Letters ( 한글 hangul )

 

Hangul is a featural alphabet of 24 consonant and vowel letters. However, instead of being written sequentially like the letters of the Latin alphabet, Hangul letters are grouped into blocks, such as 한 han, each of which transcribes a syllable.

Hangul letters and digraphs are called jamo (자모; 字母) or natsori (낱소리). There are 24 letters and 27 digraphs (and sometimes trigraphs) formed from these letters in the modern alphabet. Of the letters, fourteen are consonants (ja-eum 자음, 子音 "child sounds") and ten are vowels (mo-eum 모음, 母音 "mother sounds"). Five of the consonants are doubled to form the five "tense" (faucalized) consonants of Korean, while another eleven sequences are formed of two different consonants. The ten vowel letters are combined into eleven sequences for diphthongs.

The following letters and clusters of letters are found in the modern script:

• 14 consonant letters: ㄱ g, ㄴ n, ㄷ d, ㄹ l/r, ㅁ m, ㅂ b, ㅅ s,
   ㅇ null/ng, ㅈ j, ㅊ ch, ㅋ k, ㅌ t, ㅍ p, ㅎ h
• 5 double ("tense") consonants: ㄲ kk, ㄸ tt, ㅃ pp, ㅆ ss, ㅉ jj
• 11 consonant clusters: ㄳ gs, ㄵ nj, ㄶ nh, ㄺ lg, ㄻ lm,
   ㄼ lb, ㄽ ls, ㄾ lt, ㄿ lp, ㅀ lh, ㅄ bs
• 6 vowel letters: ㅏ a, ㅓ eo, ㅗ o, ㅜ u, ㅡ eu, ㅣ i
• 4 iotized vowels (with a y): ㅑ ya, ㅕ yeo, ㅛ yo, ㅠ yu
• 5 (iotized) diphthongs: ㅐ ae, ㅒ yae, ㅔ e, ㅖ ye, ㅢ ui
• 6 vowels and diphthongs with a w: ㅘ wa, ㅙ wae, ㅚ oe, ㅝ wo, ㅞ we, ㅟ wi

In addition, there are numerous obsolete letters, as well as a number of sequences which are no longer used. Some of these were only ever used for transcribing Chinese.

• 13 obsolete consonants: ᄛ, ㅱ, ㅸ, ᄼ, ᄾ, ㅿ, ㆁ (as distinct from ㅇ), ᅎ, ᅐ, ᅔ, ᅕ, ㆄ, ㆆ
• 10 obsolete double consonants: ㅥ, ᄙ, ㅹ, ᄽ, ᄿ, ᅇ, ᇮ, ᅏ, ᅑ, ㆅ
• 66 obsolete clusters of two consonants: ᇃ, ᄓ, ㅦ, ᄖ, ㅧ, ㅨ, ᇉ, ᄗ, ᇋ, ᄘ, ㅪ, ㅬ, ᇘ, ㅭ, ᇚ, ᇛ, ㅮ, ㅯ, ㅰ, ᇠ, ᇡ, ㅲ, ᄟ, ㅳ, ᇣ, ㅶ, ᄨ, ㅷ, ᄪ, ᇥ, ㅺ, ㅻ, ㅼ, ᄰ, ᄱ, ㅽ, ᄵ, ㅾ, ᄷ, ᄸ, ᄹ, ᄺ, ᄻ, ᅁ, ᅂ, ᅃ, ᅄ, ᅅ, ᅆ, ᅈ, ᅉ, ᅊ, ᅋ, ᇬ, ᇭ, ㆂ, ㆃ, ᇯ, ᅍ, ᅒ, ᅓ, ᅖ, ᇵ, ᇶ, ᇷ, ᇸ,

and 17 of three consonants: ᇄ, ㅩ, ᇏ, ᇑ, ᇒ, ㅫ, ᇔ, ᇕ, ᇖ, ᇞ, ㅴ, ㅵ, ᄤ, ᄥ, ᄦ, ᄳ, ᄴ.

• 1 obsolete vowel: ㆍ arae-a ('sub-a'; still used in the Jeju dialect and sometimes as a substitute for ㅏ a in logos and advertisements)
• 44 obsolete diphthongs and vowel sequences: ᆜ, ᆝ, ᆢ, ᅷ, ᅸ, ᅹ, ᅺ, ᅻ, ᅼ, ᅽ, ᅾ, ᅿ, ᆀ, ᆁ, ᆂ, ᆃ, ㆇ, ㆈ, ᆆ, ᆇ, ㆉ, ᆉ, ᆊ, ᆋ, ᆌ, ᆍ, ᆎ, ᆏ, ᆐ, ㆊ, ㆋ, ᆓ, ㆌ, ᆕ, ᆖ, ᆗ, ᆘ, ᆙ, ᆚ, ᆛ, ᆟ, ᆠ, ㆎ

Notes:

• The four iotated vowels are derived by adding a short stroke to the basic vowel. They are counted as part of the 24 letters of the alphabet because the iotating stroke is not a letter on its own. In fact, there is no letter for y in Hangul.
• Of the consonants, ㅊ chieut, ㅋ kieuk, ㅌ tieut, and ㅍ pieup are aspirated derivatives of ㅈ jieut, ㄱ giyeok, ㄷ digeut, and ㅂ bieup, respectively, formed by adding an extra stroke to the unaspirated letters. These are also counted as separate letters of the alphabet, as the aspirating stroke is not a letter on its own.
• The doubled consonants, which are used in South Korea, are also counted as separate letters of the alphabet. In North Korea, their sounds are written by combining ㅅ s with the basic consonant: ㅺ, ㅼ, ㅽ, ㅆ, ㅾ

Letter Design

Numerous linguists have praised hangul for its featural design, describing it as "remarkable", "the most perfect phonetic system devised", and "brilliant, so deliberately does it fit the language like a glove." The principal reason Hangul has attracted this praise is that the shapes of the letters are related to the features of the sounds they represent: the letters for consonants pronounced in the same place in the mouth are built on the same underlying shape. In addition, vowels are made from vertical or horizontal lines so that they are easily distinguishable from consonants.

Scripts may transcribe languages at the level of morphemes (logographic scripts like hanja), of syllables (syllabaries like kana), or of segments (alphabetic scripts like the Latin script used to write English and many other languages). Hangul goes one step further in some cases, using distinct strokes to indicate distinctive features such as place of articulation (labial, coronal, velar, or glottal) and manner of articulation (plosive, nasal, sibilant, aspiration) for consonants, and iotation (a preceding i-sound), harmonic class, and i-mutation for vowels.

For instance, the consonant ㅌ t [tʰ] is composed of three strokes, each one meaningful: the top stroke indicates ㅌ is a plosive, like ㆆ ’, ㄱ g, ㄷ d, ㅈ j, which have the same stroke (the last is an affricate, a plosive–fricative sequence); the middle stroke indicates that ㅌ is aspirated, like ㅎ h, ㅋ k, ㅊ ch, which also have this stroke; and the curved bottom stroke indicates that ㅌ is alveolar, like ㄴ n, ㄷ d, and ㄹ l. (This element is said to represent the shape of the tongue when pronouncing coronal consonants, though this is not certain.) Two consonants, ㆁ and ㅱ, have dual pronunciations, and appear to be composed of two elements corresponding to these two pronunciations: [ŋ]~silence for ㆁ and [m]~[w] for obsolete ㅱ.

With vowel letters, a short stroke connected to the main line of the letter indicates that this is one of the vowels that can be iotated; this stroke is then doubled when the vowel is iotated. The position of the stroke indicates which harmonic class the vowel belongs to, "light" (top or right) or "dark" (bottom or left). In the modern alphabet, an additional vertical stroke indicates i-mutation, deriving ㅐ [ɛ], ㅔ [e], ㅚ [ø], and ㅟ [y] from ㅏ [a], ㅓ [ʌ], ㅗ [o], and ㅜ [u]. However, this is not part of the intentional design of the script, but rather a natural development from what were originally diphthongs ending in the vowel ㅣ [i]. Indeed, in many Korean dialects[citation needed], including the standard dialect of Seoul, some of these may still be diphthongs.

Although the design of the script may be featural, for all practical purposes it behaves as an alphabet. The letter ㅌ is not read as three letters alveolar aspirated plosive, for instance, but as a single consonant t. Likewise, the former diphthong ㅔ is read as a single vowel e.

Beside the letters, Hangul originally employed diacritic marks to indicate pitch accent. A syllable with a high pitch (거성) was marked with a dot (ᅟᅠ〮) to the left of it (when writing vertically); a syllable with a rising pitch (상성) was marked with a double dot, like a colon (ᅟᅠ〯). These are no longer used. Although vowel length is still phonemic in Korean, it is no longer written.

Some aspects of hangul reflect a shared history with the Phagspa script, and thus Indic phonology, such as the relationships among the homorganic letters and the alphabetic principle itself; but other aspects such as organization of letters into syllabic blocks, and which Phagspa letters were chosen to be basic to the system, reflect the influence of Chinese writing and phonology.

Consonant Design

The consonant letters fall into five homorganic groups, each with a basic shape, and one or more letters derived from this shape by means of additional strokes. In the Hunmin Jeong-eum Haerye account, the basic shapes iconically represent the articulations the tongue, palate, teeth, and throat take when making these sounds.

The Korean names for the groups are taken from Chinese phonetics:

• Velar consonants (아음, 牙音 a-eum "molar sounds")
  • ㄱ g [k], ㅋ k [kʰ]
  • Basic shape: ㄱ is a side view of the back of the tongue raised toward the velum (soft palate). (For illustration, access the external link below.) ㅋ is derived from ㄱ with a stroke for the burst of aspiration.
• Coronal consonants (설음, 舌音 seoreum "lingual sounds"):
  • ㄴ n [n], ㄷ d [t], ㅌ t [tʰ], ㄹ r [ɾ, l]
  • Basic shape: ㄴ is a side view of the tip of the tongue raised toward the alveolar ridge (gum ridge). The letters derived from ㄴ are pronounced with the same basic articulation. The line topping ㄷ represents firm contact with the roof of the mouth. The middle stroke of ㅌ represents the burst of aspiration. The top of ㄹ represents a flap of the tongue.
• Bilabial consonants (순음, 唇音 suneum "labial sounds"):
  • ㅁ m [m], ㅂ b [p], ㅍ p [pʰ]
  • Basic shape: ㅁ represents the outline of the lips in contact with each other. The top of ㅂ represents the release burst of the b. The top stroke of ㅍ is for the burst of aspiration.
• Sibilant consonants (치음, 齒音 chieum "dental sounds"):
  • ㅅ s [s], ㅈ j [tɕ], ㅊ ch [tɕʰ]
  • Basic shape: ㅅ was originally shaped like a wedge ʌ, without the serif on top. It represents a side view of the teeth. The line topping ㅈ represents firm contact with the roof of the mouth. The stroke topping ㅊ represents an additional burst of aspiration.
• Dorsal consonants (후음, 喉音 hueum "throat sounds"):
  • ㅇ ng [ʔ, ŋ], ㅎ h [h]
  • Basic shape: ㅇ is an outline of the throat. Originally ㅇ was two letters, a simple circle for silence (null consonant), and a circle topped by a vertical line, ㆁ, for the nasal ng. A now obsolete letter, ㆆ, represented a glottal stop, which is pronounced in the throat and had closure represented by the top line, like ㄱㄷㅈ. Derived from ㆆ is ㅎ, in which the extra stroke represents a burst of aspiration.

Vowel Design

Vowel letters are based on three elements:

• A horizontal line representing the flat Earth, the essence of yin.
• A point for the Sun in the heavens, the essence of yang. (This becomes a short stroke when written with a brush.)
• A vertical line for the upright Human, the neutral mediator between the Heaven and Earth.

Short strokes (dots in the earliest documents) were added to these three basic elements to derive the vowel letter:

Simple Vowels

• Horizontal letters: these are mid-high back vowels.
  • bright ㅗ o
  • dark ㅜ u
  • neutral ㅡ eu (ŭ)
• Vertical letters: these were once low vowels.
  • bright ㅏ a
  • dark ㅓ eo (ŏ)
  • neutral ㅣ i

Compound Vowels

Hangul never had a w, except for Sino-Korean etymology. Since an o or u before an a or eo became a [w] sound, and [w] occurred nowhere else, [w] could always be analyzed as a phonemic o or u, and no letter for [w] was needed. However, vowel harmony is observed: "dark" ㅜ u with "dark" ㅓ eo for ㅝ wo; "bright" ㅗ o with "bright" ㅏ a for ㅘ wa:

• ㅘ wa = ㅗ o + ㅏ a
• ㅝ wo = ㅜ u + ㅓ eo
• ㅙ wae = ㅗ o + ㅐ ae
• ㅞ we = ㅜ u + ㅔ e

The compound vowels ending in ㅣ i were originally diphthongs. However, several have since evolved into pure vowels:

• ㅐ ae = ㅏ a + ㅣ i
• ㅔ e = ㅓ eo + ㅣ i
• ㅙ wae = ㅘ wa + ㅣ i
• ㅚ oe = ㅗ o + ㅣ i (formerly pronounced [ø])
• ㅞ we = ㅝ wo + ㅣ i
• ㅟ wi = ㅜ u + ㅣ i (formerly pronounced [y])
• ㅢ ui = ㅡ eu + ㅣ i

Iotized Vowels

There is no letter for y. Instead, this sound is indicated by doubling the stroke attached to the base line of the vowel letter. Of the seven basic vowels, four could be preceded by a y sound, and these four were written as a dot next to a line. (Through the influence of Chinese calligraphy, the dots soon became connected to the line: ㅓㅏㅜㅗ.) A preceding y sound, called "iotation", was indicated by doubling this dot: ㅕㅑㅠㅛ yeo, ya, yu, yo. The three vowels that could not be iotated were written with a single stroke: ㅡㆍㅣ eu, (arae a), i.

The simple iotated vowels are,

• ㅑ ya from ㅏ  a
• ㅕ yeo from ㅓ  eo
• ㅛ yo from ㅗ  o
• ㅠ yu from ㅜ  u

There are also two iotated diphthongs,

• ㅒ yae from ㅐ  ae
• ㅖ ye from ㅔ  e

The Korean language of the 15th century had vowel harmony to a greater extent than it does today. Vowels in grammatical morphemes changed according to their environment, falling into groups that "harmonized" with each other. This affected the morphology of the language, and Korean phonology described it in terms of yinand yang: If a root word had yang ('bright') vowels, then most suffixes attached to it also had to have yang vowels; conversely, if the root had yin ('dark') vowels, the suffixes needed to be yin as well. There was a third harmonic group called "mediating" ('neutral' in Western terminology) that could coexist with either yin or yangvowels.

The Korean neutral vowel was ㅣ i. The yin vowels were ㅡㅜㅓ eu, u, eo; the dots are in the yin directions of 'down' and 'left'. The yang vowels were ㆍㅗㅏ ə, o, a, with the dots in the yang directions of 'up' and 'right'. The Hunmin Jeong-eum Haerye states that the shapes of the non-dotted letters ㅡㆍㅣ were chosen to represent the concepts of yin, yang, and mediation: Earth, Heaven, and Human. (The letter ㆍ ə is now obsolete except in the Jeju dialect.)

There was yet a third parameter in designing the vowel letters, namely, choosing ㅡ as the graphic base of ㅜ and ㅗ, and ㅣ as the graphic base of ㅓ and ㅏ. A full understanding of what these horizontal and vertical groups had in common would require knowing the exact sound values these vowels had in the 15th century.

Our uncertainty is primarily with the three letters ㆍㅓㅏ. Some linguists reconstruct these as *a, *ɤ, *e, respectively; others as *ə, *e, *a. A third reconstruction is to make them all middle vowels as *ʌ, *ɤ, *a. With the third reconstruction, Middle Korean vowels actually line up in a tidy vowel harmony pattern, albeit with only one front vowel and four middle vowels:

However, the horizontal letters ㅡㅜㅗ eu, u, o do all appear to have been mid to high back vowels, [*ɯ, *u, *o], and thus to have formed a coherent group phonetically in every reconstruction.

Traditional Account

The generally accepted account on the design of the letters is that the vowels are derived from various combinations of the following three components: ㆍ ㅡ ㅣ. Here, ㆍ symbolically stands for the (sun in) heaven, ㅡ stands for the (flat) earth, and ㅣ stands for an (upright) human. The original sequence of the Korean vowels, as stated in Hunminjeongeum, listed these three vowels first, followed by a various combinations. Thus, the original order for the vowels was: ㆍ ㅡ ㅣ ㅗ ㅏ ㅜ ㅓ ㅛ ㅑ ㅠ ㅕ. Note that two positive vowels (ㅗ ㅏ) including one ㆍ are followed by two negative vowels including one ㆍ, then by two positive vowels each including two of ㆍ, and then by two negative vowels each including two of ㆍ.

The same theory provides the most simple explanation of the shapes of the consonants as approximation of the shapes of the most representative organ needed to form that sound. The original order of the consonants in Hunmin Jeong-eum was: ㄱ ㅋ ㆁ ㄷ ㅌ ㄴ ㅂ ㅍ ㅁ ㅈ ㅊ ㅅ ㆆ ㅎ ㅇ ㄹ ㅿ.

ㄱ representing the "k" sound geometrically describes a tongue just before the moment of pronunciation as the tongue blocks the passage of air.

ㅋ representing the "kʰ" sound is derived from ㄱ by adding another stroke.

ㆁ representing the "ŋ" sound may have been derived from ㅇ by addition of a stroke.

ㄷ representing the "t" sound is derived from ㄴ by addition of a stroke.

ㅌ representing the "tʰ" sound is derived from ㄷ by adding another stroke.

ㄴ representing the "n" sound geometrically describes a tongue making contact with an upper palate just before making the "n" sound.

ㅂ representing the "p" sound is derived from ㅁ by adding strokes.

ㅍ representing the "pʰ" sound is a variant of ㅂ, which is obtained by a 90 degree rotation and extension the horizontal strokes.

ㅁ representing the "m" sound geometrically describes a closed mouth before opening the lips.

ㅈ representing the "tɕ" sound is derived from the shape of ㅅ by adding strokes.

ㅊ representing the "tɕʰ" sound is derived from ㅈ by adding another stroke.

ㅅ representing the "s" sound geometrically describes a near contact between the tongue and the teeth.

ㆆ representing a weak "h" sound geometrically describes an open throat with a bar to indicate that there is an aspiration.

ㅎ representing the "h" sound is derived from ㆆ with the extra stroke representing a stronger flow of the aspiration.

ㅇ representing the absence of a consonant geometrically describes an open mouth, which necessarily accompanies the following vowel.

ㄹ representing a sound between "ɾ" and "l" geometrically describes a backward-bending tongue.

ㅿ representing a weak "s" sound is also derived from the shape of the teeth, but has a different origin than ㅅ and is not derived from ㅅ by addition of a stroke.

Ledyard's theory of consonant design

Although the Hunmin Jeong-eum Haerye explains (admittedly simplistically) the design of the consonantal letters in terms of articulatory phonetics, as a purely innovative creation, there are several theories as to which external sources may have inspired or influenced King Sejong's creation. Professor Gari Ledyard of Columbia University studied on possible connections between Hangul and the Mongol Phagspa script of the Yuan dynasty. He believed that the role of Phags-pa script in the creation of Hangul was quite limited:

It should be clear to any reader that in the total picture, that [Phagspa script's] role was quite limited ... Nothing would disturb me more, after this study is published, than to discover in a work on the history of writing a statement like the following: "According to recent investigations, the Korean alphabet was derived from the Mongol 'phags-pa script..."

An affine theory states that the consonants are derived from the shape of the speaker's lips and tongue during the pronunciation of the consonants (initially, at least), but this would appear somewhat to strain credulity.

Ledyard posits that five of the Hangul letters have shapes inspired by Phags-pa; a sixth basic letter, the null initial ㅇ, was invented by Sejong. The rest of the letters were derived internally from these six, essentially as described in the Hunmin Jeong-eum Haerye. However, the five borrowed consonants were not the graphically simplest letters considered basic by the Hunmin Jeong-eum Haerye, but instead the consonants basic to Chinese phonology: ㄱ, ㄷ, ㅂ, ㅈ, and ㄹ.

The Hunmin Jeong-eum states that King Sejong adapted the 古篆 ("Gǔ Seal Script") in creating Hangul. The 古篆 has never been identified. The primary meaning of 古 gǔ is "old" ("Old Seal Script"), frustrating philologists because Hangul bears no functional similarity to Chinese 篆字 seal scripts. However, Ledyard believes 古 gǔ may be a pun on 蒙古 Měnggǔ "Mongol", and that 古篆 is an abbreviation of 蒙古篆字 "Mongol Seal Script", that is, the formal variant of the Phagspa alphabet written to look like the Chinese seal script. There were Phagspa manuscripts in the Korean palace library, including some in the seal-script form, and several of Sejong's ministers knew the script well.

If this was the case, Sejong's evasion on the Mongol connection can be understood in light of Korea's relationship with Ming China after the fall of the Mongol Yuan dynasty, and of the literati's contempt for the Mongols as "barbarians".

According to Ledyard, the five borrowed letters were graphically simplified, which allowed for consonant clusters and left room to add a stroke to derive the aspirate plosives, ㅋㅌㅍㅊ. But in contrast to the traditional account, the non-plosives (ng ㄴㅁ and ㅅ) were derived by removing the top of the basic letters. He points out that while it's easy to derive ㅁ from ㅂ by removing the top, it's not clear how to derive ㅂ from ㅁ in the traditional account, since the shape of ㅂ is not analogous to those of the other plosives.

The explanation of the letter ng also differs from the traditional account. Many Chinese words began with ng, but by King Sejong's day, initial ng was either silent or pronounced [ŋ] in China, and was silent when these words were borrowed into Korean. Also, the expected shape of ng (the short vertical line left by removing the top stroke of ㄱ) would have looked almost identical to the vowel ㅣ [i]. Sejong's solution solved both problems: The vertical stroke left from ㄱ was added to the null symbol ㅇ to create ㆁ (a circle with a vertical line on top), iconically capturing both the pronunciation [ŋ] in the middle or end of a word, and the usual silence at the beginning. (The graphic distinction between null ㅇ and eng ㆁ was eventually lost.)

Another letter composed of two elements to represent two regional pronunciations was ㅱ, which transcribed the Chinese initial 微. This represented either m or w in various Chinese dialects, and was composed of ㅁ [m] plus ㅇ (from Phagspa [w]). In Phagspa, a loop under a letter represented w after vowels, and Ledyard proposes this became the loop at the bottom of ㅱ. Now, in Phagspa the Chinese initial 微 is also transcribed as a compound with w, but in its case the w is placed under an h. Actually, the Chinese consonant series 微非敷 w, v, f is transcribed in Phagspa by the addition of a w under three graphic variants of the letter for h, and Hangul parallels this convention by adding the w loop to the labial series ㅁㅂㅍ m, b, p, producing now-obsolete ㅱㅸㆄ w, v, f. (Phonetic values in Korean are uncertain, as these consonants were only used to transcribe Chinese.)

As a final piece of evidence, Ledyard notes that most of the borrowed Hangul letters were simple geometric shapes, at least originally, but that ㄷ d [t] always had a small lip protruding from the upper left corner, just as the Phagspa d [t] did.

 

Related Articles

• About Hangul 한글
• Letter Design
• Letter Names
• Sorting Order

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