schwa is the mid central vowel sound in the middle of the vowel chart, denoted by the IPA symbol, or another vowel sound close to that position. An example in English is the vowel sound of the 〈a〉 in the word about. Schwa in English is mainly found in unstressed positions, but in some other languages it occurs more frequently as a stressed vowel.

A contraction is a shortened version of the written and spoken forms of a word, syllable, or word group, created by omission of internal letters and sounds.

The phonology of Portuguese varies among dialects, in extreme cases leading to some difficulties in intelligibility. This article focuses on the pronunciations that are generally regarded as standard. Since Portuguese is a pluricentric language, and differences between European Portuguese (EP), Brazilian Portuguese (BP) and Angolan Portuguese (AP) can be considerable, varieties are distinguished whenever necessary.

Spanish dialects and varieties Dialects of Spanish

Some of the regional varieties of the Spanish language are quite divergent from one another, especially in pronunciation and vocabulary, and less so in grammar.

Like many other languages, English has wide variation in pronunciation, both historically and from dialect to dialect. In general, however, the regional dialects of English share a largely similar phonological system. Among other things, most dialects have vowel reduction in unstressed syllables and a complex set of phonological features that distinguish fortis and lenis consonants.

In phonology, epenthesis means the addition of one or more sounds to a word, especially to the interior of a word. The word epenthesis comes from epi- "in addition to" and en "in" and thesis "putting". Epenthesis may be divided into two types: excrescence for the addition of a consonant, and for the addition of a vowel, svarabhakti or alternatively anaptyxis. The opposite process, where one or more sounds are removed, is referred to as elision.

Liaison is the pronunciation of a latent word-final consonant immediately before a following vowel sound. Technically, it is a type of external sandhi, which is disrupted in pausa.

French phonology is the sound system of French. This article discusses mainly the phonology of all the varieties of Standard French. Notable phonological features include its uvular r, nasal vowels, and three processes affecting word-final sounds: liaison, a specific instance of sandhi in which word-final consonants are not pronounced unless they are followed by a word beginning with a vowel; elision, in which certain instances of (schwa) are elided ; and enchaînement (resyllabification) in which word-final and word-initial consonants may be moved across a syllable boundary, with syllables crossing word boundaries:

Stress is a prominent feature of the English language, both at the level of the word (lexical stress) and at the level of the phrase or sentence (prosodic stress). Absence of stress on a syllable, or on a word in some cases, is frequently associated in English with vowel reduction – many such syllables are pronounced with a centralized vowel (schwa) or with certain other vowels that are described as being "reduced". Various phonological analyses exist for these phenomena.

The phonological history of the English language includes various changes in the phonology of consonant clusters.

Ancient Greek phonology is the reconstructed phonology or pronunciation of Ancient Greek. This article mostly deals with the pronunciation of the standard Attic dialect of the fifth century BC, used by Plato and other Classical Greek writers, and touches on other dialects spoken at the same time or earlier. The pronunciation of Ancient Greek is not known from direct observation, but determined from other types of evidence. Some details regarding the pronunciation of Attic Greek and other Ancient Greek dialects are unknown, but it is generally agreed that Attic Greek had certain features not present in English or Modern Greek, such as a three-way distinction between voiced, voiceless, and aspirated stops ; a distinction between single and double consonants and short and long vowels in most positions in a word; and a word accent that involved pitch.

This article describes those aspects of the phonological history of the English language which concern consonants.

In linguistics, synaeresis is a phonological process of sound change in which two adjacent vowels within a word are combined into a single syllable.

Portuguese orthography Alphabet and spelling

Portuguese orthography is based on the Latin alphabet and makes use of the acute accent, the circumflex accent, the grave accent, the tilde, and the cedilla to denote stress, vowel height, nasalization, and other sound changes. The diaeresis was abolished by the last Orthography Agreement. Accented letters and digraphs are not counted as separate characters for collation purposes.

This article is about the phonology of Egyptian Arabic, also known as Cairene Arabic or Masri. It deals with the phonology and phonetics of Egyptian Arabic as well as the phonological development of child native speakers of the dialect. To varying degrees, it affects the pronunciation of Literary Arabic by native Egyptian Arabic speakers, as is the case for speakers of all other varieties of Arabic.


  1. Harman, William; Holman, C.H. (1999). A Handbook to Literature (8th ed.). Pearson. p. 512. ISBN   978-0130127310.
  2. 1 2 Cruttenden, Alan (2014). Gimson's Pronunciation of English. Routledge. p. 314. ISBN   978-1-4441-8309-2.
  3. Shockey, Linda (2003). Sound Patterns of Spoken English. Blackwell. pp. 14–29. ISBN   0-631-23080-7.
  4. McMahon, April (2002). An Introduction to English Phonology. Edinburgh University Press. pp. 47–8. ISBN   0-7486-1251-3.
  5. Cauldwell, Richard (2013). Phonology for Listening. SpeechinAction. ISBN   978-0954344726.
  6. Akamatsu, Tsutomu (1995). "On some neutralisations and archiphonemes in English allegro speech". In Windsor Lewis, Jack (ed.). Studies in General and English Phonetics: Essays in Honour of Professor J.D. O'Connor. Routledge. pp. 3–9. ISBN   0-415-08068-1.
  7. Martinez-Celdran, Eugenio (2004). "Problems in the classification of approximants". Journal of the International Phonetic Association. 34 (2): 201–210.
  8. Clark, John; Yallop, Colin (1995). An Introduction to Phonetics and Phonology (2nd ed.). Blackwell. p. 90. ISBN   0-631-19452-5.
  9. Jones, Daniel (1963). The Pronunciation of English (4th ed.). Cambridge University Press. p. 133.
  10. Jones, Daniel (1967). An Outline of English Phonetics (9th ed.). Heffer. p. 230.
  11. "Elision". Literary Devices. Retrieved 13 February 2021.
  12. 1 2 Knowles, Gerry (1987). Patterns of Spoken English. Longman. pp. 145–7. ISBN   0-582-29132-1.
  13. Catullus. "Catullus 3". PantheonPoets. Retrieved 9 February 2021.
  14. Celce-Murcia, Marianne; Brinton, Donna; Goodwin, Janet (1996). Teaching Pronunciation. Cambridge University Press. pp. 163–4. ISBN   0-521-40694-3.
  15. Kreidler, Charles W. (2004). The Pronunciation of English (2nd ed.). Blackwell. pp. 249–250. ISBN   1-4051-1336-7.
  16. Giegerich, Heinz (1992). English Phonology. Cambridge University Press. pp. 301–2. ISBN   0-521-33603-1.
  17. Steinbeck, John. "Of Mice and Men Quotes". Of Mice and Men. Covici, Friede, Inc. Retrieved 2012-09-09.
  18. "BRAGI: framburður: regla 19 > "Brottföll"". Der WWW2-Webserver — Web-Support des Computer- und Medienservice (in Icelandic). Retrieved 2017-05-13.
  19. Arnold, Thomas Kerchever (1866). The First Verse Book (9th ed.). Rivingtons. pp.  3–4. Retrieved 7 June 2019.
  20. Gildenhard, Ingo; Zissos, Andrew (2016). Ovid, Metamorphoses, 3.511-733: Latin Text with Introduction, Commentary, Glossary of Terms, Vocabulary Aid and Study Questions. Open Book Publishers. ISBN   9781783740857 . Retrieved 7 June 2019.
  21. Ultracorrección in the Diccionario panhispánico de dudas , 1st edition, October 2005, Real Academia Española.

General references