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K54 GRADUATED
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EXERCISES IN
ARTICULATION
SAMUEL ARTHUR KING
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GRADUATED EXERCISES
IN ARTICULATION
GRADUATED EXERCISES
ABSURD
IN ARTICULATION
BY
SAMUEL ARTHUR ĶING, M.A.
(University of London)
First in Honours at Matriculation with the University Exhibition,
Honours in English and Anglo-Saxon Literature at the final B.A.
LECTURER AT BRYN MAWR AND WELLESLEY COLLEGES,
LATE SPECIAL LECTURER IN SPEAKING AT
JOHNS HOPKINS UNIVERSITY AND AT
THE UNIVERSITY OF CALIFORNIA,
ETC., ETC.
SCIRE · QVOD
SSCIENDVMİ
BOSTON
SMALL, MAYNARD C COMPANY
1906
Music
MT
883
.654
Copyright, 1905, by
Samuel Arthur King
Entered at Stationers' Hall
Press of
George H. Ellis Company
Boston, U.S.A.
Lencard tebeary
Solssia Kuube
transfer to
Mielec
4-20-BI
!-hote
TABLE OF CONTENTS.
PAGE
vii
1
3
4
5
20
Introduction.
I. The Breath in Articulation
II. The "Powers” of Consonants
III. Some Redundancies of the Written
Alphabet
IV. The Formation of Consonant Sounds,
V. The Rhythmical Method of Oral
Gymnastics
VI. Dual Articulations
VII. Treble Articulations .
VIII. Quadruple Articulations
IX. Quintuple Articulations
X. Sextuple Articulations
XI. The Importance of Nasals and
32
69
VI.
75
78
80
@ 4-21-31 Durg
·
Vocals in Speech
XII. Conclusion.
81
84
[v]
INTRODUCTION.
our
The sets of exercises in articulation on
the following pages were drawn up pri-
marily for the use of my own students,
and are not intended to be practised at
first without an instructor. The most
superficial observer of common
speech cannot but be struck with the
undue prevalence of slovenly articula-
tion, not only on the part of the younger
generation, but also amongst those
charged with the duties of teaching and
public speaking. Our manner of speech,
that most vital element of our education,
has been allowed, as Mr. Henry James
said in a recent address at Bryn Mawr,
to “run wild, to shift, as we say, all for
itself, to stumble and flounder, through
mere adventure and accident, in the com-
mon dust of life, to pick up a living, in
fine, by the wayside and the ditch.”
All this is undoubtedly true. In so-
ciety no excuse is made for slovenly man-
[vii]
GRADUATED EXERCISES IN ARTICULATION
ners or dress, yet considerable latitude
has unfortunately been granted to slov-
enly articulation. The natural effect of
this attitude on the part of the well-bred
world upon youth is only too clear. The
advantages of a graceful, clean-cut ar-
ticulation seldom enter into the calcu-
lations of the average student. Young
ladies spend hours of careful considera-
tion upon the shades of their
the shades of their gowns and
the shapes of their hats, and young men are
fastidious to a degree about the shades
of their neckties; but with regard to the
shades of their vowel sounds and correct
shapes of their consonants—the distinc-
tive hall-marks of good breeding--they
have little or no care. Evidently they
lose sight of the fact that it is just as
essential to please the ear as the eye.
Students are perfectly willing to spend
years abroad in order to acquire a purity
of sound in foreign languages; but in
the case of their own beautiful mother
tongue they are content with speaking in
(viii]
INTRODUCTION
a manner that can only be characterised
as a disgrace to an educated man or
woman.
And the apathy, too, of most educa-
tional authorities to the importance of the
niceties of articulation, and their bearing
on the subject of education, is the more
to be condemned when it is considered
how easily the subject can be taught.
The muscles of the tongue can be brought
just as effectively under the control of the
will as can the muscles of the hands
and fingers. When uncouth articulations
have been formed early in life-due, more
often than not, to sympathetic imitation
of the habits of those that should know
better-the cure will be found to lie in
the systematic practice of the individ-
ual elements of speech. Faults of ar-
ticulation are so often disguised in words
that their adequate correction is only
possible by this analytical process.
With
frequent repetition the correct manner of
action can easily be rendered an auto-
[ix]
GRADUATED EXERCISES IN ARTICULATION
matic habit. In the first instance, the
trained teacher must diagnose what is
wrong in the pupil's articulation, and then
illustrate such sets of exercises as will
effect the remedy. The pupil, having as-
certained the correct way, must practise
unremittingly to acquire the unconscious
habit. This mechanical dexterity is en-
tirely a matter of hard work, and is within
the power of most pupils with a reason-
able amount of application. My ex-
perience has taught me that the principal
cause of lax articulation is due, not to
any natural inability of the vocal organs,
but, as I have said above, to the early
formation of a wrong habit.
Lisping and dropping of the tongue,
the confusion of the aspirates with the
vocals, the total lack of vibration in the
vocal consonants, the omission of con-
sonants, final and otherwise, the ugly pro-
jection of the lips in SH, and of the tongue
in TH, the laxity of the F and V, the flat-
ness of the W, the excess of aspiration
[x]
INTRODUCTION
in T, P, or K,-all very common faults
in everyday speech,-should be remedied
effectually by a teacher's competent di-
rection of the following exercises. No
originality is claimed on my part for the
methods I have set forth. Scientific word-
building or synthetic combination of ar-
ticulative elements has long been known
to the best teachers; in my compilation I
have been particularly indebted to the re-
searches of Rush and Bell, and to my
training of seven years under the late
Professor John Millard, of the Royal
Academy and Royal College of Music,
London. What I have tried to do is
to meet the needs of teachers and stu-
dents for comprehensive sets of exercises
handy in form and suitable for daily
practice.
SAMUEL ARTHUR KING.
BRYN MAWR COLLEGE,
November, 1905.
(xi]
SECTION I.
THE BREATH IN ARTICULATION.
Two kinds of breath are used in speech.
The breath either
(I) passes unmodified through the
larynx, just as in mere breathing,
or
(II) is modified by vibration of the
vocal chords, and so rendered musi-
cal.
When the first kind of breath (I) is
used in the production of a consonant,
an aspirate is the result.
When the second kind of breath (II)
is used, and passes out through the
mouth, a vocal results.
If, however, this vibrated breath passes
through the nose, a nasal results.
[1]
Table of 23 consonant sounds produced by 11 distinct
muscular movements of the tongue with modified conditions
of breath :
Nasals
N
M
NG
Aspirates T (1) P
(4) (5) (6) (7) (8) (9)
(3) F S SSH TH HW HY
(2) K
J
Vocals
D
B
G
V Z ZH DH
W
Y
(10)
R
R (11)
[2]
SECTION II.
THE "POWERS” OF CONSONANTS.
Each aspirate in the table on the pre-
ceding page has a corresponding vocal,
and, in the cases of T, P, K, two corre-
spondences,—a vocal and a nasal. The
same muscular movement of the tongue is
used both for the aspirate and its corre-
spondences; but in the case of the latter
the breath is vocalised, i.e., vibrated by
the chords of the larynx. The student
should make each element the subject of
separate study and sound it by itself,
i.e., permit nothing more to escape from
the organs than its real "power.” By
this means only can any defect in its
formation be laid bare.
[3]
SECTION III.
REDUNDANCIES OF CONSONANTS IN
THE WRITTEN ALPHABET.
C= K in cant or S in cent.
Q=K + W in queen, quiver,
quest, etc.
K in pique, oblique, etc.
J
D + ZH in jolly, gem,
Soft G
George, etc.
CH=T + SH in church, each,
chant, etc.
= K in chorus, chaos, etc.
= SH in champagne, chande-
lier, chef, etc.
X = K+S in exercise, axe, ex-
tra, etc.
= G + Z in exist, exact, etc.
= K + Sh in luxury, anxious,
etc.
= Z in xanthic, xylograph,
xanthous, xerosis, etc.
= K + Z in the second x of
Xerxes (Zerk-zes).
[4]
SECTION IV.
FORMATION OF CONSONANT SOUNDS.
T
T is a percussion produced by com-
plete contact and separation of the tip
of the tongue and the hard palate just
above the roots of the upper teeth. The
issue of breath must be checked imme-
diately the organs come into contact.
The breath in the mouth is enough to
render the percussion audible. A lax
T is generally produced by undue as-
piration, which is one of the most fre-
quent causes of exhaustion in public
speaking
D
The same muscular movement is used
for both T and D. Before the percus-
sion is made in the case of the latter,
however, the soft palate is raised, and
(5)
GRADUATED EXERCISES IN ARTICULATION
the vocal chords are vibrated until the
mouth is filled with breath. This vocal
murmur, lasting until the pharynx is
fully distended, gives a sonorousness
and fulness to the consonant.
a
N
If, however, the soft palate is allowed
to drop, and the vibrations flow freely
through the nose, the sound of N re-
sults. The cessation of contact of the
tongue and hard palate produces only
slight percussion, which must, how-
ever, be distinctly made in order to finish
the articulation.
In the case of T, D, and N we have,
therefore, a marked instance of the beau-
tiful economy of Nature, whereby the
same muscular movement, accompanied
by modified conditions of breath, pro-
duces three distinct consonant sounds.
The same relation holds good in the
cases of P, B, M, and K, G, NG.
[6]
FORMATION OF CONSONANT SOUNDS
P
The sound of P is a slight percussion
made by complete contact and separation
of the lips. The compressed air in the
mouth makes its escape and causes a dis-
tinct sound to be heard. Only the breath
in the mouth, and not that in the lungs,
must be used. Therefore, at the moment
of separation the breath should be kept
back, otherwise the percussive effect will
not be heard. Too much breath is con-
stantly used in the production of this
sound, and exhaustion soon results. By
making from fifty to sixty percussions of
P on a single expiration, the teacher can
quickly demonstrate that muscular dex-
terity, and not undue aspiration, pro-
duces the
pure sound.
B
If the soft palate is raised, and the sep-
aration of the lips is preceded by vibra-
tions of the vocal chords until the mouth
[7]
GRADUATED EXERCISES IN ARTICULATION
is filled with air, the sound of B results.
M
When, on the other hand, the soft
palate is allowed to drop, and the vibra-
tions flow freely through the nose, the
sound of M results. The separation of
the lips produces only a slight percus-
sion, which, however, is important to dis-
tinctness. Here, again, the economy of
Nature gives us one muscular movement,
acted on by modified conditions of breath,
whereby three distinct consonant sounds
are produced.
Nasality and its Cause.
Special attention must be directed by
the teacher to the essential differences be-
tween B and M, D and N, and the move-
ments of the soft palate in each case.
The trying and unusually prevalent fault
of nasality, which renders English speech
so piercing and harsh to the musical ear,
is due in the majority of cases to a drop-
[8]
FORMATION OF CONSONANT SOUNDS
ping of the soft palate. The latter might
be compared, in the nasal pupil, to a de-
fective switch whereby a train of vibra-
tions is partially sent out by way of the
nose instead of the more fitting route by
way of the mouth. Nasality is purely
the result of mechanical derangement, and
can be effectually removed with time and
application.
K
To produce the sound of K, the back
part of the tongue comes into complete
contact with the soft palate, and then
separates. A percussion results from the
escape of the compressed air at the back
part of the throat. As the audibility of
this sound is produced with almost no
expenditure of breath, the latter must be
checked before the tongue and soft pal-
ate separate. As we have pointed out
in the case of T and P, the student must be
on guard against undue aspiration. In-
stead of the healthy effect produced by
[9]
GRADUATED EXERCISES IN ARTICULATION
careful use of the voice, this fault of as-
piration renders a speaker difficult to be
heard and quickly exhausts both him
and his voice.
G
When the separation of the back of
the tongue from the soft palate is preceded
by vibrations of the vocal chords until the
back part of the throat between the
larynx and the soft palate is filled with
vocalised breath, the sound of G results.
NG
If these vibrations are allowed to pass
freely through the nose, the sound of NG
results on the separation of the tongue
and soft palate. Just as in the cases of P,
B, M, and T, D, N, the simple muscular
movement, acted on by modified condi-
tions of breath, results in three distinct
consonant sounds.
Dropping the G.”
One of the fallacies of speech due to the
[10]
FORMATION OF CONSONANT SOUNDS
constant confusion of the written sym-
bol with the spoken sound is the so-
called “dropping of the G”; e.g., in the
substitution of “singin' " for "singing,"
of “dancin'” for “dancing.”
for “dancing.” The error
arises from the assumption that
the sound of NG the sound of N +
the sound of G.
instead of recognising that NG is an ar-
bitrary symbol to represent one single
indivisible sound. In saying “drinkin'”
for "drinking” there is not a dropping
of the G in SPEECH, though of course
there is in reducing the word to symbols.
This can be easily proved by adding the
sound of G to the N in "drinkin'” and
listening to the result. In this fault of
articulation, very prevalent in certain
sections, the substitution of a nasal pro-
duced by the tip of the tongue against
the hard palate is made for a nasal pro-
duced by the back of the tongue in con-
tact with the soft palate.
[11]
GRADUATED EXERCISES IN ARTICULATION
L
In the perfect formation of L, the most
euphonious of the consonants, the front
part of the tongue is applied to the hard
palate in the position of T and D. Vi-
brated breath, instead of being confined
within the mouth, as in D and B, is allowed
to flow freely over the sides of the tongue.
The Backward L.
Special attention is needed in very
many cases to correct the malformation
of this sound. In the harsh-sounding,
unmusical backward L, the tip of the
tongue, instead of being in the front of
the mouth, is raised high towards the
soft palate. With the throat thus com-
pressed by the pressure of the roots of
the tongue, the unfortunate L, instead
of being the most musical of sounds with
its freely flowing vibrations, degenerates
into a harsh guttural noise.
[12]
FORMATION OF CONSONANT SOUNDS
The Backward R.
The backward L is often accompanied
by the backward R, due to the fact that
the position of the tongue is about the
same in both barbarisms. *
In the backward R the tip of the tongue
is raised high in the palatal arch, the
throat is consequently compressed, and
a harsh sound is the result.
R
The perfect R is produced by a vibra-
tion of the tip of the tongue against the
front palate just above the roots of the
upper teeth. This trilled R should not be
made by a vibration of the uvula (as in
the case of the Northumbrian “burr”)
or by a loose approximation of the lips.
In the case of the final R, so purely vocal
that it almost belongs to vowel groups, the
tongue is raised enough to meet gently the
*By "barbarisma" I refer to the perversion of sound, and not of
meaning.
[13]
GRADUATED EXERCISES IN ARTICULATION
وو
hard palate. This movement must be
smooth without the slightest vibration or
“burring.” If this soft R is used in
positions other than final,----e.g., in heart,
horse, art, curse, etc.,—it must be sounded
very delicately.
.
Many tendencies point to the gradual
elimination of the soft R in speech. In
Southern English it is now omitted en-
tirely. In "father, go farther off,” no
difference is made between the syllables
“fa” and “far.” A barbarous exagge-
ration in the form of a harsh grating
sound, resembling a morose grinding of
the back teeth, ” sometimes made by
speakers in certain sections that shall be
nameless, cannot be indorsed on the
grounds of expediency nor of beauty.
This unmusical sound, probably a soft-
ening of the Northumbrian “burr” or
rough Scotch R, may be characterised
as an importation that has not been suffi-
ciently examined at the custom-house;
the sooner turned out, the better for the
[14]
FORMATION OF CONSONANT SOUNDS
euphony of the language. Another curi-
ous aberration from correct standards,
owing to the lack of attention to the sub-
ject of articulation, is the prevalence of
y sound for the soft R; e.g., the eayly
buyd catches the wuym (the early bird
catches the worm).
F and V
The sound of F is made by complete
contact of the lower lip with the edges of
the upper teeth, followed by complete
separation to give a slight degree of per-
cussiveness. If to these movements the
vibration of the breath as it passes through
the larynx is added, the sound of V re-
sults. The ungainly formations of F and
V by protrusion of the lips are carefully
to be avoided. The upper lip has no
motion in these letters. The under lip
rises until it touches the upper teeth,
Faulty formations are very frequently pro-
duced by twitching of the upper lip and
rolling outwards of the lower lip.
[15]
GRADUATED EXERCISES IN ARTICULATION
S and Z
For the hissing sound of S the tongue
comes into contact with the hard palate
in the same position as in T, D, N. The
contact is, however, partial only, as the
breath is allowed to escape through a
narrow opening over the centre of the
fore part of the tongue. In Z the same
position is used with addition of vibrated
breath. The dropping of the tongue, so
that contact is made with the teeth is a
prominent factor in lax articulation. In
the various cases of lisping the tongue
is generally projected between the teeth.
SH and ZH
If the tongue is retracted from the posi-
tion of S so that the middle rises to the
hard palate, the contact becomes close and
is spread over a wider margin of the
gums. Thereby the current of breath
produces the sound of SH. When vocal-
ised breath is substituted for mere as-
[16]
FORMATION OF CONSONANT SOUNDS
а.
piration, ZH results. This sound is
heard in the French “je," and in “pleas-
ure,” “azure," "vision.” Owing to the
unsatisfactory state of our written al-
phabet, which is both defective and re-
dundant, the sound is represented by
varying symbols.
Projection of the Lips
The ugly habit of thrusting forward
the lips in the formations of SH and ZH
should be carefully avoided. Such
movement is entirely superfluous and
tends to prevent any repose in the face.
In correct articulation a good general
direction is that the lips should move
in the vertical and not in the horizontal
direction.
TH and DH
The sound of TH (heard in thin, thigh,
thick, etc.) is formed by complete contact
of the tip of the tongue with the inner
surface of the front upper teeth. The
[17]
GRADUATED EXERCISES IN ARTICULATION
breath is forced over the sides of the front
part of the tongue. Should this breath
be vibrated, the sound of DH results,
heard in then, thee, oaths, clothe, etc.
Owing to the deficiencies of our alphabet,
the same digraph is used in writing to
represent both sounds.
Projection of the Tongue.
In the formation of TH and DH, the
tongue should not be placed between, nor
projected beyond, the teeth. The sounds
can be formed between the teeth, but the
appearance of the mouth is greatly im-
proved when the tongue is not constantly
obtruding itself.
HW and W
In the production of the sound of W
the lips form the vowel oo with a slightly
more contracted opening and are then
forcibly jerked apart. In the voiceless
formation of HW, the same movements
are made with strong initial aspiration.
[18]
FORMATION OF CONSONANT SOUNDS
HY and Y
The sound of Y is formed on the basis
of the vowel ee, and the jaw is then
dropped. The aspirate form HY heard
in Hugh (hyoo), human (hyooman), etc.,
is very similar in sound to the Scotch ch.
As h in the articulations is a mere forci-
ble expulsion of breath, it does not rep-
resent any fixed formation. The h be-
fore w and y produces respectively a
whispered w and whispered y.
[19]
SECTION V.
THE RHYTHMICAL METHOD OF
ORAL GYMNASTICS.
The processes of articulation having
been laid bare, each indivisible element
must now be made the subject of sep-
arate exercise. Presuming that the stu-
dent can utter correctly the “power” "
of each consonant, let him pronounce
any one four times in succession with all
the force it is capable of receiving, e.g.:
P-P-P-P
Now let each forceful utterance of the
"power" be followed with the excep-
tion of the last by one less forceful, so
that the first is “heavy” and the second
is “light.”
e.g., PP-PP-PP-P
The forceful utterance may be fol-
lowed by two, three, or even more light
utterances.
[20]
METHOD OF ORAL GYMNASTICS
The third series could be represented
thus:
Ppp-Ppp-Ppp-P
and the fourth thus:-
Pppp - Pppp-Pppp-P
Such practice will give the student three
important qualities in articulation.
1. Distinctness; i.e., neatness of the
accurate contact of the proper organs.
2. Firmness from acquired organic
strength.
3. Fluency in the easy transition from
one articulation to another. Moreover,
the ear will be trained by these processes
to the appreciation of RHYTHM,-a sub-
ject of supreme importance in the con-
sideration of reading poetry or prose.
The delight of rhythm consists in the
regular repetition on the ear of varied
forceful impressions of the voice, together
with their division by pause. The ear
[21]
GRADUATED EXERCISES IN ARTICULATION
appreciates a varied succession of sounds
more than one monotonous, unvaried
sound.
RHYTHMICAL EXERCISES ON THE
POWERS OF CONSONANTS.
1. N as heard in n-u-n.
(1) N -N _N _N
(2) NN - NN
_NN
-N
(3) NNN - NNN - N
- NNN _N
(4) NNNN - NNNN-NNNN-N
N
(1) T
2. T as heard in i-t.
-T -T -T
(2) TI
_T
(
(3) TTT -TIT -TIT _T
(4) TTTT-TTTT-TTTT-T
_TT
_TI
[22]
METHOD OF ORAL GYMNASTICS
(1) D
3. D as heard in a-dd.
u D DS
-D -D
-D
D
_DD DD -D
(3) DDD - DoD - DDD -D
(4) DDDD-DDDD-DDDD D-D
(1) L
4. L as heard in a-ll.
_L
-L -L
(2) LI -Li -LL
-LL -L
(3) LLL LLL
- LlL - LllL
(4) LILL-LILL- LILL-L
(1) R
5. R as heard in R-ow.
R _R _R
(2) RR RR - RR - R
(3) RRR -RRR - RRR - R
(4) RRRR-RRRRRRRR-R
[23]
GRADUATED EXERCISES IN ARTICULATION
(1) M
6. M as heard in m-ai-m.
-M -M
_M
(2) MM
-MM -MM -M
(3) MMM MMM MMM -M
(4) MMMM-MMMM-MMMM-M
(1) P
7. Pas heard in p-o-p.
-P -P -P
(2) Pe -Pe -Pp - P
(3) Ppp - Ppp Ppp - P
(4) PPPP-Pppp-Pppp-P
1
(1) B
(2) BB
8. B as heard in e-bb.
-B -B _B
_ BB - BB - B
(3) BBB - BBB -BBB - B
(4) BвBB — BвBB — BвBB — В
[24]
METHOD OF ORAL GYMNASTICS
(1) K
9. K as heard in c-o-ck.
-K
-K _K
(2) KK
_KK_K _K
-K
(3) KKK - KKK KKK - K
(4) KKKK-KKKK- KKKK- K
(2) GG
10. G as heard in e-gg.
(1) G G
-
-G _G
-GG - GG
(3) GGG - GGG GGG -G
(4) GGGG-GGGG-GGGG-G
_G
)
NOTE.-So that the student's attention may be con-
stantly directed to allied consonant sounds, these ryth-
mical exercises are arranged so as to follow the sequence
of the “powers " given in tabular form on page 2.
[25]
GRADUATED EXERCISES IN ARTICULATION
11. NG as heard in ri-ng.
(1) NG –NG –NG -NG
(2) NGNG-NGNG-NGNG-NG
(NGNG NG
NGNG NG
(3)
NGNGN - NG
(NGNGNGNG - NGNGNGNG –
NG
(4)
NG NGNG NG
(1) F
12. F as heard in o-ff.
-F _F _F
(2) FF FF FF F
(3) FFF - FFF FF
-FFF -F
(4) FFFF-FFFF-FFFF-F
[26]
METHOD OF ORAL GYMNASTICS
13. V as heard in lo-ve.
(1) V _V _V
_V
(2) V v
V
_Vv
- V
(3) Vyy - Vy - Vvy - V
(4) Vyvy – Vvvv_ V vvv-V
_Vv
(1) S
14. S as heard in hi-ss.
-S -S -S
(2) Ss -Ss _Ss -S
(3) Sss - Sss Sss -S
(4) Ssss-Ssss-Ssss-S
15. Z as heard in bu-zz.
(1) Z _Z _Z _Z
(2) Zz -ZZ - Zz - Z
( (3) Zzz - Zzz - Zzz - Z
(4) Zzzz-Zzzz- Zzzz - Z
[27]
GRADUATED EXERCISES IN ARTICULATION
16. SH as heard in hu-sh.
(1) SH -SH SH -SH
(2) SHSH SH SH SH SH - SH
ISHSHSH
(3)
_SHSHSH
SHSHSH
-SH
SHSHSH SH-SHSHSH SH
SHSHSHSH-SH
(4)
17. ZH as heard in a-z-ure.
(1) ZH -ZH - ZH -ZH
(2) ZHZH - ZHZH - ZHZH-ZH
( ZH ZH ZH
-ZH ZIIZH
(3)
ZH ZH ZH -ZH
ZH ZH ZH ZH - ZH ZH ZH ZH-
ZH ZH ZH ZH - ZH
-
[28]
METHOD OF ORAL GYMNASTICS
18. TH as heard in ba-th.
(1) TH -TH
TH -TH -TH
(2) THTH-THTH-THTH-TH
(3)
(ΤΗ ΤΗ ΤΗ
THTHTH
TH THTH
THTH TH TH -
THTHTH TH –
- TH
THTH THTH - TH
(4)
19. DH as heard in ba-the.
(1) DH DH
-DH -DH -DH
(2) DHDH-DHDH-DHDH-DH
(DH DH DH
DH DH DH
DH DH DH
(3)
-DH
(DH DH DH DH - DH DH DH DH –
DH DH DH DH – DH
(4)
[29]
GRADUATED EXERCISES IN ARTICULATION
20. HW as heard in wh-at.
(1) HW-HW-HW-HW
(2)
(HWHW
-HWHw
HW HW
(HWHWHW
_HWHWHW
HW HW HW
_HW
(3)
-HW
HW HW HW HW-HWHWHWHW-
HW HW HWHW-HW
(1) W
21. W as heard in w-e.
_W W _W
(2) W -Ww _Ww _W
(3) Www_Www_ Www
Www-W
(Wwww – W www
W www – W
(4)
[30]
METHOD OF ORAL GYMNASTICS
22. HY as heard in Hu-gh.
(1) HY HY -HY HY
(2) HY HY-HYHY-HY HY- -HY
(HY HY HY
HY HY HY
(3)
HY HY HY
HY
(HY HY HY HY
НҮ НҮ НҮ НҮ –
(4)
HY HY HY HY – HY
(1) Y
23. Y as heard in y-es.
_Y _Y _Y
(2) YY
Y
YY
_Y
(3) Yyy
Yyy _Y
(4) Y YYY – Y YYY – YYYY-Y
YY
YYY
[31]
SECTION VI.
DUAL ARTICULATIONS.
After the several elements under varying
degrees of stress have been practised,
a step further is to be made in
what may be very appropriately termed
WORD-BUILDING. Having acquired the
“power” of each separate element, we
may proceed to combine two consonant
elements together in accordance with the
following method:-
Firstly. Let both elements of the com-
bination being studied be pronounced
separately three times in succession.
Each brick for our word-building is
thereby thoroughly examined to
whether it has been turned out distinct
in outline and perfectly finished. Any
defect in its formation, as we have said
before, can easily be laid bare by this
method.
see
[32]
DUAL ARTICULATIONS
Secondly. We then combine the two
elements together forcibly, but smoothly,
throwing into the combination all the
voice it is capable of receiving. Two
bricks for our word-building are thus
cemented together by the voice.
Thirdly. Then lists of short words in
which these combinations occur must be
taken and read slowly aloud, with the
attention strongly focussed on the par-
ticular combination that is being made
the object of study. Such a combination,
being made the subject of undivided at-
tention, will receive more organic effort
than the other constituents of the word.
The exact and somewhat exaggerated ar-
ticulation of each element may seem
slightly stiff and formal at first. With
practice, however, will come distinctness,
firmness, and fluency in the easy tran-
sition from one articulation to another.
[33]
DUAL COMBINATIONS WITH N.
Before N.
TPK SF
Aspirates
Vocals
N
DL DH ZV
t-n
den
P-n
l-n
k-n
dh-n
rott'n, writt'n, mitten
sudden, bidden, hidden
open, happen, ripen
fall'n, swoll'n, kiln
broken, weaken, blacken
heathen
snake, sneak, snipe
prison, risen, brazen
often, soften, toughen
haven, oven, driven
Sn
zen
f-n
V-n
[34]
DUAL COMBINATIONS WITH N.
After N.
N
TS TH..
DZ..
Aspirates
Vocals
n-t
n-d
n-s
bent, hunt, tint
band, second, penn'd
wince, tense, pence
guns, tens, pens
plinth, tenth, month
n-Z
n-th
[35]
DUAL COMBINATIONS WITH T.
Before T.
Nasals.
Aspirates
Vocals.
NM
PKFS SH
T
. .L
net
m-t
p-t
k-t
1
I II
scent, pent, cant
attempt, dreamt
hopp'd, dipp'd, cupp'd
lick’d, wreck'd, book'd
tuft, loft, raft
kiss’d, post, fist
hush'd, push’d, crush'd
belt, cult, tilt
s-t
sh-t
l-t
(36]
DUAL COMBINATIONS WITH T.
After T.
.
.
.
T
N..
S SH
LRW
Nasals
Aspirates
Vocals
kitten, bitt'n, beat'n
hits, puts, seats
each, pitch, fetch
tittle, tattle, settle
tray, trick, true
twice, twelve, twenty
t-n
t-s
t-sh
t-r
t-W
[37]
DUAL COMBINATIONS WITH D.
Before D.
Nasals
.. NM NG
V Z DH L B G
D
Vocals
.
vad brav’d, rov'd, hiv'd
zod buzzed, prais’d, siz'd
dh-d breath’d, wreath’d, writh'
n-d mind, kind, sand
told, mild, cull'd
med ramm’d, humm’d, rhym'd
b-d webb’d, brib’d, orb'd
ngd hanged, harangued, winged
ged begg’d, hugg'd, bragg’d
g
[38]
DUAL COMBINATIONS WITH D.
After D.
Nasals
D
N .
TH
L R Z ZH W.
Aspirates
Vocals
den
d-th
d-1
hidd'n, sodd'n, ridd'n
width, breadth, hundredth
ladle, cuddle, candle
dream, draw, dress
adds, beds, tides
rage, judge, ridge
dwarf, dwindle, dwell
dez
d-zh
d-w
(39)
DUAL COMBINATIONS WITH L.
Before L.
Nasals.
Aspirates
Vocals.
TPKFS
L
DBGVZ
t-1
b-
k
g-1
f-1
v-1
s-1
2-1
bottle, fettle, title
needle, idle, saddle
plough, pleat, plan
nibble, cable, blame
clove, click, clew
glade, gloom, glib
flame, flight, shuffle
hovel, drivel, shovel
sleet, slime, slow
muzzle, puzzle, sizzle
Note. Special care should be taken with the com-
binations tl, dl, pl, bl, kl, gl, fl, vl. Too often these musical
combinations are deprived of their due share of voice.
Instead of the easy glide from one consonant to another,
and the full vibration of the beautiful L, we hear that
harsh and unrefined intrusion of the neutral vowel; e.g.
túl, důl, půl, etc., in final syllables.
[40]
DUAL COMBINATIONS WITH L.
After L.
NM
L
TPFSK SH TH
DB V Z..
Nasals
Aspirates
Vocals
l-n
l-t
1-d
l-m
f III i III
l-p
l-b
l-k
l-f
l-V
l-
1-Z
l-sh
l-th
swoll'n, kiln, fall’n
kilt, halt, fault
soil'd, bill'd, filed
elm, helm, film
help, scalp, pulp
Elbe, bulb, alb
elk, silk, bulk
elf, shelf, sylph
delve, solve, shelve
false, pulse, else
balls, tolls, bells
Welsh
wealth, stealth, health
[41]
DUAL COMBINATIONS WITH M.
Before M.
Aspirates
Vocals.
THS
L Z
M
th-m
l-m
rhythm, logarithm
film, realm, o'erwhelm
mile, smite, smear
chasm, prism, schism
Sem
z-m
[42]
DUAL COMBINATIONS WITH M.
After M.
M
TPF TH .
DZ..
Aspirates
Vocals
m-t
m-d
m-p
attempt, contempt
entomb’d, roam'd, tim’d
stamp, lump, limp
tombs, harms, beams
lymph, nymph, Humph-ry
warmth
m-Z
m-th
[43]
DUAL COMBINATIONS WITH P.
Before P.
M
Nasals.
Aspirates
Vocals.
.S
.L
P
m-P
s-P
cramp, limp, bump
spear, speck, spite
gulp, yelp, Alp
l-p
[44]
DUAL COMBINATIONS WITH P.
After P.
P
N..
TS TH .
LR. .
Nasals
Aspirates
Vocals
p-n
p-t
p-1
p-s
p-r
op’n, happ'n, rip'n
wept, kept, grop'd
please, plain, plum
whips, tops, heaps
pray, price, prune
depth
p-th
[45]
DUAL COMBINATIONS WITH B.
Before B.
M
Nasals.
Vocals.
B
.L
m-b
l-b
rhomb, succumb
bulb, alb
(46]
DUAL COMBINATIONS WITH B.
After B.
Nasals
B
DLRZW
Vocals
b-d
b-1
b-r
boz
b-W
barb’d, ribb’d, prob’d
bleat, blight, able
bream, bright, broom
babes, gibes, tubes
buoy, buoyant
[47]
DUAL COMBINATIONS WITH K.
Before K.
.
.
.
Nasal .
Aspirates
Vocals.
.. NG
K
.S
.L
ng-k
s-k
l-k
sink, ink, hunk
risk, disc, bask
hulk, milk, whelk
[48]
DUAL COMBINATIONS WITH K.
After K.
K
N..
TS SH
Nasals
Aspirates
Vocals
LR W
k-n
k-t
k-1
k-s
ker
k-sh
k-W
beckon, thicken, reckon
back’d, act, sack'd
claim, clean, climb
mix, licks, lacks
crown, crony, crumb
ruction, traction
quiver, quire, quorum
[49]
DUAL COMBINATIONS WITH G.
After G.
G
DLRZW ..
Vocals
ర0 00 00
T
T
nagg’d, lugg'd, rigg'd
giggle, glow, glean
grey, groom, grow
pegs, gigs, sags
languid, language, Guelph
g-W
[50]
DUAL COMBINATIONS WITH NG.
After NG.
NG.
K TH .
DZ.
Aspirates
Vocals
ng-k wink, sunk, bank
ng-d hanged, twanged, longed
ng-th length, strength
ng- songs, brings, tongues
[51]
DUAL COMBINATIONS WITH F.
Before F.
M
Nasals.
Aspirates
Vocals.
.S
F
. L
I LE
L
m-f
s-
nymph, lymph, Humph-ry
spheroid, sphinx, spheric
pelf, golf, gulf
l-f
[52]
DUAL COMBINATIONS WITH F.
After F.
N..
F
TS TH.
Nasals
Aspirates
Vocals
LR.
f-n
f-t
f-1
f-s
f-r
f-th
roughen, soften, toughen
drift, raft, puff'd
flax, rifle, ruffle
puffs, coughs, laughs
from, frump, freeze
fifth, twelfth
[53]
DUAL COMBINATIONS WITH V.
Before V.
Vocals ..
[ . .L
lv
1-V
revolve, shelve, solve
[54]
DUAL COMBINATIONS WITH V.
After V.
V
N..
DLZ..
Nasals
Vocals
V-n
v-d
V-1
proven, craven, raven
swerved, revived, bereaved
swivel, devil, snivel
leaves, groves, waves
V-Z
(55]
DUAL COMBINATIONS WITH S.
Before S.
Nasals.
N
Aspirates
Vocals
PKF THT
..L
S
S
sops, cups, hopes
axe, picks, fix
cuffs, ruffs, buffs
births, sabbaths, hearths
dunce, mince, sense
heats, cuts, pits
tulse, else, pulse
p-S
k-
f-s
th-
n-s
t-s
l-s
[56]
DUAL COMBINATIONS WITH S.
After S.
NM
Nasals
S
TPKF.
Aspirates
Vocals
LW
Sen
I I I
S-t
s-1
sem
snout, fasten, hasten
cost, host, mist
sleek, tussle, nestle
smear, smoke, smack
spot, span, speck
swim, sweet, swathe
sky, scum, rusk
spherule, spheric
S-P
S-W
s-k
s-f
[57]
DUAL COMBINATIONS WITH Z.
Before 2.
Nasals ..
Vocals.
NM NG
V DH LDB G
Z
V-Z
dh-z
1-Z
n-Z
d-
saves, grieves, loves
breathes, wreathes, writhes
bills, sells, mauls
Huns, sins, wrens
pads, bids, sides
roams, blames, rhymes
ebbs, robes, cubes
sings, rungs, brings
lugs, legs, lags
m-2
b-Z
ng-Z
[58]
DUAL COMBINATIONS WITH Z.
After 2.
Z
Nasals
NM ..
DL.
Vocals
2-n
z-d
mizen, season, reason
prized, braised, hazed
spasm, catechism
drizzle, dazzle, hazel
-
z-m
2-1
[59]
DUAL COMBINATIONS WITH TH.
Before TH.
Nasals
Aspirates
Vocals
• NG NM
TP
TH
D L
ng-th
n-th
t-th
d-th
m-th
p-th
l-th
length, strength
seventh, Corinth, ninth
eighth
width, breadth, hundredth
warmth
depth
filth, tilth, stealth
[60]
DUAL COMBINATIONS WITH TH.
After TH.
Nasals
M..
s
Ꭱ Ꮃ . .
Aspirates
Vocals
th-m
th-S
ther
th-W
rhythm, logarithm
heaths, deaths, girths
three, thrust, threat
thwack, thwart
[61]
DUAL COMBINATIONS WITH R.
Before R.
F SH TH TP K
Aspirates
Vocals.
R
D B G
f-r
sh-
th-r
tor
der
phrase, free, fright
shrew, shrink, shrive
throw, thrice, through
try, trust, trim
drab, drink, dribble
prop, prim, print
bray, brink, brush
cream, crime, crust
grip, grave, grime
por
b-r
k-r
g-r
[62]
DUAL COMBINATIONS WITH DH.
After DH.
N
DH
Nasals
Vocals
DZ .
dh-n
dh-d
dh-Z
heathen
breath’d, lathed, bathed
lathes, clothes, paths
[63]
DUAL COMBINATIONS WITH SH.
Before SH
TK
Aspirates
Vocals
SH
.L
t-sh
k-sh
l-sh
beach, such, touch
fiction, luxury, traction
Welsh
[64]
DUAL COMBINATIONS WITH SH.
After SH
.
SH
Ꭲ . .
Ꭱ . .
Aspirates
Vocals
sh-t
sh-r
leash’d, lash'd, brush'd
shrimp, shrub, shred
[65]
DUAL COMBINATIONS WITH ZH.
Before ZH
Vocals
D
ZH
d-zh
gem, urge, barge
[66]
DUAL COMBINATIONS WITH ZH.
After ZH
ZH
Ꭰ .
Vocals
zh-d
rouged
(67)
DUAL COMBINATIONS WITH W.
Before W
Aspirates.
Vocals
TKS TH
DGB
twinkle, twitter, tweak
Dwight, dwelling, dwarf
queen, quite, quest
guava, guano, penguin
swell, swindle, swum
buoy, buoyant
thwack, thwart
t-w
d-W
k-W
g-W
S-W
b-W
th--W
NOTE.-Students of the French language can practise
with advantage the following combinations with w, which
do not occur in English:
n-w heard in noir.
r-w heard in roi.
m-w heard in moi.
f-w heard in fois.
p-w heard in pois.
V-W heard in vors.
l-w heard in loi.
[68]
SECTION VII.
TREBLE ARTICULATIONS.
The next step in word-building, or the
practice of treble articulations, should
proceed in a way similar to that of dual
articulations.
Firstly. Each element of the treble
articulation should be pronounced neatly
and distinctly three times in succession.
In other words, the three bricks to be
cemented together should be examined
critically.
Secondly. The three elements are then
combined together, care being taken that
each receives its due share of voice or
muscular effort. The three bricks are
thus cemented together by the voice.
Thirdly. Lists of short words should
be taken and read slowly, with the atten-
tion strongly concentrated on the
par-
ticular combination under review. The
art of reading slowly without the slightest
[69]
GRADUATED EXERCISES IN ARTICULATION
affectation results mainly from the ability
to dwell upon the vocal consonants. The
student should follow the injunction of
the celebrated Mrs. Siddons:
" Learn to speak slowly. All other graces
Will follow in their proper places."
1
[70]
TREBLE ARTICULATIONS ENDING IN
ASPIRATES.
S
LFS gulfs, golfs, sylphs
MFS nymphs, lymphs
LKS silks, elks, baulks
NGKS thanks, winks, lynx
SKS desks, risks, husks
LPS yelps, Alps, pulps
MPS imps, lumps, romps
SPS
asps, lisps, clasps
FTS thefts, lifts, tufts
LTS bolts, colts, tilts
NTS
punts, meants, hints
STS costs, hosts, lists
DTHS breadths, widths,
dredths.
FTHS fifths
LTHS healths
NGTHS lengths, strengths
hun-
SH
LTSH
NTSH
belch, gulch, filch
French, bunch, crunch
[71]
TREBLE ARTICULATIONS ENDING IN
ASPIRATES. (Continued.)
T
LFT
LKT
SKT
LPT
MPT
BST
DST
FST
GST
KST
LST
MST
NST
NGST
PST
TST
DHST
VST
TSHT
Delft, engulfed
milked, mulct, baulked
asked, risked, basked
yelped, helped, scalped
jumped, pumped, stamped
brib'st, barb’st, sobb'st
amidst, heard'st, feared'st
laugh’st, puff'st, snuff'st
digg'st, wagg'st, hugg'st
look'st, mixed, hoaxed
fall'st, repulsed, convulsed
com'st, dream'st, seem'st
lanced, rinsed, against
sing'st, amongst, hang'st
dipp'st, sipp’st, hopp'st
sat'st, hurt'st, put'st
breath'st, wreath'st, writh'st
curv'st, leav'st, sav'st
fetched, patched, pitched
[72]
TREBLE ARTICULATIONS ENDING IN
VOCALS.
Z
LBZ
LDZ
NDZ
BLZ
DLZ
FLZ
GLZ
KLZ
PLZ
TLZ
ZLZ
LMZ
ZMZ
KNZ
PNZ
SNZ
ZNZ
LVZ
bulbs, albs
folds, colds, builds
bands, bonds, bends
tables, sables, cables
fondles, bundles, candles
trifles, ruffles, snuffles
giggles, spangles, shingles
uncles, buckles, shackles
topples, steeples, ripples
bottles, titles, turtles
fizzles, dazzles, puzzles
elms, films, o'erwhelms
prisms, chasms, schisms
blackens, sickens, thickens
opens, ripens, happens
listens, fastens, hastens
prisons, reasons, seasons
wolves, solves, delves
ZH
LDZH
NDZH
bulge, bilge
range, singe, cringe
[73]
TREBLE ARTICULATIONS ENDING IN
VOCALS. (Continued.)
D
LBD
BLD
DLD
FLD
GLD
KLD
PLD
SLD
TLD
VLD
bulbed
troubled, nibbled, hobbled
riddled, cradled, toddled
trifled, muffled, stifled
giggled, haggled, tingled
cackled, buckled, sprinkled
rippled, grappled, tippled
nestled, bustled, tussled
battled, settled, rattled
traveled, driveled,
sniveled
puzzled, drizzled, muzzled
o'erwhelmed, filmed
blackened, wakened,
reckoned
ripened, happened, opened
listened, hastened, fastened
brazened, reasoned, impris-
oned
involved, shelved, solved
bridged, judged, urged
bronzed
ZLD
LMD
KND
PND
SND
ZND
LVD
DZHD
NZD
[74]
SECTION VIII.
QUADRUPLE ARTICULATIONS.
NOTE. In the practice of quadruple articulations and
those of Sections IX. and X, the student must proceed
by the three steps similar to those illustrated for dual
and treble articulations.
QUADRUPLE ARTICULATIONS ENDING
IN ASPIRATES.
BDST sobbed'st, curbed'st,
ribbed'st
GDST hugged'st, bragged'st,
wagged'st
LDST mould'st, hold'st, hurled'st
MDST roamed'st, rhymed'st,
armed'st
NDST loaned'st, found'st,
burned'st
NGDST hanged’st, winged’st,
longed'st
DHDST smoothed'st, writhed'st,
wreathed'st
VDST carved'st, braved'st,
heaved'st
ZDST grazed'st, praised'st,
prized'st
[75]
QUADRUPLE ARTICULATIONS ENDING
IN ASPIRATES. (Continued.
ZHDST
rouged’st
LKST sulk'st, milk'st, baulk'st
NGKST wink'st, thank'st, bank'st
SKST risk'st, mask'st, whisk'st
BLST nibbl'st, hobbl'st, troubl'st
DLST handl'st, fondl'st, bundl'st
FLST trif'st, ruffl'st, stifl'st
GLST wriggl’st, haggl’st, dangl'st
KLST pickľst, tackl'st, trickl'st
PLST coupl’st, rippl'st grappist
SLST tussl'st, husti'st, nesti'st
TLST battl'st, settl'st, bottlst
VLST snivel'st, drivel'st, shovel'st
ZLST puzzl'st, muzzl’st, frizzl'st
KNST beckon'st, blacken'st,
sicken'st
PNST open'st, ripen'st, happen'st
SNST hasten'st, listen'st, fasten'st
ZNST imprison'st, reason’st,
season'st
LPST help’st, yelp’st, scalp'st
FTST laughed'st, puffed'st,
waft'st
[76]
QUADRUPLE ARTICULATIONS ENDING
IN ASPIRATES. (Continued.)
KTST remarked'st, embarked'st,
corked'st
LTST haltst, built'st, felt'st
MTST attempt'st, tempt'st,
dreamt'st
NTST want’st, punt'st, sent’st
PTST supped'st, hoped’st,
whipped'st
STST
post'st, cost'st, list'st
SHTST ħushed’st, pushed'st,
brushed'st
LTSHT | filched, belched, squelched
NTSHT | flinched, bunched, crunched
LFTHS twelfths
LKTS mulcts
QUADRUPLE ARTICULATIONS ENDING
IN VOCALS.
NDZHD changed, ranged, singed
LDZHD bulged, bilged
[77]
SECTION IX.
QUINTUPLE ARTICULATIONS
ENDING IN ASPIRATES.
LBDST
BLDST
DLDST
FLDST
GLDST
KLDST
PLDST
bulbed’st
troubled'st, nibbled'st,
stabled'st
cradled'st, fondled'st,
handled'st
trifled'st, ruffled'st, sti-
fled'st
haggled'st, mangled’st,
giggled'st
buckled’st, pickled’st,
suckled'st
rippled'st, suppled'st
coupled'st
nestled'st, bustled'st,
hustled'st
settled'st, battled'st,
wittled'st
traveled'st, sniveled'st,
marveled'st
puzzled’st, muzzled'st,
frizzled'st
sickened'st, blackened'st,
thickened'st
SLDST
TLDST
VLDST
ZLDST
KNDST
[78]
QUINTUPLE ARTICULATIONS ENDING
IN ASPIRATES. (Continued.)
SNDST hastened’st, fastened'st,
listened'st
ZNDST reasoned'st, seasoned'st,
imprisoned'st
LMDST o'erwhelmed'st, filmed'st
LVDST shelved'st, revolved'st,
solved'st
DZHDST | judged’st, edged’st,
bridged'st
LKTST mulct'st, milked'st,
baulked'st
LPTST helped’st, scalped’st,
pulped'st
MPTST
stamped'st, cramped’st
NSTST winced'st, fenced'st,
bounced'st
[79]
SECTION X.
SEXTUPLE ARTICULATIONS
ENDING IN ASPIRATES.
LTSHTST filched'st, belched'st,
squelched'st
NDZHDST changed'st, singed’st,
arranged'st
NTSHTST crunched'st, flinched'st,
bunched'st
LDZHDST | bulged’st, bilged’st
[80]
SECTION XI.
THE IMPORTANCE OF NASALS AND
VOCALS IN SPEECH.
For purposes of effective and musical
speech the differences between the three
classes of consonant sounds can be em-
phasised by showing that the vocals and
nasals are capable of receiving musical
expression.
(a) They can be prolonged on a note.
(6) They can be varied in pitch
either by (1) a musical slide
or by (2) going up and down the
scale on single notes.
Instead of being, therefore, mere whis-
perings incapable of being dwelt upon,
these vocal and nasal consonants are of
equal importance with the vowels in the
equipment of a good speaker. Here we
have one of the great secrets of effective
and beautiful speech. The power of
[81]
GRADUATED EXERCISES IN ARTICULATION
dwelling on the vocal consonants is, in
the majority of cases, the result of delib-
erate practice alone. The uncultivated
speaker is immediately betrayed by his
curtailment of the vocal consonants. His
attention never having been directed to
their power in speech, they are, in his
mouth, deprived of their due share of
voice, and differ only slightly from their
corresponding aspirates; e.g., sup-stance
for substance, secont for second, recok-
nise for recog-nise, etc. The cultivated
speaker, on the contrary, dwells upon
these vocals, throws into them all the
voice they are capable of receiving, and
thereby mellows his whole enunciation.
If this matter were uniformly attended
to, there would be an end to the re-
proaches heaped upon the head of poor
neglected English by foreigners on the
ground of the lack of musical qualities in
the language. We have not, it is true,
a great preponderance of the more open
vowel sounds, so suited to the notes of
[82]
NASALS AND VOCALS IN SPEECH
song; but our clusters of consonants,
when not neglected and deprived of their
due vocality, give a strength and dignity
that well compensate for the lack of open
vowel scunds in the language.
[83]
SECTION XII.
CONCLUSION.
Correct articulation must be taught on
the plan here set forth. With the sub-
ject presented as a separate study by
itself, the instructor has a simple method
of imparting and the pupil a ready
means of acquiring the first and most
important point in the management of
the voice.
The advantages of diligent elementary
practice are obvious. Not the smallest
vibration is wasted, and every sound is
made to tell. The speaker, therefore,
with a moderate voice, but accurate and
distinct articulation, may make himself
heard without effort at a greater dis-
tance, and consequently can be better
understood, than one who, with a strong
voice, but bad articulation, dissipates the
sound in confusion.
584)
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