2 syllables: bas, tards. Stress on bas.
BAS-turdz
/ˈbæstɚdz/
bastards is pronounced BAS-turdz (/ˈbæstɚdz/). It has two syllables (bas-tards), with the stress on "bas". Bastards is a plural noun or insult referring to people born out of wedlock, often used pejoratively or jokingly in informal speech. It can also function as a general insult in various contexts. The term carries strong negative connotations and can be offensive in many settings, so awareness of audience and tone is important.
Bastards is a plural noun or insult referring to people born out of wedlock, often used pejoratively or jokingly in informal speech. It can also function as a general insult in various contexts. The term carries strong negative connotations and can be offensive in many settings, so awareness of audience and tone is important.
- Mispronunciation of the final /dz/ cluster: many learners separate /d/ and /z/ or devoice the ending. Aim for a tight /dz/ affricate. - Second syllable reduction: in fast speech this becomes a schwa; keep it recognizable but not overemphasized. - T-voicing in rapid speech: the /t/ can become a quick alveolar release; avoid turning it into a silent or strong /d/ before /z/.
"The critic called him a bunch of bastards for manipulating the system."
"In the old play, the protagonist curses the Bastards of the court."
"Don’t be a jerk—don’t call people bastards just because you’re frustrated."
Phonetically, bastards is /ˈbæs.tərdz/ in General US, with stress on the first syllable. In many UK and Australian speech, you’ll hear /ˈbæs.tədz/ with a reduced second syllable and a light /dz/ at the end. Important cues: start with a low back lax vowel /æ/, keep /t/ as a release before a voiced consonant, and project the final /dz/ as a voiced alveolar affricate. Practice: lips relaxed, tip of the tongue behind the upper teeth for /t/, then the alveolar /d/ blends into /z/. Audio reference: listen to pronunciation tools or native speakers saying “bastards” in context.”,
Common mistakes include over-articulating the /t/ leading to a separate /t/ and /d/ blend, or using a pure /d/ without the following /z/ sound. Another pitfall is a less-stressed, clipped first syllable, making it sound like /ˈbæs.tərz/ instead of /ˈbæs.tərdz/. Some speakers drop the /r/ in non-rhotic contexts or reduce the second syllable too much, yielding /ˈbæst.ərz/ or /ˈbæs.tɜːz/. Correct by maintaining a clear /t/ release and attaching a voiced /dz/ cluster at the end; keep the second syllable lighter but present.
US English typically: /ˈbæs.tərdz/, with a pronounced /r/ and a distinct /dz/ at the end. UK English: /ˈbæs.tədz/ or /ˈbæst.ədz/, with a weaker rhotic quality and a more centralized second syllable. Australian English: commonly /ˈbæs.tədz/ or /ˈbæst.əts/ in rapid speech, with a light rhotic influence and a softer or reduced second syllable. Differences hinge on rhoticity, vowel quality of /æ/ (more fronted in US), and the treatment of the /t/—often a flapped or tapped in some dialects before vowels, but not here. IPA references align with standard dictionaries; listen to Forvo or YouGlish for dialectal examples.
Difficulties include the final /dz/ cluster after a stressed syllable, which can blur in fast speech; the second syllable often contains a reduced vowel that reduces precision, especially for listeners unfamiliar with the term. The alternation of /t/ and /d/ in rapid speech (t-d fusion) can create ambiguity. Also, the initial /bæs/ cluster requires precise bilabial closure and a clear aspiration on /b/. Practicing with slow, exaggerated enunciation to anchor mouth positions helps later ease into natural speed.
No traditional silent letters in bastards. All letters contribute to phoneme realization: /b/ bilabial stop, /æ/ vowel, /s/ voiceless sibilant, /t/ voiceless stop, /ər/ rhotacized schwa or /ət/ depending on accent, and /dz/ final voiced alveolar affricate. In rapid speech, the second syllable might reduce to a schwa, making the vowel less pronounced, but no letter is truly silent. The /r/ in non-rhotic accents may be less pronounced or dropped, affecting perception, but not truly silent letters.
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US: rhotic /r/ is pronounced; /æ/ is fronted; keep /t/ crisp and follow with /ər/ mid-central vowel before /dz/. UK: weaker /r/; second syllable realized as /tədz/ or /təz/; final /dz/ remains. AU: similar to UK with more elongated vowels and non-rhotic tendencies; some speakers reduce /ər/ to a schwa; final /dz/ clear but not overly precise. All variants rely on clear alveolar contact for /t/ and /d/; maintain /z/ voice onset with minimal voicing differences. IPA references: /ˈbæs.tərdz/, /ˈbæs.tədz/, /ˈbæs.tədz/.
Bastard derives from the Old French word bastard meanin g illegitimate child, via Late Latin bastardus, from bastardus ‘illegitimate,’ possibly linked to English bast “bud, shoot” in a figurative sense of illegitimacy. The term entered Middle English from Anglo-Norman around the 13th century and solidified as an insult beyond literal illegitimacy. Its usage expanded in literature and theatre to refer to contemptible people or groups, often as a generic insult rather than a literal description. Over time, bastards has carried stronger emotional weight and taboo status; modern usage tends to be contextual, sometimes reclaimed in some communities but generally considered crude or offensive in formal settings. First known print usages appear in medieval drama and legal texts discussing legitimacy, with the insult peaking in popularity in the 16th–19th centuries in both dialogue and political rhetoric. Today, bastards remains one of the more provocative terms in English, requiring careful audience management and tone control when used in informal speech or writing.
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Words that rhyme with "bastards"
-rds sounds
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