LIBRARY OF CONGRESS. ... Shelf. S 4 & I UNITED STATES CF AMERICA. PRACTICAL ELOCUTION; FOB USE IN f OLLEQE£ AND £cHOOL£ PRIVATE STUDENTS. / BY J. W. SHOEMAKER, A.M., / I President of the National School of Elocution and Oratory,, We could not allow him an orator who had the best thoughts, and who knew all the rules of rhetoric, if he had not acquired the art of using them. — Dryden. PHILADELPHIA: J. W. SHOEMAKER AND COMPANY, 1418 Chestnut Street. 1878. Entered, according to Act of Congress, in the year 1878, by J. W. SHOEMAKER, in the office of the Librarian of Congress, at Washington. culbertson & bache, printers, 727 Jayne Street. Philad'a. ,cr fit* Itutote NATIONAL SCHOOL OF ELOCUTION AND ORATORY, TO WHOSE Enthusiasm, Faithfulness and Loyalty THE AUTHOR IS INDEBTED FOR SO MUCH STRENGTH AND INSPIRATION IN HIS WORK, AND WHOSE MEMORY HE CHERISHES WITH NEXT TO A PARENT'S LOVE, THIS BOOK IS AFFECTIONATELY INSCRIBED. PREFACE. The study of Elocution and Oratory was pursued to a very high degree by the ancients, and is therefore an old study. It was, however, so nearly lost as a distinctive branch of cul- ture, and it received so little attention for many succeeding centuries that it may be very justly termed a modern science. It was the original design of the author to prepare for the use of the National School of Elocution and Orator} r , an outline of principles embodying his system of instruction, and to furnish the students of the institution a text for their future personal or public work. The rapidly increasing de- mand, however, for a more extended exposition of these principles, and for a copious collection of appropriate exer- cises, together with the urgent request of many students and educators throughout the country, has led to the pub- lication of " Practical Elocution." Now that the work has been completed, and is about to go forth on its mission, we are led to realize more deeply than ever how little of the spirit can go along with the letter — how little of the inspiration which the true teacher should impart, can accompany the monotonous lines of the printed page. We do not believe any theory can substitute for the living is X PRACTICAL ELOCUTION. presence of the teacher. The theory of Elocution can no more produce good readers and speakers than the theory of music will make good singers or experts on the instrument; yet correct principles may so direct the student away from error, and towards the truth, and may furnish to the teacher such resources in methods and exercises as would require years of time to arrange for himself. Elocution will not substitute for intellect; neither will it furnish material for the mind any more than gold will buy material. It will not provide thought. It will not even pro- vide vehicles or words, so necessary to the discussion and exchange of thought. Its work is to give principles and direction for the management of thought after it has been furnished and clothed. Knowledge is capital, only valuable as it is available, and Elocution is the great natural means of rendering knowledge available. Spoken language may be said to bear three distinct relations to the signification of the words which enter into it. First. — A sentiment may be so uttered as to weaken or pervert the simple meaning of the words. Wanting in the necessary force, emphasis misplaced, or modulation disre- garded, the words, though possessing volumes of thought, may be rendered almost void of meaning. Second. — The sentiment may be so spoken as to leave its plain meaning unaffected, neither adding to or taking from the mere signification of the words. The listener, hearing, and being familiar with the words, obtains an intellectual knowledge of the thought expressed. He is impressed with the words only to the degree that he is interested in the thought. There is nothing in the presentation to attract his attention, or that will awaken interest within him. Had he seen the words in the skeleton forms of written language, the effect would have been the same. They have been presented to bis sense alone. Third. — The same sentiment may be spoken so that it shall not only express the idea indicated, but that it shall impress that idea upon the mind and heart. Under this character of PREFACE. XI utterance we supplement the form of words with their power, investing the mere passive clay with the life-giving principle which shall send it forth an active, aggressive influence. This we believe to be the original and legitimate design of speech. It could not have been the purpose of the Creator that this marvellous faculty should perform the service of a mere dead machine. Correct, cultivated utterance gives emphasis and spiritual effect to written language. In the following pages the attention of teacher and student has been directed prominently to the study of natural speech as revealed by Conversation. It is believed that we may here find nature most true, however crude, and that we may obtain from her, models and inspiration for the more exalted con- ditions of speech. Spoken language finds its original and simplest forms in conversation. The conditions of mind and body in ordinary conversation are best adapted for the study of our own individuality. We cannot study self when on exhibition. "We dress up for strangers. We spend much time and means to prepare our bodies for distinguished company, not always with the most happy effect. Sometimes it results in such a perversion of our natural appearance as to give offence rather than pleasure. So, in the expression of our thoughts, voice and manner are modified by the presence of the multitude, and sometimes, upon great occasions, they are so perverted as to lose all that is natural and impressive. Thus thousands fail of their just merit in presenting themselves to strangers. In the effort to be natural they become unnatural. In their attempt to represent themselves for what they are not, they fail to receive value for what they are. Nature may be pruned, cultured and directed, but we cannot substitute it. I will always be stronger as myself than I can be as any one else, and as we represent ourselves most through our words, we should in our words be most true to ourselves. We should study ourselves and seek our examples from that condition where true nature is least modified. This condi- tion we believe to be that of conversation with our intimate Xll PRACTICAL ELOCUTION. friends. Conversation may be most faulty and corrupt, yet we will find in it a harmony with our own natures, and con- stantly recurring lights and shades of natural expression that may serve as models for study and imitation, such as we can find nowhere else in the whole range of utterance. But it is not sufficient to find the germs. They must have growth and maturity. The work of culture and development pre- cedes the efficient use of all our faculties. Man, in the crea- tion of his own being, is made a partfner with God. We are co-workers with God in self-construction. He gives us the plastic material, with directions or laws for its use, condi- tioning the result of the work upon the application of those laws. It is better to develop our own faculties, though inferior, rather than to attempt to appropriate another's. Our own will serves us better, because designed for us by the Creator, and hence in harmony with our being. God will hold us responsible for the talents He has given us. He does not ask that we buy or borrow, but demands increase through culture and development. The expression of thought and feeling, therefore, should be in the simplest and purest har- mony with the elements of our individual nature. But how to find our true nature may prove our most difficult task. We have been so misdirected that there has grown upon us by observation and contamination, such a coating of man- ners and habits foreign to the original, and we have acted so long in sympathy with this accumulated surface that we may hardly recognize our true selves. We have so long followed the untrue that we may hardly know the true. We have so long associated with this outer that we fail to comprehend the inner. . Habit has become so fixed as to constitute a second nature, and close analysis becomes necessary that we may draw the lines between our own nature and this accumulated or borrowed nature. Our first work, then, is to distinguish the true from the false, the original from the borrowed, nature from habit, that we may develop, each in himself, the original creation, rather than the warped and distorted crea- tion of our own hands. PREFACE. Xlll The author would here make grateful acknowledgment of the assistance he has received in the preparation of this work by those directly associated with him in the Institution over which he presides. Mrs. Shoemaker, Prof. J. H. Bechtel, and Prof. R. 0. Moon, have furnished him the fruit of their investigations in the several departments which they repre- sent, and are worthy of more prominent mention than he can here afford them. He does not forget the many friends to whom he i3 indebted for suggestive help, for counsel, and for encouragement. That " Practical Elocution " may contribute, in some degree, to the elevation of a noble art, has been the aim, and remains the earnest hope of the author. J. W. S. Philadelphia, September 2d, 1878. Explanatory Note.— The reference to the several numbers of the Elocu- tionist's Annual for additional examples, has been made for the advantage of students and others who may use that series in connection with this volume. 'CONTENTS. Introduction, ...... Outline of Elocution and Analysis of Principles (Diagram), Explanation of the Outline, .... Definition, ..... Importance, ..... Iii Physical Development, In Social Life, .... In Business Life, .... In Public Life, .... CONVERSATION. ITor its own sake, .... Examples, ..... In its relation to Reading, In its relation to Public Address, . . PRINCIPLES. Speeeh, Voice, Philosophy of Voice, Utterance, . : Development, . . Breathing, . • Exercises, Vocal Exe.-iises, Table of Voc*l Exercises, Examples, Gymnastics, Exercises, . Quality, Pure, Simple Pure, , Examples, . Orotund, ; . Examples . Impure, , . Pectoral, . . Examples, . . • • S2 •For full Alphabetical Judex, see page 195. XV XVI CONTENTS. Guttural, . . Examples, Aspirated, Examples, Falsetto, Examples, Articulation, Classification, Table of Elementary Sounds Exercises, Expression, Modulation, Quality, . . Pitch, Examples, , Force, Examples, Time, Rate, Examples, , Quantity, Examples, Pause, Examples, • Slides, Examples, Gesture, . „ Position, Movements of the Body, Examples, Facial Expression, Examples, METHODS OF Theory, Outline of Methods, Primary, Advanced, Appendix, Miscellaneous Suggestions, Emphasis, Miscellaneous Vocal Exercises, Laughter, Bible Reading, Sound to Sense, Transition, Analysis, . 5 Repose, 64 INSTRUCTION. INTRODUCTION, Elocution, from eloqui, to speak out, to express, (e, out; and loqui, to speak,) as now applied, contemplates the whole art of conveying thought through the organs of the body. Before entering directly upon the study of this subject, we may receive a worthy inspiration in con- sidering the broad and abundant opportunity which opens to us. Elocution concerns the commerce of.\ mind and soul. As such, it involves the capability on the part of the student to comprehend, to appreciate, and to communicate thought and emotion. To this end, he needs the best of all his powers. It is only the voice that has reached its best, and the eye that beams from the soul, and the hand of grace, and the attitude of manhood and womanhood, that can convey the immortality which has been breathed upon us. By sin these powers have been enfeebled and deformed and under its buruon their deformity increases. Guarded and regulated by the laws of our creation, they may be rescued and made poten- tial in conveying the very mind of the Creator. 17 .sP g- flag's IS ie &>? .5 a P< £ P5 Pn a a a a H M M N s s iicsi Ph Ph M PS r? 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The term expression is strengthened, if understood to include conveyance or passage, as of a body from one place to another. Note 3. Thought has here its broadest application, and signifies feeling and passion as well as sentiment. We should convey not only the idea contained in the thought, we should also convey the impression made upon us by the thought. Note 4. Speech covers every intelligent use of the organs of speech, articulate and inarticulate, whispered and vocal. Note 5. Gesture concerns position and facial expression, as well as movements of the body. Note 6. Thus it will be seen that correct elocutionary training is the subordination of the entire physical being to the service of mind and spirit, thought being the product of the inner or spiritual man, and speech and gesture its natural outlet through the exterior or physical man. IMPORTANCE. 21 IMPORTANCE. IN PHYSICAL DEVELOPMENT. Elocution calls into play the most vital organs of the human body, the correct use of the voice constituting an important source of grace and strength to these organs. It will demand correct posture and proper habits of res- piration ; it will afford healthful exercise to the throat and lungs ; it will bring the intercostal muscles into vigorous action ; it will give natural stimulant to the circulation, so that the organs of digestion and the entire physical system participate in the benefit. It is justly claimed that no other exercise will call forth so natural and uniform an action of the whole system, as the proper exercise of the voice. IN SOCIAL LIFE. It is in social life that we mould character, and exert the most lasting influences. These influences are exerted through word and deed. Word and deed receive their character, in a great degree, through voice and manner. We will, there- fore, render our influence agreeable and effective, largely in proportion as the voice and manner are pleasing and attractive. Temperament, disposition and motive will be measured by their outward expression. If this expression is coarse, abrupt, and unattractive, the inner life will be exposed to a corresponding verdict ; and in proportion as this expression becomes natural and refined will the verdict be changed. 22 PRACTICAL ELOCUTION. Oar happiness and usefulness, therefore, in the social rela- tions must depend greatly upon the culture of these qualities. It is further important, because our social relations include our best friends, and they should receive from us the best we have, and in our best manner. IN BUSINESS LIFE. Other things being equal, a man will succeed in business largely as he can address himself upon his wares, be they mechanical, physical, mental or moral. He will succeed through the capability of winning atten- tion to his business. The same power which gives influence in the social sphere, will attract to our business operations. Character of tone and dignity of manner will reflect re- liability upon our vocation or profession. IN PUBLIC LIFE. It will enable us to give accuracy and fulness of meaning to our words, and to convey the spirit of the thought to the hearer. Words are but the dead forms of thought. The human voice may breathe into them the breath of life and make them living influences. Elocution will give that culture by which we may please the eye and the ear, so that our words shall be presented favorably to the judgment. It will also add that force and dignity to expression, and that confidence of manner which will command the multitude. A single sentence may be the exponent of years of study and experience, and it is possible only by the most careful practice in the art of expression to pronounce such a sen- tence with corresponding effect. COHVEBSATION. 23 CONVERSATION. Conversation is the simplest and most common form of human expression. It contains the germs of all speech and action, and therefore constitutes the basis of oratorical and dramatic delivery. We exercise these germs of speech and action most in conver- sation; it is therefore natural that we should here form our most permanent habits of expression. These habits will control, not only our conversation, but, as hereafter shown, they will, in a great degree, affect our reading and public address. The importance, therefore, of acquiring in the common intercourse of life, correct habits of voice and manner cannot be overestimated. Hence, the consideration, first, of CONVERSATION FOR ITS OWN SAKE. No higher art is possible to man than the art of transmit- ting, naturally and effectively, in common intercourse, the sentiments and feelings of which he is capable. This art includes chaste and appropriate language, and grace and variety of manner, as well as the purity and adap- tation of speech. It is, however, only the latter phase of the 24 PRACTICAL ELOCUTION. subject that will concern us in this treatment, namely, correct speech. To this end, the student should secure the criticism of the ear upon his own and others' Conversation, by atten- tion — a. TO THE VOICE. b. TO THE ARTICULATION. C TO THE EXPRESSION. Voice. — The Voice should be natural, pure, and full. Note. — The long vowel sounds, marked "Naturally," as given in the table of "Vocal Exercises,'' and such Conversational Sentences as are here given, should be carefully practiced. Articulation. — The Articulation should be correct and distinct. Note. — Master the table of Elementary Sounds and practice the various accompanying exercises. Expression. — The Expression should be adapted to the senti- ment. Note.— The intelligent student will readily discover some of the leading relations of sound to sense; such, for instance, as that of gayety, solemnity, pathos, &c. Attention to these in practice, will lead to the discovery of other and closer relations, until every sentiment will suggest, promptly, its corres- ponding tone. Summary. — Voice, Articulation, and Expression, as here denned, may be termed the a, b, c of speech. SUGGESTION TO STUDENTS. Every observing student will be able to detect errors with reference to the several points here named. His ear will be sufficient^ critical to distinguish one or more of the many faults common to conversational voice. He will also detect sluggishness of articulation and the habitual use of incorrect sounds. He will perceive, to some degree, or in some particu- lar, a want of adaptation to the sentiment expressed. In other words, his knowledge is beyond his practice, and no more important counsel can be given upon this subject than the following: CONVERSATIONAL EXERCISES. 25 1. Listen to your conversation with reference to the several elements named. 2. Correct, in conversation, that which you know to be faulty. 3. Allow no occasion to be so unimportant as to admit of loose or incorrect speech. By this practice, the ear will observe the speech of those more correct than yourself, and will lead you to discover more" and more closely your habitual faults, and thus to elevate and purify your conversation. CONVERSATIONAL EXERCISES. These exercises represent a broad variety of conversational styles and should be carefully practiced with reference to the voice, the articulation and the expression, according to the preceding treatment. 1. " Good morning, Mr. Jones, I am glad to see you. When did you arrive in the city ? " " I came in by the last train." " I hope you left your family well." "Very well, thank you." " You will call upon us before you go back ? " "I will, thank you." " Good morning, sir." " Good morning." 2. Is John at home? Is your father well? When will you go ? What is your name? What time have you? Did you arrive by the night train ? Have you to-day's paper? What is the news? Did you see our mutual friend, Mr. Wilson ? Have you been well? You look ill. Note.— The practice of questions, such as these, will be found of great ad- vantage in gaining natural expression. They should be varied in emphasis and inflection. 26 PRACTICAL ELOCUTION. 3. We have demonstrations enough, fortunately, to show that truth alone is not sufficient; for truth is the arrow, but man is the bow that sends it home. There be many men who are the light of the pulpit, whose thought is profound, whose learning is universal, but whose offices are unspeakably dull. They do make known the truth, but without fervor, without grace, without beauty, without inspiration ; and discourse upon discourse would fitly be called the funeral of important subjects! — Henry Ward Beecher. 4. And he said, A certain man had two sons: and the younger of them said to his father, Father, give me the por- tion of goods that falleth to me. And he divided unto them his living. And not many days after, the younger son gathered all together, and took his journey into a far country, and there wasted his substance with riotous living. And when he had spent all, there arose a mighty famine in that land ; and he began to be in want. — Luke xv : 11-14. 5. Hamlet. Hold you the watch to-night? All. We do, my lord. Ham. Arm'd, say you ? All. Arm'd, my lord. Ham. From top to toe? All. My lord, from head to foot. Ham. Then saw you not his face ? Hor. O, yes, my lord ; he wore his beaver up. Ham. What, look'd he frowningly ? Hor. A countenance more in sorrow than in anger. Ham. Pale, or red ? Hor. Nay, very pale. Ham. And fix'd his eyes upon you ? Hor. Most constantly. Ham. I would, I had been there. Hor. It would have much amaz'd you. Ham. Very like, Very like : Stay'd it long ? Hor. While one with moderate haste might tell a hundred. Ham. His beard was grizzl'd ? no ? Hor. It was, as I have seen it in his life, a sable-silver'd. Ham. I will watch to-night : Perchance, 'twill walk again. — Shakespeare. CONVERSATIONAL EXERCISES. 6. " It won't do to let John see me in this position," Isaid; and so, with a mighty effort, I disengaged myself from the pack, flung off the blanket from around my neck, and seizing hold of a spruce limb, which I could fortunately reach, drew nryself slowly up. I had just time to jerk the rifle out of the mud, and fish up about half of the trout, when John came struggling along." "John," said I, leaning unconcernedly against a tree, as if nothing had happened, — " John, put down the boat, here's a splendid spot to rest." "Well, Mr. Murray," queried John, as he emerged from/ under the boat, " how are you getting along ? " "Capitally!" said I; "the carry is very level when you once get down to it. I felt a little out of breath, and I thought I would wait for you a few moments." "What's your boots doing up there in that tree?" ex- claimed John, as he pointed up to where they hung dangling from the limb, about fifteen feet above our heads. "Boots doing!" said I, "why, they are hanging there, don't you see? You did'nt suppose I'd drop them into this mud, did you?" "Why, no," replied John, "I don't suppose you would; but how about this? " continued he, as he stooped down and pulled a big trout, tail foremost, out of the soft muck ; " how did that trout come there? " " It must have got out of the pail somehow," I responded. "I thought I heard something drop just as I sat down." I thought John would split with laughter, but my time came, for as in one of his paroxysms he turned partly around, I saw that his back was covered with mud clear up to his hat. " Do you always sit down on your coat, John," I inquired, "when you cross a carry like this?" — W. H. H. Murray. 7. Now the laughing, jolly Spring began to show her buxom face in the bright morning. The buds began slowly to expand their close winter folds, the dark and melancholy woods to assume an almost imperceptible purple tint; and here and there a little chirping bluebird hopped about the orchards. Strips of fresh green appeared along the brooks, now released from their icy fetters ; and nests of little varie- gated flowers, nameless, yet richly deserving a name, sprang up in the sheltered recesses of the leafless woods. 8 PRACTICAL ELOCUTION. 8. I cannot vouch, my tale is true, Nor say, indeed, 'tis wholly new; But true or false, or new or old, I think you'll find it fairly told. A Frenchman, who had ne'er before Set foot upon a foreign shore, Weary of home, resolved to go And see what Holland had to show. He didn't know a word of Dutch, But that could hardly grieve him much ; He thought, as Frenchmen always do, That all the world could " parley-voo." — /. G. Saxe. 9. I know, the more one sickens, the worse at ease he is ; and that he that wants money, means, and content, is without three good friends; that the property of rain is to wet, and fire to burn ; that good pasture makes fat sheep, and that a great cause of the night is lack of the sun ; that he that hath learned no wit by nature or art may complain of good breeding, or comes of a very dull kindred. — Shakespeare. 10. "And the Lord God formed man of the dust of the ground, and breathed into his nostrils the breath of life, and the man became a living soul." How w T onderful is breath! It comes to us in the soft summer morning laden with the perfume of flowers ; but ere it reaches us it has kissed a thou- sand scented leaves. The birds soar aloft in this mysterious ether, pouring their triumphal songs on its resonant bosom ; and the butterfly and buzzing insect, ''like winged flowers and flying gems," sparkle' and shimmer in their dazzling beauty. But, whether it brings upon its waves the mutterings of the coming storm, or the merry, ringing laugh of childhood — the awful booming of the heavy cannonade, or the silvery tones of the violin — it is air, such as we breathe. Oh! then let it become a thing of joy to us. Let us learn to make it a thing of beauty, wreathing embodied thoughts in vocal gems of purity and sweetness, that shall gladden the ears of all who listen. — Bronson. 11. External heat and cold had little influence on Scrooge. No warmth could warm, nor wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have CONVERSATIONAL EXERCISES. 29 him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often " came down" handsomely, and Scrooge never did. — Dickens. 12. Oh, tell me, where did Katy live? And what did Katy do ? And was she very fair and young, And yet so wicked, too ? Did Katy love a naughty man, Or kiss more cheeks than one ? I warrant Katy did no rriore Than many a Kate has done. — 0. W. Holmes, 13. "And when the middle of the afternoon came, from being a poor poverty-stricken boy in the morning, Tom Sawyer was literally rolling in wealth. He had, beside the things before mentioned, twelve marbles, part of a jew's-harp, a piece of blue-bottle glass, to look through, a spool cannon, a key that wouldn't unlock anything, a fragment of chalk, a glass-stopper of a decanter, a tin soldier, a couple of tadpoles, six fire-crackers, a kitten with only one eye, a brass door- knob, a dog-collar — but no dog. the handle of a knife, four pieces of orange-peel, and a dilapidated old window-sash." — Mark Twain. 14. Fill thou each hour with what will last ; Buy up the moments as they go : The life above, when this is past, Is the ripe fruit of life below. For further practice, use exercises under Simple Pure Quality, Medium Pitch, Medium Force and Medium Rate. For selections adapted to Conversational Eeading, see Elocutionist's Annual, No. 1, pages 49, 82 and 101; No. 2, pages 66 and 152 ; No. 3, page 42 ; No. 5, page 34. PRACTICAL ELOCUTION. CONVERSATION IN ITS RELATION TO READING. a. ANALOGY. With reference to Expression, Conversation may be defined the utterance of our own thoughts in our own words, to one or a few individuals. Reading is the utterance of the author's thought in the author's words, to one or many individuals. We use, in Conversation, the same voice or material, and the same forms of sound, and call into exercise the same thoughts, feelings and passions as in Reading. The Cultivation of these powers for Conversation will give them cultivation for Reading, and inasmuch as we converse more than we read, it is at once apparent that we have in Conversation the greater opportunity for their cultivation. b. DISTINCTION. The distinction between Conversation and Heading is two- fold. First. — Reading carries us beyond the province of Conversation, when it is addressed to a large collection of persons. This dis- tinction involves the same consideration as the distinction between Conversation and Public Address, and will be treated under the next head. Second. — The Second distinction is found in the mechanical difficulty of expressing the author's language as naturally as we do our own. We have observed that Conversation is the expression of thought in our own words. These words being chosen from our common vocabulary, are familiar to the organs of speech, and are, therefore, uttered without labored effort. The same is true of conversational constructions. Such constructions are used as have become habitual to the CONVERSATION IN ITS RELATION TO READING. 31 speaker, and the mechanical labor of their utterance is avoided. In Beading, words and constructions are often foreign to the habit of the speaker, and their expression must necessarily manifest, at first, the mechanism of their utter- ance. It is, therefore, necessary, in Eeading, to give that practice to the language which will render the utterance as familiar as that of our common Conversation. Note. — From the above, it is proper to observe that skill in reading at sight can be acquired only by the habitual use of the words in common usage, and by familiarity with the various styles of written language. This suggests the im- portance of a broad vocabulary in familiar speech and of much reading aloud from writers of good style. C. MODELS. It has been shown in the above discussion, that vjhen the authors language has become as familiar as our own there will exist a perfect analogy between Conversation and Reading. It has also been previously shown that Conversation is the original and natural source of all true expression. We will, therefore, find in correct and natural Conversation the truest and purest models from which to copy in our Reading. As the landscape or forest will furnish the painter original models for his art, so will Conversation furnish original models of sentiment, emotion and passion for the Reader's art. In reading, therefore, we should express the language of the author as we would utter the same language under the same cir- cumstances in pure conversation. Note 1.— In Impersonation, the Reader will necessarily depart from the basis of his own Conversation to the imitation of the character impersonated. Note 2. — Intelligent Reading presupposes that the Reader comprehend the thought, and that in its expression he sympathize with the author's meaning; these requirements precede the expression of language under all circumstances. 32 PRACTICAL ELOCUTION. CONVERSATION IN ITS RELATION TO PUBLIC ADDRESS. a. ANALOGY. Bead carefully the corresponding discussion under the previous topic ; it has the same force and bearing in the treatment of this division of the subject. b. DISTINCTION. Conversation and Public Address both concern the con- veyance of thought to the individual. The distinction consists only in the greater accuracy and intensity necessary in Public Address to overcome the ob- stacles of number and space. This refers to the distinction between the delivery of the same sentence before the multitude, and its delivery to a single individual. Passages, differing in sentiment, will be expressed differently in Conversation, and will preserve a cor- responding difference if delivered publicly. ILLUSTRATION. European guides know about enough English to tangle everything up, so that a man can make neither head nor tail of it. They know their story by heart, — the history of every statue, painting, cathedral or other wonder they show you. They know it and tell it as a parrot would, — and if you interrupt and throw them off the track, they have to go back and begin over again. All their lives long they are employed in showing strange things to foreigners and listen- ing to their bursts of admiration. — "Innocents Abroad" — Mark Twain. England may as well dam up the waters of the Nile with bulrushes as to fetter the step of Freedom, more proud and firm in this youthful land than where she treads the seques- CONVERSATION IN ITS RELATION TO PUBLIC ADDRESS. 33 tered glens of Scotland, or couches herself among the mag- nificent mountains of Switzerland. — Speech of James Otis. But this very day, an honest man, my neighbor— there he stands — was struck — struck like a dog, by one who wore the badge of Ursini, because, forsooth, he tossed not high his ready cap in air, nor lifted up his voice in servile shouts, at sight of that great ruffian ! — Rienzi to the Romans. We have here three sentences differing widely in character and demanding different forms of expression ; the difference, however, exists in the sentences themselves — the first being simply conversational, the second bold and oratorical, the third impassioned and dramatic. This difference will manifest itself in their utterance in familiar discourse, where the key to their individual expression will be found. Their delivery before the audience will in- volve no other distinction than that of increased accuracy and intensity. In each case the Conversational form, peculiar to the sentence, should be carefully preserved. As the picture thrown upon the screen is preserved in form, but magnified in all its proportions, so in public speech, care should be exercised to preserve the natural or conversational form, while, in due proportion of voice and manner, there is added earnestness and intensity. Note. — Every student should make himself familiar with the following: Guide to Public Address.— The manner of expression by which I may convey a thought most impressively to a single individual, will best convey it to two ; the only change dic- tated by nature or reason being such simple change as the alternation of the eye from one to the other. The same manner of expression will best convey the same thought to a dozen, with the necessary change in intensity of voice and gesture; this individual basis will furnish the most impres- sive form for the utterance of the same sentiment to a 34 PRACTICAL ELOCUTION. thousand, supplemented by a power of voice and earnest- ness of gesture adapted to the number and the space. Remarks. — Audiences are made up of individual souls, not one of which loses its individual character because in juxtaposition with another. The soul of an audience can only be reached by reaching the individual souls that compose it. An individual being addressed, each person regards himself the individual, and accordingly appropriates the thought; and each having received the thought, all have received it. We submit that there is no one fault among public speakers more common, or one more baneful than the habit of addressing a mass of individuals as if their souls had also massed, and that, therefore, they must resort to some unnat- ural and monstrous means of access to it. c. MODELS. Conversation being the source of all true expression, it must be at once apparent that we shall here find our highest models for Public Speech, needing only enlargement accord- ing to the demand. Pure, chaste Conversation is at once the highest Oratory, and true Oratory should be so lost in pure simplicity that it shall be but noble Conversation. GENERAL SUMMARY OF CONVERSATION. Conversation is natural communication to the individual. All speech is natural communication to the individual; therefore all speech is Conversation. Reading and Public Address are but modified forms of Conversation, and are so closely allied to it that excellence in Conversation will se- cure excellence in Reading and Public Address. PRINCIPLES. It has been shown that the germs of Elocution are found native in pure Conversation. Principles will concern the processes of their growth and development. These germs are found in Speech and Gesture, which are the two great .mediums of communication. SPEECH. Speech is the most direct and the most important instru- ment for the conveyance of thought. By it men are put in possession of the thoughts and experiences of their fellow- men, so that the development of mind itself may be said to depend greatly upon Speech. The organs uniting in its production are the vocal organs for voice, the organs of speech for articulation, and the intel- lectual and emotional /acuities for expression. Hence the subdivisions — Voice, Articulation, Expression. Note. — The term organs of speech, as applied here, is used in its technical sense, and includes, prominently, the lips, tongue, teeth, palate and nasal organs. VOICE. Voice is the principal material of which speech is made. Its cultivation is closely related to the whole subject of Elocution, and therefore claims the most careful attention of the student. The cultivation of the Voice will depend upon judicious 35 36 PRACTICAL ELOCUTION. exercise, in harmony with the natural law of human de- velopment. Intelligent investigation and broad experience have estab- lished the fact that voice is the product of a physical mechanism, as well-denned as the muscles of the arm or the tissue of the brain, and that its development follows a law of our being, as simple and as natural as that by which the arm moves or the brain thinks. It is, however, worthy of observation that the voice does not ordinarily receive power or culture, even from the most constant exercise, but it does not follow that it therefore departs from the recognized law of development, but rather that the customary habits of its use are unwise, mistaken, and founded in ignorance of its structure. The operations of the vocal instrument are so subtle and the liability to false practice so great, that it becomes a matter of primary impor- tance that the student be directed to its use in his earliest exercises. To this end voice is here presented, in its theory and practice, under the two heads, Philosophy of Voice and Utterance. PHILOSOPHY OF VOICE. Fhilosophy of Voice concerns the structure of the instrument, its use, and its management, and therefore includes its anatomy, physiology and hygiene. Voice is the result of the vibratory motion produced by the action of breath upon the vocal cords./C'The parts imme- diately involved are therefore the Organs of Respiration and the Vocal Cords. The lungs may be properly regarded as the centre of the Respiratory System. They are the great reservoirs, where the motive power of the Voice is concentrated. Directly beneath and immediately connected with the lungs is the diaphragm, or movable wall of muscular partition between the cavity of the chest and the cavity of the abdo- men. This, together with the abdominal muscles, which control its movements, may be compared to the handle of PRINCIPLES— UTTERANCE. 37 a bellows, of which the lungs constitute the body. The application of power to these muscles, either in the act of breathing or speaking, is immediately communicated to the lungs, causing the escape of air, or exhalation. The corresponding inhalation is controlled by the relaxation of these muscles and the consequent depression of the dia- phragm. Their proper action constitutes the primary power of respiration, and therefore bears an important relation to the production of tone. Above the lungs, and connected with them by the trachea or windpipe, is that wonderful conformation of cartilages' muscles and ligaments, known as the Larynx, in which are located the Vocal Cords, whence all tone or voice immediately proceeds. The Vocal Cords consist of two slight, elastic bands, situated in the larynx a short distance above its juncture with the trachea, and immediately below its outward projection, known as the "Adam's apple." These bands adhere so closely to the walls of the throat as to be scarcely distin- guishable by the aid of the laryngoscope ; but in the act of voice production they are thrown forward into the current of air escaping from the lungs, and the thin membrane covering their surface is thus excited to rapid vibration, which, receiving resonance and volume from the cavity of the chest and from the mouth, escapes from the lips a per- fect creation — voice. UTTERANCE. From the preceding brief explanation, it will be easily understood that the parts of the system involved in the pro- duction of voice are, in the order of their use, the Abdomi- nal Muscles, the Lungs, and the Vocal Cords. The cavity of the mouth also contributes much to the purity and richness of the tone. These several parts exist in every perfect organization, and may be termed the muscular implements of the human voice. 38 PRACTICAL ELOCUTION. Utterance is the technical term given to all sounds emana- ting from this vocal instrument, whether whispered or vocal, and is the result of the opposition offered to the escape of the air-current, by the projection of the vocal cords across the trachea. Utterance, therefore, implies such an applica- tion of breath upon the vocal cords, and such control of them, as to produce sound or voice. It may be regarded simply as practical voice-production, and will be treated with reference to its development and its quality. DEVELOPMENT. A well-developed voice imparts force and dignity to every relation of life. It is the first step toward culture in the art of Elocution. The distinctive aim in vocal development is to secure that purity, power and flexibility which must unite to give character to the voice. Rapid and healthful development will depend upon correct breathing, combined with judicious, systematic and vigorous vocal and physical exercise. BREATHING. Respiration or breathing is defined as the process by which air is taken into the lungs and expelled from them. It is the motive power of the voice. The following seems a natural order of treatment : a. What we breathe. b. Why we breathe. c. How we breathe. d. Breathing exercises. What we breathe. — Health, happiness and existence itself depend upon the quality of air we breathe. Pure air alone can promote natural activity and buoyancy in the physica- being. PRINCIPLES'— BREATHING. 39 Why we breathe. — We breathe to supply the system with oxygen ; to releave the body of waste and useless matter, and for the purposes of speech — breathing being the great agent of human utterance. Respiration also promotes the healthy devel- opment of the parts by which it is carried on. The intercostal muscles are afforded exercise by breathing; the lungs are rendered capacious and flexible; the muscles of the waist and back are strengthened, and the whole body is given added symmetry aud comeliness. How we breathe. — Healthful respiration is carried on through the nostrils. This is illustrated, notably, in the breathing of animals, savages, and healthy children. The throat and lungs are thus protected from the impurities and severity of the atmosphere, either of which tends to produce irritation and disease. By the habit of deep and full inspiration. Every part within the whole range of the respiratory system should be ex- erted with each successive breath. Exercise is a condition of health and strength as absolute as food or air itself. Failing for a time to exercise any part of this marvellous organism, we have weakened the part in proportion to the time it has been inactive. Weakness begets weakness and diminished lung power will impair both the quality and the power of the voice. EXERCISES IN BREATHING. 1. Chest Breathing. — Eelax the muscles of the chest. Take a full inspiration and expand the chest to its fullest capacity. £ive out the breath gradually. 2. Costal Breathing. — Distend the sides while inhaling and relax gradually with slow and regular exhalation. 3. Waist Breathing. — Inhale with the view of expanding the entire circle of the waist. 4. Dorsal Breathing. — Inhale as if endeavoring to thrust out the muscles of the back by the force of the air. 5. Abdominal Breathing. — Breathe deeply, forcing the 40 PRACTICAL ELOCUTION. abdominal muscles outward. Let them sink as much as possible during exhalation. 6. Full Breathing. — Inhale slowly and exercise the will upon all parts of the body, simultaneously. This may be regarded a union of all the previous exercises, and is but an intensified form of what should be the natural habit of breathing. 7. Prolonged Breathing. — Prolong the exercise of Full Breathing. 8. Effusive Breathing. — Inhale naturally. Give out the breath in the sound of the letter h, as gently and gradually as possible. 9. Expulsive Breathing. — Inhale as in Full Breathing and expel the air forcibly but gradually upon the sound of the letter h. 10. Explosive Breathing. — Take full breath, expel suddenly and with force in a whispered utterance of the word Ha. Note 1. — An active position should be observed in tbe above exercises, the body carefully erect, arms akimbo, and fingers bearing upon the abdominal muscles, except as they may be changed to the part upon which the exercise is directed. Note 2.— These exercises should be used with as much caution and regularity as any other gymnastic exercise. They should be commenced gradually and discontinued if any sensation of dizziness is experienced. It will be observed that the series is progressive in its character, giving it special advantage to persons not accustomed to habits of full breathing, and to invalids. VOCAL EXERCISES. The following table of Vocal Exercises is designed to rep- resent the principal forms which the voice assumes in response to the various classes of sentiment and passion. Let it be understood, however, that these forms are ever changing in degree and direction. Nature rarely repeats herself with mathematical exactness. The leaves of the tree are of a kind, but not alike. Members of a family frequently resemble one another, but never is the likeness of one ex- actly reproduced in another. So the countenance of a person PRINCIPLES — VOCAL EXERCISES. 41 not only changes under different impressions and emotions, but an impression repeated will rarely repeat itself exactly upon the countenance. No arbitrary form for the voice is therefore suggested by these characters, but if disciplined to produce readily, and in pure quality, the several forms here suggested, it will respond naturally to corresponding sentiments and emotions. They should be practiced until the speaker can produce them easily and confidently in any order and in any degree. This done, they will then take their place in speech, without effort, as promptly as the countenance will lighten in the presence of an unexpected Mend, or darken at sudden dis- appointment or sorrow. TABLE OF VOCAL EXERCISES. 1. AEIOTJ « « « « 6 Naturally. 2. AEIOU • • © • • "With Full Force. A E I O TJ c Alternating High r a E i o v < \ A E I O U ( and Low. 4. AEIOU — — — ■ — — — Effusively: 5. AEIOU ^^^^— ■ Expulsively. 6. AEIOU ■ ■ ■ ■ ■ Explosively. 7. AEIOU <^gS H^" With Swell. 8. AEIOU 1 1 jjiimjii JMi BPff^BfHQ "With Sustained Force. 9. AEIOU ~~~— "With Tremor. 10. A E I O U |^- ^ $► f^" $► "With Full Breathing. 42 PRACTICAL ELOCUTION. EXPLANATION OF THE PRECEDING TABLE. 1. Natural. — Place the organs of speech in correct posi- tion for the sound to be uttered. The vocal cords will take their place without any conscious act. The natural flow of the air in exhalation will produce the purest tone of which the organs are capable, and in the simplest manner. The correct use of the breath will be determined by a slight depression of the abdominal muscles and the barely con- scious stroke of the diaphragm upon the lower part of the lungs. To produce a pure tone, the lower jaw should be slightly projected, the throat well opened. This will be shown by a greater fullness in the outer muscles. The greatest care should he observed in this exercise, inasmuch as future vocalization will depend upon the correctness of these natural sounds. 2. With Full Force. — Apply the abdominal muscles with full force upon the diaphragm, so that the volume of air may be brought to bear with great power upon the vocal cords. This action should not be abrupt or violent, but firm and decisive. 3. High and Low. — It is designed here to apply the pre- ceding two exercises at different points within the natural compass of the voice. It is not designed to anticipate the more thorough cultivation of pitch as a special modulation. 4. Effusive. — This exercise consists in the pouring forth or effusing of the simplest natural tone. 5. Expulsive. — With a forcible action of the abdominal muscles and well-expanded chest, strike the tone as in Full Force, but let the volume of sound diminish more gradually. 6. Explosive. — Strike the diaphragm with violent and abrupt action of the abdominal muscles, and aim to produce a burst of voice which shall fall upon the ear clear and sud- den. 7. With Swell. — Beginning with Effusive, expand slowly to the degree of Full Force, releasing the action as gradually PRINCIPLES— VOCAL EXERCISES. 43 as it was begun. Purity and regularity in the increase and decrease of the tone will report the correctness of the physi- cal action. 8. With Sustained Force. — Exert the muscles of the body as in Full Force. Hold them firm and steady, terminating the tension abruptly. 9. Tremor. — Prolong the sounds, either in Natural or Full Force, making the voice tremulous by a corresponding action of the muscles of the chest. 10. With Full Breathing. — Concentrate the greatest possi- ble force upon a single tone — more violent than in Full Force and less abrupt than in Explosive. The utterance should be preceded by a full inhalation and then produced by such a culmination of power as could not be sustained or repeated without renewed breath. The student should remember that, in order to obtain the best results from these exercises, there should be in each a corresponding action of the mind. In the natural, the thought should be unimpassioned. In full force, there should be great purpose in the mind. In high and low, there should be some corresponding mental condition of joy or victory in the one, and solemnity or awe in the other. The Effusive should be marked by a spirit of reflective tenderness; the explosive, by impulsive vehemence ; the swell, by an expansion of mind and soul. In sustained force, the thought should be sustained with the exercise. In tremor, the whole being should at once be possessed with the sense of pity, grief, or deep sympathy. In full breathing, there should be the greatest possible concentration of soul power. And in all, from the most natural to the most violent, there should be repose ajid self-possession, so that the exercise may be the result of the best condition of mind and body. Note.— The following exercises should be practiced until the student can promptly mark the distinctions illustrated in the foregoing table. 44 PRACTICAL EL0CUTI01T. EXAMPLES IN NATURAL 1. Remember now thy Creator in the days of thy youth, while the evil days come not, nor the years draw nigh, when thou shalt say, I have no pleasure in them ; while the sun, or the light, or the moon, or the stars, be not darkened nor the clouds return after the rain. — Bible. 2. The grass is just as green, Tom ; bare-footed boys at play Were sporting, just as we did then, with spirits just as gay. But the "master" sleeps upon the hill, which, coated o'er with snow, Afforded us a sliding-place, some forty years ago. 3. Prudence, indeed, will dictate, that governments long established should not be changed for light and transient causes; and accordingly all experience hath shown that mankind are more disposed to suffer while evils are snffera- ble, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same object, evinces a design to reduce them under absolute despotism, it is their right, it is their duty, to throw off such government, and to provide new guards for their future security. — Declaration of Independence. 4. She thanked me, And bade me, if I had a friend that loved her, I should but teach him how to tell my story, And that would woo her. On this hint I spake; She loved me for the dangers I had passed ; And I loved her that she did pity them. This is the only witchcraft which I've used. — Shakspeare. 5. Merrily swinging on brier and weed, Near to the nest of his little dame, Over the mountain-side or mead, Robert of Lincoln is telling his name. — William Cullen Bryant PRINCIPLES— VOCAL EXERCISES. 45 For additional examples of Natural, use selections of sim- ple narrative and plain description. EXAMPLES IN FULL FORGE. 1. Meantime, the tramp, tramp, tramp, sounds on,— the tramp of sixty thousand yearly victims. Some are besotted and stupid, some are wild with hilarity, and dance along the dusty way, some reel along in pitiful weakness, some wreak their mad and murderous impulses on the helpless women and children whose destinies are united to theirs, some go bound in chains from which they seek in vain to wrench their bleeding wrists, and all are poisoned in body and soul, and all are doomed to death. — J. G. Holland. 2. Build me straight, worthy Master ! Staunch and strong, a goodly vessel, That shall laugh at all disaster, And with wave and whirlwind wrestle ! — H. W. Longfellow. 3. He stood, and measured the earth : he beheld and drove asunder the nations ; and the everlasting mountains were scattered, the perpetual hills did bow : his ways are everlasting. — Bible. 4. From hill to hill the mandate flew, From lake to lake the tempest grew, With wakening swell, Till proud oppression crouched for shame, And Austria's haughtiness grew tame; And Freedom's watchword was the name Of William Tell. 5. And, sir, where American liberty raised its first voice, and where its youth was nurtured and sustained, there it still lives, in the strength of its manhood, and full of its original spirit. If discord and disunion shall wound it— if party strife and blind ambition shall hawk at and tear it ; if folly and madness, if uneasiness under salutary and necessary re- straint, shall succeed to separate it from that Union by which alone its existence is made sure, it will stand, in the end, by the side of that cradle in which its infancy was rocked ; and 46 PRACTICAL ELOCUTION. it will fall at last, if fall it must, amid the proudest monu- ments of its own glory, and on the very spot of its origin. — Webster, For selections containing additional examples of Full Force, see Elocutionist's Annual, No. 1, page 107 ; No. 2, page 17 ; No. 5, page 92. EXAMPLES IN HIGH AND LOW. 1. " Make way for liberty ! " he cried, Then ran, with arms extended wide, As if his dearest friend to clasp ; Ten spears he swept within his grasp. " Make way for liberty ! " he cried ; Their keen points crossed from side to side ; He bowed among them like a tree, And thus made way for liberty. — James Montgomery, 2. Eternity ! — thou pleasing, — dreadful thought ! Through what variety of untried being, Through what new scenes and changes must we pass ! The wide, the unbounded prospect lies before me ; But shadows, clouds, and darkness, rest upon it. — Addison. 3. " John Maynard," with an anxious voice, The captain cries once more, " Stand by the wheel five minutes yet, And we will reach the shore." 4. 'Tis now the very witching time of night ; When churchyards yawn, and hell itself breathes out Contagion to this world. — Shakspeare. 5. Liberty ! Freedom ! Tyranny is dead ! — Run hence, proclaim, cry it about the streets. — Shakspeare. 6. We spend our years like a tale that is told. The days PRINCIPLES— VOCAL EXERCISES. 47 of our years are three-score years and ten ; and if by reason of strength they be four-score years, yet is their strength labor and sorrow ; for it is soon cut off, and we fly away. — Bible. 7. He conquers the current, he gains on the sea, — Ho, where is the swimmer like Charlie Machree. — William J. Hoppin. 8. Not a word, not a wail from a lip was let fall, Not a kiss from my bride, not a look or low call Of love-note or courage, but on o'er the plain So steady and still, leaning low to the mane, Rode we on, rode we three, rode we nose and grey nose, Reaching long, breathing loud, like a creviced wind blows ; Yet we broke not a whisper, we breathed not a prayer, There was work to be done, there was death in the air. — Joaquin Miller. 9. Hushed the people's swelling murmur, Whilst the boy cries joyously ; " Ring ! " he shouts, " Ring ! grandpapa, Ring! oh, ring for Liberty ! " 10. " Ho ! a sail ! Ho ! a sail ! " cried a man at the lea, "Ho! a sail ! " and they turned their glad eyes o'er the sea. "They see us, they see us, the signal is waved ! They bear down upon us, they bear down upon us : Huzza! we are saved." For selections containing additional examples of High and Low, see Elocutionist's Annual, No. 2, page 63 ; No. 1, page 67 ; No. 3, page 31 ; No. 5, page 44. EXAMPLES IN EFFUSIVE. 1. Ail in the wild March-morning, I heard the angels call; It was when the morn was setting, and the dark was over all ; The bees began to whisper, and the wind began to roll, And in the wild March-morning I heard them call my soul. — Tennyson. 48 PRACTICAL ELOCUTION. 2. All day they flew, and all night they flew and flew, till they found a land where there was no winter — where there was summer all the time ; where flowers always blossom, and birds always sing. — Henry Ward Beecher. 3. Blow, blow, thou winter wind, Thou art not so unkind As man's ingratitude ; Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. — Shakspeare. 4. And he showed me a pure river of water of life, cleai as crystal, proceeding out of the throne of God and of the Lamb. — Bible. 5. How often, oh, how often, In the days that had gone by, I had stood on that bridge at midnight And gazed on that wave and sky ! How often, oh, how often, I had wished that the ebbing tide Would bear me away on its bosom O'er the ocean wild and wide ! — Longfellow : " The Bridge.*' 6. In a little while the knell for each one of us will cease, and we will slumber with our fathers. But with Christian faith we can see light even in the darkness of the tomb. From above come voices of loved ones calling us heaven- ward ; and, listening, we long for the land of golden streets, celestial light, and unfading glory. — Edward Brooks. 7o And friends, dear friends, when it shall be That this low breath is gone from me, And round my bier ye come to weep, Let one, most loving of you all, Say, " Not a tear must o'er her fall ; Hegiveth His beloved sleep." — Mrs. Browning. For selections containing additional examples of Effusive, see Elocutionist's Annual, No. 5, page 78 ; No. 3, page 9 ; No. 1, pages 139 and 159 ; No. 6, page 83. PRINCIPLES— VOCAL EXERCISES. EXAMPLES IN EXPULSIVE. 1. But it can not, shall not be ; this great woe to our beloved country, this catastrophe for the cause of national freedom, this grievous calamity for the whole civilized world, it can not be, it shall not be. No, by the glorious Nineteenth of April, 1775 ; no, by the precious blood of Bunker Hill, of Princeton, of Saratoga, of King's Mountain, of Yorktown ; no, by the dear immortal memory of Washington, — that sor- row and shame shall never be. — E. Everett. 2. And there shall be no night there ; and they need no candle, neither light of the sun ; for the Lord God giveth them light : and they shall reign for ever and ever. — Bible, 3. Friends : I come not here to talk. Ye know too well The story of our thralldom ; — we are slaves ! The bright sun rises to his course, and lights A race of slaves ! He sets, and his last beam Palls on a slave !— M. R. Mitford. 4. Sink or swim, live or die, survive or perish, I give my hand and my heart to this vote ! Sir, before God I believe the hour is come. My judgment approves this measure ; and my whole heart is in it. All that I have, and all that I am, and all that I hope in this life, I am now ready to stake upon it; and I leave off as I began, that, live or die, sur- vive or perish, I am for the declaration. It is my living senti- ment, and, by the blessing of God, it shall be my dying senti- ment: — Independence now, and independence forever! — Daniel Webster : John Adams. For selections containing additional example of Expulsive Force, see Elocutionist's Annual, No. 2, page 40 ; No. 5, p/Mje 109; No. 1, pages 146 and 156. EXAMPLES IN EXPLOSIVE. 1. " Down ! down ! " cried Mar, " your lances down ! Bear back both Mend and foe ! " — Walter Scott. 50 PRACTICAL ELOCUTION. 2. My fate cries out, And makes each petty artery in this body As hardy as the Nemean lion's nerve. — Still am I called ; — unhand me, gentlemen :— I say away : — Go on, I'll follow thee. — Shakspeare, 3. No ! thus I rend the tyrant's chain, And fling him back a boy's disdain ! — Ann S. Stephens. 4. The British advance. " Now upon the rebels, charge !" shouts the red-coat officer. They spring forward at the same bound. Look ! their bayonets almost touch the muzzles of their rifles. At this moment the voice of the unknown rider was heard : " Now let them have it ! Fire ! " — Charles Sheppard. 5. Up with your ladders ! Quick ! 'tis but a chance ! Be- hold, how fast the roaring flames advance ! Quick ! quick ! brave spirits, to his rescue fly ; Up I up ! men ! all ! this hero must not die ! — Geo. M. Baker. For selections containing additional examples in Explo- sive, see Elocutionist's Annual, No. 1, page 107 ; No. 4, page 80 ; No. 2, page 91. EXAMPLES IN SWELL 1. Oh ! Thou Eternal One ! whose presence bright All space doth occupy — all motion guide ; Unchanged through time's all-devastating flight, Thou, only, God! There is no God beside. 2. Lord thou hast been our dwelling place in all genera- tions. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God. — Bible. 3. lonely tomb in Moab's land ! O dark Beth-peor's hill ! Speak to these curious hearts of our^, .4n4 teach them to be still, PRINCIPLES— VOCAL EXERCISE*. 51 God hath his mysteries of grace, — Ways that we cannot tell ; He hides them deep, like the secret sleep Of him he loved so well. — C. F. Alexander. 4. What a piece of work is a man ! How noble in reason ! how infinite in faculties ! in form and moving, how express and admirable ! in action, how like an angel ! in apprehen- sion, how like a god ! the beauty of the world ! the paragon of animals ! — Shakspeare. 5. And you, ye storms, howl out his greatness ! Let your thunders roll like drums in the march of the God of armies ! Let your lightnings w r rite his name in fire on the midnight darkness ; let the illimitable void of space become one mouth for song ; and let the unnavigated ether, through its shore- less depths, bear through the infinite remote the name of him whose goodness endureth forever ! — Spurgeon. For selections containing additional examples of Swell, see Elocutionist's Annual, No. 6, page 133 ; No. 1, page 125; No. 2, page 20 ; No. 5, page 9. EXAMPLES IN SUSTAINED fORGE. 1. And lo ! from the assembled crowd, There rose a shout prolonged and loud, That to the ocean seemed to say, — "Take her, O bridegroom, old and gray ; Take her to thy protecting arms, With all her youth, and all her charms ! " H. W. Longfellow. 2. " Ho ! sound the tocsin from my tower, and fire the culverin ; Bid each retainer arm with speed; call every vassal in !" — Albert G. Greene. 3. King the alarum-bell : — Murder and treason ! Banquo, and Donabain ! Malcolm ! awake ' Shake off this downy sleep, death's counterfeit, And look on death itself ! — up, up, and see 52 PRACTICAL ELOCUTION. The great doom's image — Malcolm ! Banquo ! As from your graves rise up, and walk like sprights, To countenance this horror ! O Banquo ! Banquo ! — Shakspeare. 4. And now the martyr is moving in triumphal march, mightier than when alive. — H. W. Beecher. 5. Ye call me chief ; and ye do well to call him chief, who, for twelve long years, has met upon the arena every shape of man or beast the broad empire of Rome could furnish, and who never yet lowered his arm. — E. Kellogg. For selections containing additional examples of Sustained Force, see Elocutionist's Annual, No. 6, page 111; No. 4, page 121 ; No. 3, page 93. EXAMPLES IN TREMOR. 1. Farewell ! a long farewell ! to all my greatness. — Shakspeare. ' 2. " Can he desert us thus ? He knows I stay, Night after night in loneliness, to pray For his return — and yet he has no tear ! No ! No ! It cannot be ! He will be here ! " — Coates. 3. We buried the old year in silence and sadness. To many it brought misfortune and affliction. The wife hath given her husband and the husband his wife at its stern be- hest ; the father hath consigned to its cold arms the son in whom his life centered, and the mother hath torn from her bosom her tender babe and buried it and her heart in the cold, cold ground. — Edward Brooks. 4. Vital spark of heavenly flame, Quit, O quit this mortal frame ! Trembling, hoping, lingering, flying, Oh ! the pain, the bliss of dying ! Cease fond Nature, cease thy strife, And let me languish into life ! — Alexander Pope. PRINCIPLES— VOCAL EXERCISES. 53 5. Save me, God, for the waters are come in unto my soul. I sink in deep mire where there is no standing : I am come into deep water where the floods overflow me. I am weary of my crying : my throat is dried : mine eyes fail while I wait for my God. — Bible. For selections containing additional examples of Tremor, see Elocutionist's Annual, No. 2, pages 9 and 151; N o. 5, page 14 ; No. 1, page 113. EXAMPLES WITH FULL BREATHING. 1. I listened, but I could not hear — I called, for I was wild with fear ; I knew ' twas hopeless, but my dread "Would not be thus admonished ; — ■ I called and thought I heard a sound, I burst my chain with one strong bound, And rushed to him. — Byron. 2. Rouse, ye Romans ! rouse, ye slaves ! Have ye brave sons ? Look in the next fierce brawl, To see them die ! — Mitford. 3. Here I stand for impeachment or trial ! I dare accu- sation! I defy the honorable gentleman! I defy the gov- ernment! I defy their whole phalanx 1 Let them come forth. — Graft an. 5. Hence : home, you idle creatures, get you home ! You blocks, you stones, you worse than senseless things ! " — Shakspeare. For selections containing additional examples of Full Breathing, see Elocutionist's Annual, No. 6, page 21 ; No. 4, page 124 ; No. 1, page 146. 54 PRACTICAL ELOCUTION. GYMNASTICS. Physical force and muscular elasticity are indispensable to high attainment in vocal development. A vigorous and flexible tone can only be produced within a flexible and vigorous body. Vigor and flexibility of body are depend- ent upon exercise. It is a condition of professional life to lack opportunity of such manual labor as will develop strength of body. Even if manual labor were associated with intellectual, it would not give that symmetry of form and grace of movement so necessary to the speaker. Ex- ercises for the cultivation of physical strength and of ease in movement, were held in high esteem by the ancients, and are latterly receiving a degree of that attention which they deserve. The following exercises have been selected and adapted from Prof. Welch's System of Physical Culture. Such exercises have been taken from the different series of Free Gymnastics as are believed to be the best aids in the develop- ment of strength of voice and grace of action. FREE GYMNASTIC EXERCISES. FIRST SERIES. No. of Strains 1. Hands, 4 2. Drum-beat, • 2 3. Claps, . . . 2 4. Body, • 2 5. Head, 2 6. Dumb-Bells, • 1 7. Clubs, . . i 1 8. Twisted Thrusts, • 2 9. Touching floor with Hands, , 1 10. Swaying, Swinging Arms, • • 4 PRINCIPLES— GYMNASTICS. 55 SECOND SERIES. 1. Hand Movements down and up, 4 2. Hand Movements at Sides, 4 3. Kaising Arms, . 4 4. Swinging Arms back, . 1 5 Raising Shoulders, . 2 6. Elbows back, . 1 7. Thrusting from Arm-pits, . 2 8. Thrusting from Shoulders, . 2 9. Mast Movement, , 1 LO. Attitudes, . . 4 Note 1. Position.— Heels together ; toes out, so that the feet may form a right angle ; head erect ; shoulders and hips drawn back ; chest forward ; hands naturally at sides, unless otherwise specified. Note 2. Time.-' The system of numbering in the exercises is this : each number extends through what may be called one strain of 4-4 music, or eight accented and eight unaccented beats; and the time is kept by counting the numerals from one to eight for the heavy beats, and for the light beats the syllable " and." Note 3. The hands are to be firmly clinched, unless on the hips or other- wise specified. All thrusts are from the chest unless otherwise specified. EXPLANATION OF FIRST SERIES. HAND MOVEMENTS. 1. Thrust right hand down from the chest twice; left twice ; alternate twice ; simultaneous twice. 2. Repeat No. 1, thrusting out at side. 3. Repeat No. 1, thrusting up. 4. Repeat No. 1, thrusting in front. 5. Right hand down once ; left once ; drum-beat (right a little in advance of left) once ; simultaneous once ; same out at sides. 56 PRACTICAL ELOCUTION. 6. Repeat No. 5, thrusting up and in front. 7. Eight hand down once ; left once ; clap hands ; same out at sides. 8. Repeat No. 7, up and in front. BODY MOVEMENTS. 9. Hands on hips ; twist upper body half round to right, then to left, and repeat, stopping each time in front on the unaccented beats. 10. Bend upper body to right and left and repeat. 11. Bend forward, then back, and repeat. 12. Bend body to right, back, left, front; then reverse, bending to left, back, right, becoming erect only on last beat. HEAD MOVEMENTS. 13. Same as 9, except that the head alone is moved. 14. Same as 10, 15. Same as 11, 16. Same as 12, " " " " DUMB-BELLS. 17. Arms extended in front, thumbs up, raise hands about a foot, and bring forcibly to shoulders. CLUBS. 18. Arms horizontal in front; raise right hand to perpen- dicular over head twice; left twice; alternate twice, and simultaneous twice. TWISTED THRUSTS. 19. Thrust hands down, out at sides, up in front, twisting the arms at each thrust; repeat three times. PRINCIPLES— GYMNASTICS. 57 TOUCHING FLOOR WITH HANDS. 20. Thrust hands to floor, not bending knees ; then over head, rising on toes, opening hands at each thrust. SWAYING, SWINGING ARMS. 21. Stamp left foot, then right; then charge diagonally forward with right ; bend and straighten right knee ; at same time throwing arms back from horizontal in front. 22. Repeat No. 21, on left side. 23. Eepeat No. 21, diagonally backward on right side. 24. Eepeat No. 21, diagonally backward on left side. EXPLANATION OF SECOND SERIES. HAND MOVEMENTS, DOWN AND UP. 1. Thrust right hand down and up alternately through eight beats. 2. Repeat No. 1 with left hand. 3. Alternate, right going down as left goes up, and vice versa. 4. Simultaneous, both down, then both up. HAND MOVEMENTS AT SIDES. 5. Thrust right hand to right and left alternately through one strain, twisting body when thrusting to left. G. Repeat No. 5 with left hand. 7. Thrust both hands alternately to right and left, twisting body. 8. Thrust both hands to right four times, to left four times. ARM MOVEMENT. 9. Hands down at sides ; raise stiff right arm forward over 58 PRACTICAL ELOCUTION. head four times ; left four times ; alternate four times ; simul- taneous four times. 10. Raise stiff right arm sideways over head four times ; left four times ; alternate four times ; simultaneous four times. SWINGING ARMS BACK. 11. Arms extended in front ; swing them back horizon- tally. RAISING SHOULDERS. 12. Hands at sides ; raise right shoulder four times ; left four times ; alternate four times ; simultaneous four times. ELBOWS BACK. 13. Hands on hips ; throw elbows back. THRUSTING FROM ARM-PITS. 14. Fists in arm-pits; Thrust right down four times; left four times ; alternate four times ; simultaneous four times. 15. Fists upon the shoulders; repeat No. 14 thrusting upward. MAST MOVEMENT. 16. Hands over head ; sway body to right and left alter- nately. ATTITUDES. 17. Hands on hips, stamp left foot, then right ; charge diagonally forward with right, looking over left shoulder. 18. Repeat No. 17, diagonally forward, left foot. 19. Repeat No. 17, diagonally back, right. 20. Repeat No. 17, diagonally back, left. PRINCIPLES— QUALITY OF VOICE. 59 QUALITY. The marvellous capacity of the human voice arises from its adaptation to the ever-changing phases of human ex- pression. Under careful culture it attunes itself to the almost infinite diversity of thought and feeling. The term " quality," when applied to tone, indicates those distinctive properties or characteristics which the voice should assume under these varying influences. These qualities constitute, of themselves, an unmistakable language, more potent even than words, and should be carefully cultivated by the student as the very alphabet of expression. Thought and emotion, as the direct emanations of the heart, embrace not only the true, the beautiful, and the good, but through the effects of sin, include its baser passions, and its weaknesses. In obedi- ence to this dominant law of mind and soul, voice finds ita first natural division into Pure and Impure qualities. PURE QUALITY. Pure quality of voice is the language of pure thought ; it proceeds from the combined and harmonious action of all the vocal parts, and is marked by a clear, smooth, and com- manding resonance, which is at once the result and the ex- ponent of a natural and serene condition of mind and body. In respect to its degrees of force and its varied field of ex- pression, it is divided into Simple Pure and Orotund. Simple pure voice is the voice of pure conversation. It is the basis of all the other qualities of tone, and is the natural starting-point of culture. Here common faults of voice must be overcome, and correct habits permanently estab- lished; and since upon the proper understanding and pro- duction of this tone ^11 subsequent culture must depend, the ^ PRACTICAL ELOCUTION. possession of absolute purity here cannot be too strongly in- sisted upon. The student should secure this quality before attempting to practice the impure tones. It corresponds with the natural, as described in the " Table of Vocal Exer- cises," on page 41, and the direction for its production there given, should be carefully followed. Simple Pure Voice is used in simple narration, plain de- scription, and the great field of unemotional language. Orotund Voice is the symmetrical enlargement of Simple Pure Voice, and is produced by a corresponding expansion of all the organs used in the production of natural tone. This quality of tone in its full development may be justly termed the highest character of human utterance. It com- bines the two great essentials of perfect speech, purity and power, and unites in its production the highest purpose of mind and the best condition of body. Orotund Voice is the language of sublime and exalted thought, lofty sentiment, and grand description. EXAMPLES OF SIMPLE PURE. 1. She was dead. No sleep so beautiful and calm, so free from trace of pain, so fair to look upon. She seemed a crea- ture fresh from the hand of God, and waiting for the breath of life ; not one who had lived and suffered death. — Charles Dickens. 2. Two brown heads with tossing curls, Red lips shutting over pearls, Bare feet, white and wet with dew, Two eyes black and two eyes blue — Little boy and girl were they, Katie Lee and Willie Gray. 3. But of all the old sweet treasures that garnish my nest. There's one that I love and I cherish the best ; For the finest of. couches that's padded with hair I never would change thee, my cane-bottom'd chair. PRINCIPLES — QUALITY OF VOICE. 61 Tis a bandy-legged, high-shouldered, worm-eaten seat, With a creaking old back and twisted old feet ; But, since the fair morning when Fannie sat there, I bless thee, and love thee, my cane-bottom'd chair. — Thackeray. 4. Cassius. — That you have wronged me doth appear in this : You have condemned and noted Lucius Pella For taking bribes here of the Sardians ; Wherein my letters, praying on his side, Because I knew the man, were slighted off. Brutus. — You wronged yourself to write in such a case. Cassius. — In such a time as this, it is not meet That every nice offence should bear its comment. Brutus. — Yet let me tell you, Cassius, you yourself Are much condemned to have an itching palm, To sell and mart your offices for gold To undeservers. — Shakspeare. 5. I should think myself a criminal, if I said anything to chill the enthusiasm of the young scholar, or to dash witr; any scepticism his longing and his hope. He has chosen the highest. His beautiful faith, and his aspiration, are the light of life. Without his fresh enthusiasm, and his gallant devotion to learning, to art, to culture, the world would be dreary enough. — Charles Dudley Warner. 6. The Lord is my shepherd ; I shall not want. He maketh me to lie down in green pastures : he leadeth me beside the still waters. He restoreth my soul : he leadeth me in the paths of righteousness for his name's sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil : for thou art with me ; thy rod and thy staff they comfort me. Thou preparest a table before me in the presence of mine enemies : thou anointest my head with oil ; my cup runneth over. Surely goodness and mercy shall follow me all the days of my life : and I will dwell in the house of the Lord forever. — Bible. EXAMPLES OF OROTUND. 1. Who is the champion ? who the strong ? Pontiff and priest, and sceptered throng? On fVioca oVioll -Poll On these shall fall 62 PRACTICAL ELOCUTION. As heavily the hand of Death, As when it stays the shepherd's breath, Beside his stall! " —Henry W. Longfellow. 2. It took Rome three hundred years to die ; and our death, if we perish, will be as much more terrific as our in- telligence and free institutions have given to us more bone and sinew and vitality. May God hide me from the day when the dying agonies of my country shall begin ! thou beloved land, bound together by the ties of brotherhood, and common interest, and perils, live forever — one and undivided ! — Lyman Beecher. 3. Not wholly lost, Father ! is this evil world of ours ; Upward, through its blood and ashes, spring afresh the Eden flowers ; From its smoking hill of battle, Love and Pity send their prayer, And still thy white-winged angels hover dimly in our air. — John G. Whittier. 4. Thy right hand, Lord, is become glorious in power : thy right hand, C Lord, hath dashed in pieces the enemy, and in the greatness of thine excellency thou hast overthrown them that rose up against thee : thou sendest forth thy wrath which consumed them as stubble. And with the blast of thy nostrils the waters were gathered together : the floods stood upright as an heap, and the depths were congealed in the heart of the sea. — Bible. 5. Portia — The quality of mercy is not strained It droppeth as the gentle rain from heaven Upon the place beneath ; it is twice blessed ; It blesseth him that gives, and him that takes. 'Tis mightiest in the mightiest. It becomes The throned monarch better than his crown : His sceptre shows the force of temporal power, The attribute to awe and majesty, Wherein doth sit the dread and fear of kings : But mercy is above this sceptered sway ; It is enthroned in the hearts of kings ; It is an attribute to God himself; PRINCIPLES— QUALITY OP VOICE. And earthly power doth then show likest God'a When mercy seasons justice. — Skakspeare. 6. I do not fear to approach the omnipotent Judge, to answer for the conduct of my whole life ; and am I to be ap- palled and falsified by a mere remnant of mortality here ? By you, too, who, if it were possible to collect all the inno- cent blood that you have shed in your unhallowed ministry in one great reservoir, your lordship might swim in it. — Robert Emmet. IMPURE QUALITY. Impure voice denotes a disturbed condition of mind, and results from a corresponding unnatural and unequal effort upon the vocal cords. It varies in form and character ac- cording to the prevailing trait of the passion of which it becomes the language. Impure voice is subdivided into Pectoral, Guttural, Aspi- rated and Falsetto. These subdivisions, with their natural modifications of intensity, cover an important field of expression. It should however, be understood that these divisions are not arbi- trary creations of the elocutionist, but are the natural phy- sical effects of passion, as revealed by observation and study. It is an established physiological fact that when the soul be- comes agitated by some violent emotion, the nervous im- pulse thus awakened, rushing through the avenues of the body, becomes suddenly the controlling agency of the whole physical system. The eye flashes, the muscles of the face and arm betray the newly awakened influence, and, in sym- pathy with this general physical excitement, the vocal organs are disturbed, and the voice instantly reflects this changed relation. It loses its natural purity and becomes the agent and symbol of the passion that propels it. To this is due the rigidity of the cords in the harsh, steely tone of hatred, their unnatural tension in the language of terror, and the whole 64 PRACTICAL ELOCUTION. phenomena of voice transition. Indeed, so marked is thia physical relation between passion and tone that it is at once recognized by every condition of man, and even by the brute creation. PECTORAL. The Pectoral quality of voice is used in the expression of remorse, horror, dread, deep solemnity, and in the represen- tation of the supernatural. It is the result of a relaxed condi- tion of the vocal cords and a feeble and lifeless action of the abdominal muscles. GUTTURAL. The Guttural quality of voice is known as a throat tone. When carefully controlled, it is an element of great power and energy. It denotes all those states of mind classed under dislike and ill-humor. It also appears in the ferocity of rage and revenge. The prominent characteristic of this tone is its harsh, discordant quality, produced by the com- pression and partial closing of the throat above the glottis. Note. — This form of impurity is the most prevalent fault of voice ; and the greatest care should be taken to confine it to the expression of the sentiments above enumerated. ASPIRATED. The Aspirate quality of voice is the language of secrecy, caution, surprise, fear, and certain forms of anger. It arises from the escape of unvocalized breath and may consist of any of the other qualities of voice, modified by strong breath- ing. It also includes the whisper. FALSETTO. Falsetto voice is generally produced above the natural tone, and is used in the imitation of high female voices, in the voices of children, and in affectation, terror, &c. PRINCIPLES— QUALITY OF VOICE. 65 EXAMPLES IN PECTORAL QUALITY. 1. I am thy father's spirit ; Doomed for a certain term to walk the night ; And for the day, confined to fast in fires, Till the foul crimes, done in my daj^s of nature, Are burned and purged away. But, that I am forbid To tell the secrets of my prison-house, I could a tale unfold, whose lightest word Would harrow up thy soul ; freeze thy young blood ; Make thy two eyes, like stars, start from their spheres; Thy knotted and combined locks to part, And each particular hair to stand on end, Like quills upon the fretful porcupine. But this eternal blazon must not be To ears of flesh and blood. List, list, Oh, list ! — If thou didst ever thy dear father love. — Shakspeare. 2. Oh, I have passed a miserable night, So full of ugly sights, of ghastly dreams, That, as I am a Christian faithful man, I would not spend another such a night, Though t'were to buy a world of happy days, So full of dismal terror was the time ! — Shakspeare. 3. But at midnight, — strange, mystic hour ! — when the veil between the frail present and the eternal future grows thin, — then came the messenger ! — Harriet Beecher Stowe. 4. They're gone, they're gone ! the glimmering spark hath fled ! The wife and child are numbered with the dead. On the cold earth outstretched in solemn rest, The babe lay frozen on its mother's breast : The gambler came at last — but all was o'er — Dread silence reigned around : — the clock struck four ! — Coates. For selections containing additional examples of Pectoral, see Elocutionist's Annual, No. 1, page 37 ; No. 2, page 40 ; No. 3, page 126 ; No. 4, page 115. 66 PRACTICAL ELOCUTION. EXAMPLES IN GUTTURAL QUALITY. 1. I know the difficulty the honorable gentleman labored under when he attacked me, conscious that, on a compara- tive view of our characters, public and private, there is nothing he could say which would injure me. The public would not believe the charge. I despise the falsehood. If such a charge were made by an honest man, I would answer it in the manner I shall do before I sit down. But I shall first reply to it when not made by an honest man. — H. Grattan. 2. I'll have my bond ; I will not hear thee speak : I'll have my bond ; and therefore speak no more. I'll not be made a soft and dull-eyed fool, To shake the head, relent, and sigh; and yield To Christian intercessors. Follow not; I'll have no more speaking . I will have my bond. — Shakspeare. 3. I could have bid you live, had life been to you the same weary and wasting burden that it is to me — that it is to every noble and generous mind. But you — wretch ! you could creep through the world unaffected by its various dis- graces, its ineffable miseries, its constantly accumulating masses of crime and sorrow, — you could live and enjoy your- self, while the noble-minded are betrayed, while nameless and birthless villains tread on the neck of the brave and long-descended ; — you could enjoy yourself like a butcher's dog in the shambles, fattening on garbage, while the slaugh- ter of the brave went on around you ! This enjoyment you shall not live to partake of, you shall die, base dog ! — and that before yon cloud has passed over the sun. — Scott. 4. And it came to pass at noon, that Elijah mocked them, and said, Cry aloud ; for he is a god : either he is talking, or he is pursuing, or he is in a journey, or peradventure he sleepeth, and must be awaked. — Bible. 5. From the heads of kings I have torn the crown, From the heights of fame I have hurled men down ; I have blasted many an honored name ; I have taken virtue, and given shame ; PRINCIPLES— QUALITY OP VOICE. &t * I have tempted the youth with a sip, a taste, Which has made his future a barren waste. — Ella Wheeler. For selections containing additional examples of Guttural, see Elocutionist's Annual, No. 3, page 64 ; No. 5, page 133 ; No. 3, page 140. EXAMPLES IN ASPIRATED QUALITY. 1. Hark ! they whisper : angels say, " Sister spirit, come away." What is this absorbs me quite, Steals my senses, shuts my sight, Drowns my spirit, draws my breath ? Tell me, my soul, can this be death ? — Pope. 2. Thou sure and firm-set earth ! Hear not my steps, which way they walk ; for fear The very stones prate of my whereabout. — Shakspeare. 3. Soldiers! you are now within a few steps of the enemy's outposts. Our scouts report them as slumbering in parties around their watch-fires, and utterly unprepared for our approach. A swift and noiseless advance around that projecting rock and we are upon them. We capture them without the possibility of resistance. Forward ! 4. They are famished ; Let them do what best delights them ; Let them eat, for they are famished. — H. W. Longfellow. 5. Ye're there, but yet I see you not ; draw forth each trusty sword, And let me hear your faithful steel clash once around my board ; I hear it faintly ; — louder yet ! What clogs my heavy breath ? Up, all ! and shout for Rudiger, " Defiance unto death ! " — Albert G. Greene. 68 PRACTICAL ELOCUTION. For selections containing additional examples of Aspirated, see Elocutionist's Annual, No. 3, page 126; No. 2, page 117 ; No. 4, page 163. EXAMPLES IN FALSETTO QUALITY. 1. I beg your pardon, I thought my father was — or might be — dear me, how very awkward ! I never knew any- thing happen so cross. I am very sorry I intruded. If I hadn't thought my father was here, I would n't, upon any ac- count, have — it is very provoking — must look very strange ! — Dickens. 2. " Ephraim ! " said she, the tears rolling down her cheeks and the smiles coursing up. " Why, what is it, Ara- mathea ?" said the astonished Mr. Jones, smartly rubbing his head where it had come in contact with the lounge. "Baby!" she gasped. Mr. Jones turned pale and com- menced to sweat. " Baby ! " " O, 0, O, Ephraim ! Baby has — baby has got — a little toothey, oh ! oh ! " —Banbury News Man. 3. And from the crowd beneath, in accents wild, A mother screams, ■' O God ! my child ! my child ! " — George M. Baker. 4. Will the New Year come to-night, mamma ? I'm tired of waiting so, My stocking hung by the chimney side full three long days ago. I run to peep within the door, by morning's early light, 'Tis empty still— Oh, say, mamma, will New Year come to-night ? —.Cora M. Eager. 5. Yes, it is worth talking of! But that's how you always try to put me down. You fly into a rage, and then, if I only try to speak, you won't hear me. That's how you men always will have all the talk to yourselves : a poor woman is n't allowed to get a word in. — Bouglas Jerrold. For selections containing additional examples of Falsetto, see Elocutionist's Annual, No. 1, page 96 ; No. 2, page 46 . No. 5, page 89 ; No. 5, page 96. ARTICULATION. Articulation consists in a correct and distinct utterance of the elementary sounds in syllables and words. In nearly all of the many definitions given by lexicographers and elocutionists, the prevailing idea has been distinctness. While this idea is a proper one, it is possible to be distinct and yet not correct, in which case the very distinctness makes the incorrectness more apparent. In the process of articulation the organs of speech constitute what may be termed a set of moulds, capa- ble of changing position at will, and any imperfection in the moulds, or in their arrangement, will produce a correspond- ing imperfection in the utterance. In articulation as in morals, we have to answer for sins of omission as well as of commission. Our articulation is faulty not simply in the incorrect sounds we make, but also in the correct sounds we too frequently suppress. The ear should be trained to distinguish the finer shades of difference in sounds, and the organs of speech should be carefully and persistently drilled until they are able to produce, promptly and with ease, all the sounds of the language, in all their varied and complex combinations. It is believed that a care- ful study and practice of the exercises here given will accom- plish that result. As to the importance of Articulation, there can be but one opinion. The distinctness and polish which it gives to speech are quickly recognized, even by those whose usage is a sad reflection upon that importance. 70 PRACTICAL ELOCUTION'. In the strict sense of the term, Articulation would be regarded as a division or department of Pronunciation ; but for convenience it will here be given a broader signification, and be made to include some exercises in Pronunciation. The question is frequently asked, What is the standard of pronunciation ? Dr. Worcester says, " The pronunciation of the English language, like that of all living languages, is in a great measure arbitrary. It is exposed to the caprices of fashion and taste. It is liable to change from one age to another; and it varies, more or less, not only in the different and distantly separated countries in which it is spoken, but also in the different divisions and districts of the same coun- try. No two speakers or orthoepists, though inhabitants of the same place, would be likely to agree in the pronuncia- tion of all its words. The standard of pronunciation is not the authority of any dictionary, or of any orthoepist ; but it is the present usage of literary and well-bred society." He then proceeds to show that the usage of the best society in London is entitled to far more consideration than that of any other city, but adds, in the next sentence, that the usage of the best society in the place or district in which one resides is not to be disregarded. While the latter suggestion might prove a convenience to many, it must be accepted with great caution. There are many districts in this country, as well as in England, which can scarcely boast of much " best society." Even in places claiming men eminent in many departments of learning, the utter recklessness and disregard of the prop- er forms of spoken language which so generally prevail, w^uld render the pronunciation of such men wholly unwor- thy as models. JSTot long since, a student remarked, in justification of his pronunciation, "Our pastor pronounces c-a-l-m, cam, and he is a very intelligent man." The argu- ment is a very common, though not a very safe, one. With all due deference to Dr. Worcester's remark that the authority of any dictionary is not the standard of pro- nunciation, we believe that very few persons in America, ARTICULATION. search beyond Webster and Worcester for their models. It is the business of the dictionary to present the best usage of the best society, whether it be that of London, Boston, or any other city. The revisions of the dictionary should and do keep pace with the progress and changes of language. While some person must be first, and some other person last, in this process of change, yet Pope's rule in regard to new words may be fitly applied here : In words, as fashions, the same rule will hold ; Alike fantastic, if too new or old; Be not tks first by whom the new are tried, Nor yet the last to lay the old aside. The question is frequently asked, Which is preferred, Webster or Worcester ? Much has been written, and a great deal of'time wasted in the attempt to prove the superiority of one to the other. The extent to which Webster is used is the very strongest indorsement in itself; and when, with that, we couple the testimony of the best scholars in this country and in England, it seems like pedantry or bigotry to say he is unworthy of recognition as a standard. The extent to which Worcester is used is also the very strongest indorsement ; and when we find him to be approved by men equally renowned, we must recognize him as equally high authority. The truth is, they differ less widely than many persons suppose ; and when they differ, we have the advan- tage of a choice of pronunciation. When Webster says eglantine or eglantine, and Worcester says eglantine or eglantine, they agree, not only in recognizing the two forms, but also in showing their preference for the first. If our respect for their CDmmon preference be our controlling motive, we will pronounce the word eglantine. But if our pastor, or our doctor, or the judge of our county court, or the " best society" in which we move, uses the second form, and our desire to conform to such usage is greater than our respect for the joint preference of Webster and Worcester; wc have the fullest freedom to use the second form. 72 PRACTICAL ELOCUTION. When these lexicographers give two forms each of pro* nouncing the same word, they frequently reverse the order, thus differing in their preference, and, it is to be hoped, for other reasons than to differ. When Webster says sliver or silver, and Worcester says sliver or sliver, we may have one of several motives to govern our choice. We may take the preferred form of our preferred authority ; we may be gov- erned by home usage or our best society ; or we may call in Smart or some other eminent English orthoepist to act as umpire. When Webster gives two forms and Worcester gives but one, or vice versa, if the one form agrees with either of the two forms of the other authority, as in most instances it will, then the weight of authority would seem to be in favor of the form which they give in common. Yet if home usage is in harmony with the other form, that usage may assert its privi- lege even to the exclusion of the other authority. If Webster says vase (pronounced voce) and Worcester says vase (pro- nounced vaze) or vase, the weight of authority seems to be in favor of vase (pronounced vace) yet home usage, or a third orthoepist, may decide otherwise. If Webster says cem'-ent or ce-merd', and Worcester says cem'-ent, the case is clearer, for Worcester's only form agrees with Webster's preferred form ; yet even here, home usage, or a third orthoepist, or both combined, may decide in favor of ce-ment'. When Webster says somber and Worcester sombre, we are compelled to make a choice, and will make it, doubtless, by some of the methods already suggested. Most persons use but one dictionary, and will, therefore, follow the dictum of that one, but in these days of cheap books and close attention to forms of pronunciation, it would be well to have not only a quarto edition of one of our stand- ard lexicographers, but also one of the better abridged .editions of the other. This is necessary, not so much to assure ourselves that we are right, for we may be right by the use of one dictionary, but rather to be assured that our neighbor is not wrong. In our study of pronunciation, ARTICULATION. 73 instead of trying to be strictly in harmony with one of the recognized authorities, and ignoring the other, we should aim, rather, to be not opposed to both. The reader will observe that in this discussion, we have had reference sim- ply to Pronunciation. The change from an old form of pronunciation to a new one is alwa}'s attended with discomfort for a while. It is like donning a new hat or wearing a pair of shoes for the first time. We feel ill at ease, and imagine everybody recog- nizes our discomposure. But the new form, by constant use, grows to fit the mouth, as the new shoes become easy to the feet. To one who has pronounced c-a-l-f, kdf, for many years, the change to leaf may make him feel not unlike that animal for a time, but a knowledge of the fact that the latter form alone is right should stimulate him to overcome all opposing difficulties. The first thing necessary is the acquaintance of the ear and its acceptance of the new form ; for the ear, like timid children, will not receive a stranger willingly. Many repetitions of the new form aloud, will beget ease in its utterance, and accustom the ear to its sound, and after much private practice of this kind, the learner need not hesitate to use it in conversation or reading. Con- fidence is victory ; timidity defeat. If the student will make it a habit to consult the dictionary whenever he hears a form of pronunciation unlike his own, and make a careful list of the words in which his usage is incorrect, and correct those words in the manner suggested above, he will find his ear and his tongue keeping pace in the new work, the former acquiring the power to discriminate very closely, and the latter the power to make the finer distinctions with ease, so that that which at first may be a task, will grow to be a source of never-failing delight. 74 PRACTICAL ELOCUTION. EXERCISES IN ARTICULATION, With Suggestions to Teachers and Students. The following exercises were arranged several years a^o, for use in the classes of the National School of Elocution and Oratory, with no thought of their appearance in a book. The matter was gathered from various sources, some of it being used without change, while much of it has been given new shape and adapted more fully to our purpose. The old and the new have been so thoroughly mingled, that to-day it would be difficult to make acknowledgment where acknowl- edgment might be due. When every claim has been satisfied, it is believed enough will still remain to commend the ex- ercises to all who aspire after correct and distinct enuncia- tion. To some, the arrangement may seem illogical and the exercises disjointed, but it must be remembered that this does not aim to be a systematic treatise upon the theory of articulation, but rather a series of practical and progress- ive exercises, designed to promote good articulation. These exercises have been thoroughly tested in the class-room and their value fully established. A thorough acquaintance with the elementary sounds of the language lies at the foundation of good articulation. Instead of presenting the table of elements at the outset, experience has shown that it is better to lead the student to that closer discrimination which the table involves, by a careful system of spelling exercises. This inductive method greatly simplifies the task by showing the student that the analysis or spelling is nothing more than simply separating the sounds, which, in combination he has long been accus- tomed to use. ARTICULATION — PHONIC ANALYSIS. 75 The division into lessons, here indicated, is not essential, being a mere matter of convenience in our classes as adapt- ed to the length of the recitations. I. To thb Teacher. — In the spelling exercises, have the class pronounce the word mat in a firm conversational tone. Then, prolong the word several seconds, being careful to distribute the time as equally as possible upon the several sounds. The t sound cannot be much prolonged, but it should be made sharp and clear. The m should be as long as the a. This will set out the several sounds in the word conspicuously, and prepare the student for the third step, which is the analysis. In the prolonged form it is we-Il to use the monotone, so that the slide or inflection may not call the attention away from the final sound. When the word has been thus pronounced, have the class reproduce the first sound alone, then the second, then the third. If the first be given correctly and the second incorrectly, set aside the m sound, and have them re- peat what remains of the word (at), listening closely for the first sound now made. Proceeding slowly and carefully in this way, the student will soon come to enjoy what will be to him the discovery of a new power. Insist upon his ignoring the letters, and have him depend entirely upon the sound. For this purpose the teacher should pronounce the words of the first lesson without the students having seen them previously, or even seeing them at the time of spelling. The simplest words have been selected, and some of the sounds are frequently repeated so as to make the task as light as possible. The five steps in the process of phonic analysis are as follows : 1st. Teacher pronounce the word in a firm, natural tone. 2d. Class pronounce the word in the same tone as nearly as possible. 3d. Class prolong the word. 4th. Class utter the separate sounds of the word. 5th. Class pronounce the word in a simple, natural man- ner. The word having been pronounced by the teacher, the work of the class may be suggested to the eye by the following arrangement: mat m - - a - - t m a t mat The last step is designed to give greater completeness to the process of analy- sis. Without it, the work would seem unfinished. If the pupils have much difficulty In properly prolonging the word, or in separating the sounds after 76 Practical Elocution. prolonging it, have them repeat the process a number of times, enlarging slightly at first and increasing in length each time until the several sounds hang together by so feeble a thread that they may be readily separated. This may be represented thus : mat m - a - t m - - a - - t m - - a - - t m - - a - - t m a t m a t mat mat The exercises may be nicely varied,, and with great interest and profit too, by the employment of the synthetic method, the teacher giving the several sounds of a word widely separated, and requiring the class to put them more and more closely, until they combine to form the word. This process may be represented to the eye by reversing the above arrangement, thus: Teacher : mat Class: m . . . a . t m - a - t m - a - - t m - - a - - t m - - a - - t m - a - t mat After the words have been spelled in concert, they should be respelled by the individual members of the class. The second exercise of this lesson is designed to give practice in the use of tho sound of wh, and is especially designed for 1 hose who say wot, wen, wich, wile, wy, for what, when, which* while, why. Believing that a single short exercise. many times repeated and thoroughly mastered, will give greater strength and ARTICULATION — PHONIC ANALYSIS. 77 skill than many long and intricate ones, we recommend that a few simple exercises be committed to memory. They are thus available at any time, and will often be practiced when they would not be if their practice depended upon having the book in hand. 1. Spell by sound — mat lap jam hem fit cog nut cut yelp fat ham ten get sat pan net sin fan man set pin can rat keg sit hip fog fun rum bold fig hop tub vat dust rim log gum wag wend sip mug sun zest gill 2. Commit to memory — What whim led White Whitney to whittle, whistle, whis- per, and whimper near the wharf, where a floundering whale might wheel and whirl ? II. To the Teacher.-— The observations in the first lesson will apply with equal force to the first and third divisions of this. The second exercise has a double purpose. By a gradual inductive process we pass from simple monosyllables containing the long and short vowel sounds to those sounds as individual ele- ments. We also lay a basis for a series of exercises continued through a num- ber of lessons, the advantage of which exercises will become more apparent as we proceed. Be careful to have the class give the short vowel sounds correctly; the long vowel sounds will present but little difficulty. 1. Spell by sound — band glad rant span tramp shad cash chat flag smash that thrash bench jest kept trench thick went whelp inch fish midst whist swim swing thong flog prompt blush bunch snug sham chum thump shrub child both charm marsh yard bald salt bush broil ground push spoil south whale twine thrive thine flume flute 78 PRACTICAL ELOCUTION. 2. Pronounce firmly — mate mete mite mote mute Pronounce firmly — mat met mit mot mut Alternate several times — mate j mete | mite I mote I mute | boon I boil mat I met | mit I mot I mut | book | bout Dropping the first sound in the above words, repeat — ate I ete ite j ote ute I oon | oil at I et I it I ot I ut | ook | out Dropping the last sound in the above words, repeat— i I 6 j a I oo J a e l o ? u oo oi a I S 1 I 6 \ H I 6t> I ou 3. Commit to memory — Amidst the mists and coldest frosts, With stoutest wrists and loudest boasts, He thrusts his fists against the posts, And still insists he sees the ghosts. ABTTCULATION. 79 m. To the Teacher. — The sounds of b, d, g, w and y are generally regarded difficult by begin aers. The prolonged form of the consonant, suggested in the first exercise, will render them easy of acquisition. By g is meant the hard sound, as in go, not as in gem. The sound of wli is equivalent to woo; and the sound of yob, to yu. In the second exercise be very careful that the short vow- els are made correctly. Tbe third exercise is designed to give vigor and flexibility to the muscles of 1he mouth. In the fourth exercise, begin slowly and carefully, and increase to a rapid utterance. Make no pause between the words of a line, and only a slight pause at the end of the line. In the fifth ex- ercise, have the class give separately and vigorously the sounds represented by the letters in Italics, then the combination as a whole, after which, bring out the combination prominently in the words that follow. The letters of the Italic combination are not always the same as those representing the combina- tion in the word, but the sounds are the same, and the Italics are the better representatives of the sounds. 1. Utter firmly the following exercise, dwelling upon the consonant element, and ending the vowel abruptly — ba be bi b5 bu boo boi ba I be" bi I bo bu 1 boo 1 bou Substitute for 6, in the last exercise, d, g,j, I, n, w, y. 2. Pronounce firmly — a ei6uoooi|aSI6uo6ou 3. Utter the following, slowly and carefully at first, and increase to a very rapid utterance — ba-pa I be-pe I bi-pi | bo-po I bu-pii I boo-poo I boi -poi ba-pa I bg-pe" I bi-pi | bo-po | bu-pti I bdo-poo I bou-pou Also — da-ta | va-fa | ja-cha. 4. Commit to memory — ceaseth, approacheth, rejoiceth, ceaseth, approacheth, rejoiceth, ceaseth, approacheth, rejoiceth, ceaseth, approacheth, rejoiceth. 80 PRACTICAL ELOCUTION. 5. Subtonic Combinations bd robbed, robed gd bragged, dragged ngd banged, hanged njd singed, tinged Ijd bulged, divulged ndz lands, mends thz sheathes, breathes thd sheathed, breathed Imz elms, films zm chasm, prism zmz spasms, schisms »n risen, dozen. rv. To the Teacher. — It is desirable that the table of elementary sounds, with their key words, be committed to memory. This need not be accomplished in one lesson, nor in five, but should be kept in mind, so that with a little special Btudy, together with the reviews hereafter to be given, the work will be achieved without much effort. For the convenience of the student the nota- tion of Webster and of Worcester is presented in its application to the voice sounds. For the purpose of drill, have the class pronounce firmly each key word under Voice Sounds twice, then utter the sound of the vowel twice. After the enti-e list has been disposed of in this manner, repeat the list, giving tbe key word once and the sound twice. Repeat, giving the vowel sounds only, but uttering each twice. Proceed in like manner with the Breath and Union Sounds. The distinguishing character of the vowel sounds in the coalescents or inseparables— ar, er, or, and ur — depends entirely upon the r. Although the vowel sounds may be given alone, or may even be combined with other sounds than r, yet the fact remains that in English words those vowel sounds are in- separably combined with r. For this reason it is suggested that the two sounds be joined and considered as one, just as the diphthongs oi and ou are regarded as single, though not simple sounds. For the convenience of the student the names of the diacritical marks or symbols are given. 1. The elementary sounds are classified according to the material of which they are made. Voice Sounds are those which are made of voice. Breath Sounds are those which are made of breath. Union Sounds are those which unite voice and breath in one element. ARTICULATION — ELEMENTARY SOUNDS. 81 2. Commit to memory — TABLE OF ELEMEKTAKY SOUNDS. Voice Sounds. Webster. Worcester Webster. Worcester. 1 A a le A 12 u u se u 2 A a t A 13 u u p u 3 A a 1ms A 14 oo oo ze 6 4 A all A 15 db 1 oo k u 5 A a sk A - 16 01 i an 11 y oke 2 d ay 7 n ot 12 one 3 o 8 r oam 13 a ure 4 j udge 9 v an 14 tf> an 5 / one 10 w e 15 so ng DIACRITICAL POINTS H Macron. •• Diseresis. \J Breve. A Caret. ea Tilde. Period L Obelisk. 82 PRACTICAL ELOCUTION. PRACTICAL HINTS UPON A FEW VOICE SOUNDS. To the Teacher. — Careful and frequent practice upon the words given as examples and as exercises in this lesson will be profitable. The student should bo urged to increase the list of examples under each of the sections, as ex- amples are furnished in his conversation and reading, especially adding those in which his usage is faulty. 1. Italian a (a) when not followed by r is frequently mis- pronounced. Examples — balm, calm, palm, psalm, calf, half, ha, wrath, aunt, laugh, launch, mustache. 2. Fifth a (A or a) occurs chiefty in monosyllables ending in ff, ft, ss, st, sk, sp, nee, nt. The following list, with their derivatives, will furnish abundant practice : — quaff shaft blast pasture mask enhance staff waft fast pilaster task glance abaft amass bombast plaster asp lance aft surpass contrast cast clasp prance after alas disaster vast grasp trance craft brass aghast repast gasp ant draft mass ghastly ask hasp chant draught pass last bask rasp grant graft lass mast basket advance pant haft grass mastiff cask answer slant raft glass past casket chance blanch rafter class pastor flask dance branch 3. Short o (6) is often incorrectly soundejl like broad a (a or a). Examples — on, gone, dog, off, often, soft, soften, long, prong, song, strong, thong, throng. ARTICULATION — PHONICS. 83 4. Long u (u) is often incorrectly sounded like long oo (6b or 6) when preceded by d, g, j, I, n, s, t, ch, th, wh, z. Examples— dubious, duty, duke, duet, dew, due, duel, dupe, gewgaw, gubernatorial, June, juice, jubilant, jubilee, junior, juniper, jurist, lute, Lucifer, lunacy, lurid, lucid, lucre, lumin- ous, new, neuter, nucleus, nuisance, numeral, nutriment, suit, suitor, suet, sue, sudorific, suicide, superintend, tune, tube, tunic, Tuesday, tureen, tulip, tumult, chew, chusite, thews, whew, whewer, zuche, azumea. 5. After r, sh, and w, the letter u represents the sound of long oo (oo). Examples — rude, brute, fruit, shude, shute, sure, issue. 6. The coalescent or (a or a with r), as in pare, should not bend too much toward long a (a), as in payer, nor yet to- ward short a (a), as in parry. 7. The coalescent er (e with r) should be carefully distin- guished from ur (u or u with r). Exercise — yes, sir; no, sir; prefer, verge, verse, mercy, ermine, — fir, fur; earn, urn; bird, burred ; serge, surge. 8. " The vowel in the coalescent or is more open than long o (o), but not so open as broad a (a or 1). Examples — for, more, corn, borne, lord, stork, pour, George, board, mourn, door. But when or occurs in an accented syllable, followed by a vowel, or by another r, in a word not a derivative, it has its regular short sound (5). Examples — foreign, orange, tor- rid, coronet, coral, correlate, corridor. 9. The coalescent ur occurs in monosyllables when not followed by a vowel ; in accented syllables with r final, or r followed by one or more consonants different from itself; and in derivatives from either of those classes. Examples — cur, fur, furl, hurt, burst, purr, — recur, curfew, furlong, dis- bursed, — currish, furry, purring, recurring. This sound should be carefully distinguished from short u (u) before r in such words as curry, hurry, burrow, currant, current. PRACTICAL ELOCUTION. VI. To the Teacher.— Tlio lcng and short vowel sounds are designed to be used in tko second section of tbis lesson as in the third section of lesson III. , The third section of this lesson has been explained under the fifth section of lesson III, and the fourth section under the first section of lesson I. As few persons pronounce all of the words of the fifth section of this lesson correctly, it should be practiced with great care. 1. Review Voice Sounds, first with key words, then with- out key words. 2. ba-pa | da-ta | va-fa | tha-tha | ja-cha | gsa-ksa, first with accent on first syllable, then with accent on second syllable. 3.— Idz molds i, folds ps taps, sips rbd orbed , absorbed pt rapt, slept rjd urged , verged sps grasps, wasps rdz cards, words spt clasped, lisped rlz purls, girls sks asks, risks rid furled , world skt tasked. , frisked rmz arms, firms ths truths, withes rind charmed, squirmed tht withed , scathed rvz carves , serves sts mists, posts rvd starved, curved Ms acts, picts 4. Spell by sound — Aaron hough fault says hawk earth broad dost blood pretty love spoon said read gauge sergeant haunt feud grew been beau captain ceil gu aranty finance heart now new sleight deign yeoman deep chair book daunt plaid shoe what eye guard aisle swear gain could bear wolf knowledge girl any sought there hautboy does beauty people ARTICULATION — PHONICS. 85 5. For the hundredth time he spoke of lengths, breadths, widths, and depths. He adds fourths, fifths, sixths, sevenths, eighths, ninths, tenths, elevenths, and twelfths with skill. VII. To the Teacher. — The first exercise of this lesson is designed to show how different letters and combinations of letters are used to represent the same sound. The words should be used as an exercise in phonetic spelling, the student in each case pointing out the equivalent. 1 — Equivalents : a sail, gauge, lay, great, deign, they, melee. a plaid, guaranty. a daunt, heart, gitard, sergeant. a 4 pause, law.', groat, sought. a 5 No equivalents. e weak, seize, people, key, brief, pique, seek, e" any, said, says, dead, heifer, leopard, friend, guess, bury. I aisle, sleight, eye, die, choir, guide, buy, try. i .English, been, sieve, women, busy, build, symbol, captain, tortoise. 5 hautboy, beau, yeoman, sew;, boat, hoe, soul, flow. 6 hough, knowledge, what. u beauty, feud, dew;, adieu, view, jour, cue, suit. u does, love, young, blood. oo shoe, soup, rheum, drew;, do, canoe, manoeuvre, rude, recruit. 06 wolf, would, -pull. oi joy. ou now. ar hair, bear, where, their, Aaron. er earnest, mirth, myrrh, guerdon. or extraordinary, George, board, mourn, ur worm, journey. 86 PRACTICAL ELOCUTION. 2.— Affix the long and short vowels as in previous exer- cises, and accent the first and third syllables : / / ///// / b-p-b-p | d-t-d-t | v-f-v-f j th-th-th-th j-ch-j-ch J gs-ks-gs-ks | w-v-w-v j v-w-v-w VIII. To the Teacher. — Cognates are sounds requiring the same position of the vocal organs. The first of each pair is a B.-eath Sound, the second a Union Sound. The distinction should be carefully marked. The Contrasts require preat precision in their utterance. Careless speakers make little or no difference in their pronunciation. 1. Review Union Sounds first with key words, then with- out key words. 2. Cognates— ft v, > st > vast ch,j, chest, jest k, g, Mil, pill sh, £, Ashu r, azure p, b, pare , 6are th, th, thigh, thy s, z, seal. zeal wh, w, whit, wit t, d, time , dime 3. Contrasts- prince, prints tracks , tracts tens, tends mince, mints axe, acts wrens, rends sense, cents sex, sects fens, offends dense, dents ducks, ducts relics, relicts tense, tents false, faults instance, instants chance, chants reflex, reflects incidence, incident! ARTICULATION — PHONIC ANALYSIS. 87 4. Spell by sound — bitumen borealis ate wiseacre stolid bequeath single do viscount strata bouquet sugar ink truculent splenetic circuit coffee brew tyrannic spouse blackguard uncle truths transition squalor blouse finger troche trilobite sojourn bronchitis sure swarthy- tartaric sepulture placard truffle talc telegraphy sardonyx blatant tribunal tepid suffice research 5. Affix the long and short vowels as in previous exer- cises. Accent the first and fourth syllables — w-v-v-w I v-w-w-v. Accent the second syllable — ' / / / w-v-v-w I v-w-w-v I th-th-th-th | th-th-th-th. Accent the fourth syllable — / / / , b-d-p-t-p | w-v-f-v-w | th-th-s-sh-th | j-ch-gs-ks-k. Without accent — sf-ksth-ksth | ksth-sf-ksth | sf ksth-ksthsf. 6. Pronounce carefully, as indicated in III., 5 — troubl'st, doubl'st rob'dst, prob'dst cradl'st, saddl'st struggl'st, smuggl'st begg'dst, drugg'dst rag'dst, wag'dst hold'st, fold'st whelm'st, film'st delv'st, helv'st help'st, scalp'st mf, nymph, lymph blst, dths, widths, breadths bdst, bst, rob'st, prob'st dlst, M, milked, bilked gist, Iths, healths, wealths gdst, l/ths, twelfths jdst, Icht, filched, mulched Idst, nths, months, plinths Imst, ngths, lengths, strengths Ivst, thst, sheath 'st, breath'st Ipst, 88 PRACTICAL ELOCUTION. IX. To the Teacher.— In the second section affix the long and short vowel sounds as before. 1. Keview Table of Elementary Sounds— ' With natural force, Voice Sounds : With great vigor, With soft whisper, With loud whisper, With mixed voice and breath. Breath Sounds : < j i f Soft, 1 Loud. Union Sounds ' ', ' tt / w-v-f-f-v-w I dr-bl-pl-dw-gr-kr | dr-bl-pl-dw-gr-kr list, melt'st vlst, driv'lst rmdst, harm'dst Ikst, milk'st zdst, gaz'dst mdst, burn'dst mdst, doom'dst zlst, dazzl'st rvdst, curv'dst mpst, thump'st znst, reason'st rptst, harp'dst mist, prompt'st thdst sheath'dst vldst, drivTdst ndst, bend'st ngdst, hang'dst zldst dazzl'dst ntst, want'st plst, rippl'st zndst, reas 'n'dst ngkst, think'st klst, buckl'st pldst, rippl'dst rbst, curb'st knst, black 'n'st tldst, settl'dst rdst, gird'st fist, trifl'st kldst, buckl'dst rjst, enlarg'st fnst, deafnst kndst, black 'n'dst rlst, hurl'st thnst, length'n'st fldst, trifl'dst rmst, harm'st bldst, troubl'dst fndst, deaf 'n'dst rnst, learn'st didst, bridl'dst Iptst, help'dst rtst, hurt'st dndst, hard'n'dst rktst, lurk'dst rkst, mark'st gldst, struggl'dst pndst, open'dst rchst, search'st rbdst, curb'dst thndst, length 'n'dst vdst, lov'dst rldst, hurl'dst rchtst, search 'dst ARTICULATION — SEAT OF THE ACCENT. 89 X. To the Teacher.— The rules of this lesson are too general, and the excep- tions too numerous, to make the rules of much practical benefit, other than to show general tendencies of the language. The chief value of this lesson will consist in the frequent practice of the correct pronunciation of these and other words which teachers and students will meet, with in the course of their read- ing, and which fall under the several rules and exceptions here given. This practice will make the correct pronunciation of the words familiar, and it is the only truly practical method. SEAT OF THE ACCENT. 1. A syllable is a word or part of a word uttered with a single impulse of the voice. 2. A word of one syllable is called a monosyllable ; of two, a dissyllable ; of three, a trisyllable ; of more than three, a polysyllable. 3. The last syllable of a word is called the ultimate ; the next to the last is called the penult ; the third from the last, the antepenult; the fourth from the last, the pre-antepenult. 4. Of words of two syllables, nouns and adjectives gener- ally have the accent on the first syllable, and verbs on the second syllable. Examples : Nouns — abbot, comet, fossil, napkin, album, comma, antic, gallon, anvil, atom, linnet, garret, logic, basket, demon, organ, genus, bobbin. Adjec- tives — common, naval, lucid, dental, lurid, candid, dulcet, horrid, carnal, quiet, rabid, mental, rancid. Verbs — admit, affix, occur, impel, forbid, annex, commit, expel, concur, debar, excel, emit, dispel, demur, ferment, purloin. So general is this law that the exceptions often lead us into error. Examples: Nouns — morass, recess, research, resource, romance, address, adept, adult, ally, allies, basalt, compeer, contour, finance, vendue, routine, recourse. Ad- jectives — canine, condign, robust, verbose, occult, prolix. Verbs — harass, ransack, gyrate, sojourn, preface, purport, comment. Some nouns and adjectives are distinguished from verbs of 90 PRACTICAL ELOCUTION.} the same spelling by this difference of accent ; as — accent, conduct, contract, insult, torment, concert, convict, escort, import, export, object, record, subject, abstract, conflict, protest, compound, desert, progress, project, retail, contrast, contest, confine, quarantine, — absent, frequent. 5. Words of more than two syllables generally have the primary accent on the antepenult. Walker calls this the favorite accent of the language. Examples — disputant, hospital, industry, domicile, juvenile, crystalline, serpentine, coralline, centrifugal, interpolate, misanthropy, chalybeate, heliacal, chimerical, chirography, anachronism, simulta- neous, ammoniacal, reciprocity, demoniacal, interlocutor, homoeopathy, hypochondria, idiosyncrasy, dicotyledonous, trigonometrical, impracticability, monocotyledonous, valetu- dinarian, incommensurability, unintelligibility. Exceptions to this law often lead us into error, as — manu- mit, magazine, acclimate, defalcate, inundate, exculpate, exponent, condolence, opponent, hospitable, prebendary, formidable, cotyledon, conservator, explicable, contumely, despicable, nomenclature, orthoepy, orthoepist, peremptory, exemplary, obligatory, indisputable, indissolubly. 6. English derivatives, or words derived from other words in the language, generally retain the accent of their primi- tives, as — mischievous, mountainous, serviceable, unhappi- ness, admiralty, fragmentary. Exceptions to this law frequently lead us astray, as — chastisement, comparable, disputable, lamentable, impiously, irreparable. 7. Many words from the Latin and Greek, introduced into our language with little or no change of orthography, retain the classical accent. The attempt to make such words conform to English analogy frequently leads us into error. Examples — acumen, bitumen, horizon, paragoge, abdomen, lyceum, museum, sonorous, decorum, mausoleum. 8. In many words of very common usage, this analogy of the English prevails over the classical accent, as — auditor, orator, minister, senator, plethora. ARTICULATION — PREFIXES. 91 9. Many words derived without change of orthography from the French, are accented on the last syllable. Ex- amples — antique, bastile, bourgeois, chateau, corvette, finesse, giraffe, adieu, artiste, bouquet, coquette, debut, canaille, canard, blanc-mange, carte-blanche, depot, debris, eclat, encore, ennui, elite, entree, facade, machine, melee, mirage, monsieur, parquet, parole, parterre, penchant, physique, plateau, regime, soiree, sortie, surtout, sang-froid, savant, souvenir, tableau, tirade, vignette, vedette, vendue, amateur, bagatelle, coterie, connoisseur, chevalier, cuirassier, debau- chee, debonair, dishabille, expose, mademoiselle, millionaire, nonchalance, protege, reservoir, repertoire, recherche^ sobri- quet, solitaire, tete-a-tete, vis-a-vis. 10. When two words are used antithetically which differ only or chiefly in one of their syllables, the primary accent is transferred to that syllable ; as, He must increase but I must decrease. Did you say a new addition, or a new edition ? Our sins of omission as well as of commission, Did she suspect him or expect him? In counting we say thirteen, fourteen, fifteen, &c, but in answer to a question, as, " How many dollars did you pay for your coat," we should answer, " Fifteen 7 ." When emphatic, the accent is quite evenly divided; as, "They ate fourteen large oysters for supper." XI. PREFIXES. To the Teacher. — The term " Prefixes," at the head of this lesson, Is used in its hroader sense, and is made to apply to the beginning of a word, to that part which is " fixed before," whether the word be a primitive or a derivative. 1. The letter a, as a prefix, when not accented, is sounded like Italian a, slightly obscured. The sound of long a in such 92 PRACTICAL ELOCUTION. position, should be carefully avoided. Examples : — again. against, abaft, abash, abate, acute, adopt, alarm. At the end of a word or of a syllable, a, when unaccented, generally takes the same sound ; as, Cuba, America, algebra, sofa, idea, — banana, cabal, caboose, canal, canary. 2. When hi and tri are used as prefixes, the i is usually long. Examples:— bicrenate, biennial, biflorous, biforate, bilingual, bimana, binary, binervate, binomial, biography, biology, bipedal, bisect, bivalvous, triad, triaiogue, tribunal, tricennial, triennial, trifoliate, trilemma, trilobate, trilobite, trimeran, trimester, trimetrical, tripartient, tripetalous, tri- plicily, tripod, trisect, triumvir. The following exceptions occur : — biforine, bitumen, bitu- minous, tribune, trichina, trilogy, trimeter, tripedal, triphy- line, trisplanchnic, trisyllable, trisyllabic. With change of accent, the following may be either long or short : — biparous, bipartite, tripartite, triphyllous. Webster says, " The i is usually long in the initial syllables i, bi, chi, dl, cri, pri, tri." 3. Other words whose first syllable contains or ends in i or y are frequently mispronounced. The following require short i : — didactic, digest, digression, dilapidate, dimension, diminish, diploma, direct, divan, diverge, divert, divest, divulge, divide, fidelity, finance, financial, financier, miracu- lous, piano, piazza, pilaster, tirade, vicar, visor, hypocrisy, Italian, tyrannize, Tyrolese, tyromancy. These require long i or y: — chirography, chiropodist, divaricate, diverse, sinecure, siren, tiny, viscount, dioptrics, diurnal, tyrannic, tyrannicide, typal. The i or y may be either long or sbort in — dilate, dilemma, hilarity, minute {adjective), simultaneous, sliver, virago, viril, vituperate, vivacious, quinine, bison, hypothecate, hypothe- nuse, hypothesis, typography. 4. The letter n in the prefix con of the following words, has the sound of ng : — concave, conclave, concord, concourse, conger, congo, congregate, congregation, congregational, con- gress, congruence, congruent, congruous, conquer, conqueror, conquest, — concrete (condor con). ARTICULATION — PREFIXES. V6 But in the following, the n has its simple sound : congratu- late, congressional, congruity. 5. The letter o takes the sound of short u in the following words and their derivatives : — bomb, bombard, bombast, bombazine, bomb-shell, come, comely, comfit, comfiture, comfort, comfrey, company, compass, conjure, some, some- body, somehow, something, sometimes, somewhat, some- where. 6. The letter x generally has the sound of ks, but in the prefix of the following words and their derivatives, it is equiv- alent to gz : — exacerbate, exact, exaggerate, exalt, examine, example, exasperate, executive, executor, exemplar, exem- plary, exemplify, exempt, exert, exhale, exhaust, exhibit, exhilarate, exhort, exist, exonerate, exorbitant, exordium, exotic, exuberant, exude, exult. The sound of ks is retained in exhibition, exhortation, ex- cursion, exoteric. 7. Much diversity exists among orthoepists respecting the sound of s in the prefix dis. Webster gives it the z sound in a very few words ; Worcester and Smart in a larger number. The following words, with their derivatives, comprise quite a full list :— Webster. Worcester. dis-arm dis-arm dis-able dis-integrate dis-mast -aster -aster -animate -interested -may -cern -cern -authorize -join -member -dain -dain -band -joint -miss -ease -ease -bark -junctive -mount -honest -honest -burse -like -order -honor 'honor -gorge -lodge -organize -mal -mal -grace -loyal -relish -own -own -guise -mantle -robe -solve -solve -gust -mask -ruption The s is frequently incorrectly sounded like z in designate, desist, desolate, desolation, desultory, desuetude, desidera- tum. 94 PRACTICAL ELOCUTION. 8. The sound of th in the prefix with, of the following words and their derivatives, should have the vocal quality, as dis- tinguished from the aspirate: — withal, withdraw, withheld, within, without, withstand ; also in the words with, without, withers, therewithal, wherewithal. Bat in the suffix with of the words forthwith, herewith, therewith, wherewith, the weight of authority is in favor of the aspirate sound. XII. TERMINATIONS. 1. Most words ending in en drop the e in pronunciation ; as, fallen, stolen, swollen, often, heaven, even, given, driven, harden, soften, hasten, chasten, listen. Exceptions : a. After the liquids I, m, n, r; as, pollen, woolen, flamen, hymen, omen, women, regimen, specimen, abdomen, acumen, bitumen, cerumen, legumen, catechumen, linen, siren, — except fallen, stolen, swollen. b. Aspen, chicken, hyphen, kitchen, lichen, marten, — jerken, latten, mynchen, paten, patten, platen, rowen, ticken, wicken, yewen. c. Divided usage — Eden, bounden, heathen, mitten, sudden, sloven. 2. Most words ending in el retain the e in pronunciation ; as, gravel, level, vessel, chapel, barrel, camel, cancel, channel, kennel, label, marvel, gospel, libel, hovel, novel, travel, tunnel, parcel, bushel, chisel, model, nickel, rebel, squirrel, tassel, travel. Exceptions : Chattel, drivel, easel, grovel, hazel, mantel, mussel, ravel, shekel, shovel, shrivel, snivel, swivel, teasel, ARTICULATION — TERMINATIONS. 95 weasel, — barbel, betel, drazel, mispickel, mangel-wurzel, ousel, rivel, scovel, swingel, toggel, towsel. 3. a. Adjectives ending in ed usually retain the e; as, aged, crabbed, dogged, naked, picked, cragged, crooked, jagged, peaked, ragged, rugged, wretched, wicked; but if Z with another consonant precede e, the e is suppressed; as, brindled, circled, dimpled, cradled, crumpled. A few participles used as adjectives retain the e like other adjectives; as, beloved, blessed, learned, winged, cursed. An exception is found in picked, used in the sense of selected; as, ' a hundred picked men." b. Verbs and participles ending in ed usually suppress the e; as, beloved, blessed, learned, cursed, believed, feared, possessed, received. When the root ends in d or /, however, the e is necessarily retained ; as, acceded, collected, demanded, exhausted. c. Adverbs formed by adding hj, and nouns formed by ad- ding ness, to words ending in ed, retain the e; as, assuredly, confessedly, designedly, confusedly, renewedly, amazedness, composedness, blessedness. d. In compounds, as full-aged, sheath-winged, the e is suppressed. e. In poetry the e is often retained when, in prose, it would be suppressed ; as, In notes, 'with many a winding bout Of linked sweetness long drawn out. — Milton. /. When ed follows an aspirate or breach sound other than h or t, the e is suppressed, and the d takes. the sound of t; as, missed, passed, marked, laughed, sipped, matched, lashed, wished. 4. Words ending in ine are frequently mispronounced. a. The following require long i: Asinine, brigandine, brig- antine, canine, cannabine, capitoline, carbine, celandine, cervine, columbine, corvine, crystalline, feline, internecine, leonine, muscadine, metalline, saline, saturnine, serpentine, sibylline, vespertine. 96 PEACTICAL ELOCUTION. b. These require short i : Adamantine, benzine, bromine, calcimine, celestine, chlorine, clandestine, coralline, elephan- tine, engine, ermine, feminine, genuine, heroine, intestine, iodine, jasmine, masculine, morphine, nectarine, nicotine, paramne, pristine, rapine, strychnine, turbine, vulpine. c. The i may be either long or short in alkaline, aquiline, calcine, carmine, eglantine, infantine, saccharine, vaccine. d. In a few words the i is equivalent to long e ; as, guillo- tine, bombazine, quarantine, machine, ravine, sardine (or sardine). e. Chemical terms ending in ine and ide generally require short i ; as, benzoline, caseine, fibrine, fluorine, glycerine, lignine, margarine, oleine, stearine, bromide, chloride, iodide, oxide, sulphide. /. The i should be long in Apennine, Argentine, Palestine, Palatine ; short in Alexandrine, Augustine, Euxine, Jacobine, Philippine, Philistine, Tripoline; either long or short in Alpine, Aldine, Byzantine, Clementine, Florentine, Levan- tine ; and equivalent to long e in Algerine, Sabine. 5. Words ending in on preceded by c, ck, s, t, and some other letters, often suppress the o. Examples : — bacon, bea- con, beckon, blazon, button, cotton, crimson, damson, dea- con, glutton, lesson, mason, mutton, pardon, parson, person, poison, prison, reason, reckon, season, treason. 6. In the ending il the i is suppressed in evil, weevil, devil, and retained in cavil, civil, fossil, pencil. 7. The i is retained in most words ending in in, but in basin, cousin, it is suppressed. 8. The ending ain is generally pronounced In; as, captain, mountain, fountain, certain. ARTICULATION— UNACCENTED VOWELS. 97 XIII. UNACCENTED VOWELS. No one need hope to have an elegant pronunciation without attention to the vowels in unaccented syllables, yet the dictionaries leave those vowels unmarked except in a few first syllables. Unfortunately, too few persons, even among students of Elocution, study with care the " Principles of Pronunciation " contained in the first part of the larger dictionaries. Webster says, "When an unaccented syllable ends in a consonant, its vowel, if single, has in strict theory, its regular short or shut sound, though uttered somewhat more faintly, or with a less proportionate force, than in an accent- ed syllable, as in tfs-sign', con'-dUct, con'-flict, &c. In many words of this class, however, the vowel is apt to suffer a change of its distinctive quality, passing over into some sound of easier utterance." The sound of it in urn, often called the 'natural vowel,' and that of short u, are the vowel sounds of easiest utterance, and the sounds toward which many of the others tend when rendered obscure ; as, dollar, nectar, altar, alter, feather, nadir, tapir, zephyr, actor, mirror, — idea, sofa, ballad, ballast, potato, window, orphan, dismal, compass, parable, culpable, enemy, strategy, charity, possible, cuU'cle, crucible, parody, analogy, calculate, masculine, analysis. To pronounce these with a broad ur or uh sound, as : nectur, actur, ballud, puht&tuh, dismul, enuhmy, charuAty, analysis, &c, is a fault which all chaste speakers carefully avoid. The following general principles may aid the student, but they are too broad to be wholly relied upon : 1. Long a, long and short e, tend toward short ?*. 2. Short a, Italian a, intermediate a, long and short o, tend toward short u. 98 PRACTICAL ELOCUTION. 3. Coalescents ar, er, or, and Italian a followed by r, tend toward ur. 4. Long oo tends toward short oo. Some of these tendencies are very slight, and others are very marked. The degree of each it is impossible to specify ; it can be learned only by hearing correct articulation. To some of those tendencies there seem to be exceptions, and this serves to increase the difficulty. The following exam- ples will be of advantage : A, verging toward z. — Monday, Tuesday, mountain, certain, village, cabbage, orange. But in 'chocolate,' 'delicate,' ' intri- cate/ 'ultimate,' we have exceptions, the a verging rather toward short e. The same is true in 'miscellany,' 'moment- ary,' and other words of similar termination. In verbs end- ing in ate the long a sound is usually retained. e, verging toward z. — Genesis, remorse, elegant, society, enemy, coffee, college. The e in society, enemy, elegy, &c, is sometimes corrupted into short u. g, verging toward z. — Wicked, basket, riches. Here the proper bending is exceedingly slight. In some words, as poem, solemn, emblem, the e is frequently corrupted into short u. ' &, verging toward u. — Palpable, culpable, mental, ballad cavalcade. a, verging toward ic. — Cuba, sofa, comma, idea. a, verging toward it. — Douglass, compass, cutlass, breakfast, distance, gallant. 6, verging toward u. — Polite, pomade, potato, tobacco. 6, verging toward u. — Commerce, companion, compel, pivot, fagot, mammoth. Coalescent ar, verging toward ur. — Parental, thereat, thereon, preparation. Coalescent er, verging toward ur. — Exasperate, assertion, conversation, perdition. Coalescent or, verging toward ur. — Camphor, languor, actor, tenor, victor, captor, reformation. ARTICULATION — WORDS OFTEN MISPRONOUNCED. 99 Italian a followed by r, verging toward ur. — Dollar, altar, nectar, barbarous. 60, verging toward 06. — To-day, to-morrow, together, erudi- tion. Worcester marks vowels in unaccented syllables with a period or dot underneath ; Webster leaves them unmarked. It must be observed that Worcester employs this character to indicate a slight stress of voice, and not to note any par- ticular quality of sound, as will be seen in the follow- ing examples, in which the italicized vowels are thus marked : liar, palace, abbacy — brier, fuel — elixzr, rum — actor, confess — truly, mart;?/r. XIV. WORDS OFTEN MISPRONOUNCED. To the Teacher.— Have the student pronounce these words with a strongly marked accent. After the faults have been corrected, frequent repetition will soon fix the correct pronunciation. The lesson will also afford further practice in phonetic spelling. 1. adverse horizon archangel chastisement acclimatize adult acclimate archbishop component adjectival allies- armistice archetype complaisance admirable archives adversely aspirant misconstrue aerolite basalt albumen behemoth arquebuse climacteric brigand amateur bitumen expurgate aeronaut address antarctic canorous plethoric alabaster adept contrary chivalric precedence allegorist assets aroma caloric circuitous allopathy canine colporter communist contumely applicative 100 PRACTICAL ELOCUTION. 2. ally composite pyramidal athenaeum compensative occult confident telegraphist i aureola conservator extant condolence excretory camelopard contumacy diverse connoisseui • isothermal capillary hymeneal contour coquetry legislative capitoline suicidal compeer ' controvert perfunctory chalcedony photographer frontier corridor periphrasis coliseum prolocutor excise illustrate provocative combatable irrefragable construe lethargic quadrupedal comparable apotheosis ornate 3. overt expletive approbative refutable pharmaceutist colportage i promulgate recitative allopathist penult objurgate sacristan recognizance matutinal portent sepulture splenetic reconnoissance legislature surnamed defalcate subsidence reparable mediaeval quinine enervate sulphuric receptivity respirable decade gondola tartaric secretory reciprocity patois hegira vehement secretary octogenary placard inquiry virago sublunary indicatory pretence integral orchestra officinal irrevocable recess overseer mischievous pedagogy irrefutable XV. WORDS OFTEN MISPRONOUNCED. To the Teacher.— The difficulties of this lesson have reference to syllabica- tion ; those of the last to accent. Have the student first tell the number of syllables in a word, and then pronounce the word firmly with that number of syllables. This lesson may also be used for phonetic spelling. 1. ratio glacial neuralgia omniscient penitentiary series hideous palliative peculiarity plenipotentiary nuncio hygiene parhelion plagiarism amelioration satiate inertia pecuniary substantiate carbonaceous sentient javelin port-folio superficies familiarity . ARTICULATION — WORDS OFTEN MISPRONOUNCED. 101 spaniel jovial prescience umbrageous homoeopathic suavity jujube sociable allegiance ignominious tedious junior sociality ambrosial impartiality trivial ordeal unctuous ameliorate inconvenience zouave 2. alien olio aphelion appreciate surveillance mollient beauteous associate magnolia folio morale bestiality auxiliary Christianity banian nausea biennial casualty discourteous bestial nauseous bivouac cerements fiduciary caisson nescience > bounteous i congenial herbaceous cordial pannier breviary convenient immediate fealty peculiar courteous convivial ingenious finale premier flageolet egregious ingratiate genial rationale guardian emollient ingredient genius ambrosia imagery magnesia initiate XVI. 1. The letter b following m in the same syllable, is gen- erally silent, as in lamb, limb, numb, tomb,