Music Lib. MT 40 lifornia onal THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MEREDITH WILLSON LIBRARY STANLEY RING COLLECTION MUSIC LIBRARY 4- - 5 n the market, either in title or music Occasionally .they come near it, but as a rule the public has no sympathy with imitators and the name of a? well-known composer on. an imitation is like-Jy to act as a boomerang Originality always' pays The easiest way for a composer- of music or a lyric wuiter to keep up to date is to watch the trend of events in the daily papers Another and very important reason why popular songs nre in greater demand to-day than heretofore lies in the fact that only a few years ago a person who was the proud owner of a piano was looked upon as the possessor of wealth. In these days every workin'gmaii who lias a family owns a piano, an organ, banjo, guitar or mandolin, and frequently several instruments may be found in a. single family. Of course, this creates a demand for the lighter class of popular music. Then again, the public schools all teach the rudiments of music, free scholarships in conservatories have been estab- lished, which induces a large number of young folks to com- pete. In fact, it is almost as much a part of a child's educa- turn as learning to read and write. I might go even farther and 1 say that every girl in the United States whose parents can possibly afford it is to-day receiving music lessons. A large demand for popular songs is also created by the phonographs, gniphophones, pianolas and automatic instru- ments of all kinds. It must also be remembered that until a few years ago there was 110 such thing as a vaudeville show, merely a few variety houses, patronized by men only. As there were no women and children in the audience, popular ballads could not be heard by those who now purchase them. Minstrel shows were the only performances where a ballad was sung. This has all been changed. At least one vaudeville theatre has been established in every city of any size in the United States. If the audience hoars a song that strikes its fancy, the local dealer is promptly besieged with orders. The*vaude- ville houses to-day present the best singers that the market affords, where only a few years ago a high -class singer on the variety stage was unknown. The final prejudices against the popular ballad by high- class singers were overcome when Mine. Adelina Patti intro- duced and sang in America on hoi- fare-well tour a song writ- ten by me, especially for the occasion, entitled "The Last Farewell." That broke down all harriers, and to-day any high-class performer in the world will gladly sing a popular ballad. The illustration of songs has al,->o helped to make them popular. Having the scenes and characiers of a song thrown upon a canvas during its rendition li.is proved a great hit in every city where it has been introduced, and, as all my songs readily lend themselves to illustration, it has aided in popu- larizing them. I have s"ijt photographers to such distant points as California, Texas, Alaska, and even the Philippines, wherever a scene is laid, to secure original photographs taken on the spot. A set of negatives frequently costs as much as $1,500. But the public wants the best and shows its appre- ciation when it receives it. The sale of songs shows that the American public appreciates originality in song composition as in everything else. , Only a few years ago a sheet music counter in a depart' ment store was unheard of. To-day in the largest dry goods emporiums and department stores in New York, down to the smallest in every city in the United States, can be found a music counter where all the popular songs of the day are on sale. Musical comedy, which has been the rage for the past few years, has also been instrumental in creating and increasing the sale of popular songs, as a musical comedy is made up almost entirely of popular music." It may also be interesting to the readers of this book to glance over the remarkable list of popular song hits written and composed, both words and music, by Mr. Harris. Each and every song on ike list hos sold over oue hundred thousand copies, while some have sold as liigh as one million and a half: "All for the Love of a Girl," "After the Ball," "After Nine," "A Rabbi's Daughter," "Always in the Way," "Break the News to Mother," "Better Than Gold," "Before and After Taken," "Cast Aside," "Creep, Baby, Creep," "Can Hearts So Soon Forget," "Dear College Chums," "Don't Forget io Tell Me That You Loves Me Honey," "Do You Think You Could Learn to Love Me." 4 'J>own in the Vale of Shenandoah," "Dreaming Love of You," "Fallen by the Wayside, v "Fifty Years Ago," "For Old Times' Sake,". "Farewell, Sweetheart May," "For Sale, A Baby." "Fly Away Birdie to Heaven," "Hearts," "Humming Baby to Sleep/' "Hello, Central, Hello," "Hello Central, Give Me Heaven," "I've Just Come Back to Say Good-bye," "I've Been Faithful to You," "I Love Her Jfust the Same," "Is Life Worth Living," "I Love You in Spite of All," "I Was Talking in My Sleep," "I Wonder, I Wonder," "I Heard Her Voice Again," "1 Used to Know Her Years Ago," "I've a Longing in My Heart, for You, Louise," "In the Hills of Old Carolina," "I'm Wearing My Heart Away for You," "In Dear Old Fairyland," "In the Good Old Fashioned Way," "I'm Trying So Hard to Forget You," "Just Behind the Times," "Just Tell Her That I Loved Her Too," "Just One Kiss," "Just Next Door," "Just A Gleam of Heaven in Her Eyes," "Kiss and Let's Make Up," "Leonie Queen of My Heart," "Little Sweetheart," "Last Night as the Moon was Shining, "Love and Kisses" (Caprice), "Ma Fili- pino Babe," "Mid the Greenfields of Virginia," "Ma Black Tulip," "Must We Say Good-bye Forever, Nellie Dear," "Only a Tangle of Golden Curls," "One Night in June," "On the Sands at Night," "Sitting by the Kitchen Door," "Strangers," "Since Katie Rides a Wheel," "School Bells," "Sweet Maid Divine," "There is No Flag Like the lied, White and Blue," "The Organ grin dor's Serenade," "There'll Coine a Time," "Then Comes the Sad Awakening," "Too Late! Alas, Too Late!" "Tin Not Always Bullets that Kill," "The Tie That Binds," "The Last, Farewell" ( Adelina Patti's Fare- well Song), "The Girls of My Dreams," "Will I Find My Mamma There," "While the Dance Goes On," "When the Lights Went Out," "Which Shall It Be," "Waiting for Foot- steps That Never Came," "What Does the Flower Say," "My Heart is Weary Just for You," "Linda, Can't You Love Your Joe," "Suppose I'd Meet You Face to Fae\ :l;e strains ved Her Too," achieved great success. The St Louis Pair gave birth to numberless songs having reference to "The Pike"; and new fashions and customs, as well as a thousand other incidents and causes, could be mentioned as haviug.lKen re- sponsible for certain styles in songs Songs, however, are usually classified, by Hie writers, pub- lishers, and trade, wilder the following principal heads: a. The Home, or Mother Song. b. The Descriptive, or -Sensational Story Ballad, ^. The popular Waltz Song. (On ;i thousand and one subjects.) d. The Coon Song. (Rough, Comic, Refined, Love or Serenade, etc. ) e. The March Song. (Patriotic, War, Girl, Character, etc.) f. The Comic Song." (Topical, Character, Dialect, etc.) g. Tlic Product ion Song (for Interpolation in big Musi- cal Productions, entailing tbc use of a Chorus of Men, or Girls, or both, and certain novel action, costume, or business.) h. The Popular Love Ballad. j. High (Mass Ballads. k. Sacred Songs. There are, of course, many subdivisions and classifications about which it is not necessary to enter into detail, however, as each of the above heads will be treated separately in an- other chapter. The lyric writer should bear in mind that originality, con- ciseness, good metre and rhythm, and above* all, good gram- mar, are the main essentials required. If the song be Char- acter, Dialect, or otherwise, the lyric writer should be care- ful to keep in the atmosphere of the subject, to seek strong points and good wit wherever applicable. If you cannot write lyrics for a certain style of song, don't attempt it. "Every man to his last" is a very wise and practical axiom for lyric or melody writers of popular songs. Choice of good singable words in the writing of lyrics is also vital. Words with harsh consonants, many syllable*] words, words or phrases that do not seem to speak or sing smoothly, should be studiously discarded. Tell your tale tersely, make it as strong as possible, and let it almost sing itself as you recite it. In most song lyrics, excepting those for topical, or comic songs, two verses are ample. One argument in favor of this is, that the public singer of your songs, who is, of course, its best advertisement, rarely cares to use more than two verses. If three are written, and the third verse contains, as it nat- urally would, the climax, or moral of your story, the public seldom hears it sung, and accordingly entertains a totally wrong impression as to the merits of your composition, which to them appears unfinished, and, therefore, uninterest- ing. Thus, a handicap is attached to the song at the outset. IB A very important point is the construction of the Ilefra'in, or Chorus, of the son*;. Upon this part of the composition rests, in a majority of instances, the ultimate success or fail- ure of a song. Wherever possible, it is a very wise plan to write your chorus words so that they are equally applicable to every verse. There are exceptions to this, of course, but it is well to apply this rule pretty generally, as the public readily retains the words of the one refrain, whereas two different sets often retard popularity. In Comic, or Topical songs, the two or three lines preceding the last one are fre- quently varied, as they contain the; "laugh" or "gag" line in other words, the strong point of the verse is here revealed. Tlif last line in the chorus, or refrain, is very rarely changed, as nearly all songs that come under the head of "Popular" depend on this line for their title. To put it shortly, get a good line for the linixh of your chorus, and your successful title is assured. It is hardly necessary to add that a really good title is almost everything, though to find one is almost as dillieult as the naming of the first baby. It is most es- sential that the public get their attention fixed on this line at the outset. In this way they retain it in their mind and know what to nsk for in purchasing. ' Not H<> many years ago, refrains to songs were not con sidered so important, but now the chorus is looked upon as the kernel of the whole song. In ninety-nine cases out of every hundred it is (he words of the refrain and the melody that the public sings, whistles and hums, and so it becomes known as "the popular hit." Alliteration is often very effective in song lyrics. One excerpt from a well-known verse is here quoted to show the cleverness of this trick: longer fairy, linger longer Lou.'' Clever catchy lines, or phrases, arc always to be looke) Somewhere in the world the moon is shin-ing, Shining on the fields and golden hills, Also avoid using for singing a scries of notes or tones which are so placed that the singer will be kept on the higher tones, such as the d's and e's and occasional f s. The untrained singer cannot produce a series of these tones with- out great strain, and finding this so, naturally takes little fancy to the song. EXAMPLES. (BAD) girl I know, she's fair - est (GOOD) She is the sweet - cst girl I know, she's fair - est of them all, If the reader wilt sing over these two examples in good and bad treatments of the use of high notes, he will find at once ho\v much easier it is to sing the lower melody. The same rouge is used, but in the lower example it will he noted that after each high note the melody takes the voice down- wards and immediately relieves the vocal strain. In the up- per example, Ihe singer is subjected to a sustained strain which grows in tension as the melody progresses. Glaring imitation of known melodies should never be countenanced by a composer who amis at success. To start with, it shows weakness in thought, and lack of self -reliance, individuality and originality. Reminiscence in a slight degree in ''popular" melodies is often a benefit, as it assists popularity in a new song. The untrained listener, for example, feels that he or she has "heard something that began like that before"; but it is so disguised that one cannot recall just precisely what it is like. Curiosity is thus aroused, the gentle critic keeps humming your melody in an effort to discover its original source, and the more it is hummed, or discussed, the closer it gets towards that much desired goal Popularity.. Bare-faced imitation in melodies or styles, never, as a rule, succeeds. The public is a tickle quantity, ever looking for something new which it devours quickly when found. No sooner is its appetite ^appeased, than it grows tired of its former food and seeks something with a new flavor. "Hia- watha" was new in idea: the name, the atmosphere, the rhythm were all new, and instantly, caught the public fancy. So tremendous a success was it that hundreds of writers, some good and many bad, lost no time in trying to secure financial beneiit from this one new idea, and the musical market was flooded with Indian intermezzos of every kind and description. The rest died, literally unhouored and "un- sung.'' Many seemingly poorly written songs have achieved the greatest kind of popularity, but in every case, if the songs are analyzed by anyone versed in such matters, it will be found that either in lyrics, melody, or both, an original and novel idea that appealed to public fancy has existed. It is the knowledge of these little originalities that are neo not, however, think that your work is over when yon have transferred this inspiration to p.'ipcr. Far from it. It is here that the successful composer really starts. It is just as well to put your melody aside for a while; let your enthusiasm have time to grow cold; take it up again in a few days and see if it appeals to you as strongly as it did at first. See if it sings us easily, see if you have placed it in the rigid key for the In'st popular range (this will -be discussed in another chapter) -ami see if your intervals nre easily sung Discard anv awkward accidentals, if possible. ve- memler the simpler it. is liie better the chniire of real popu- larity. If you discover, after a. strict analysis f all Ibese pointy that jour melody stands the test, and possesses all these essentials, you may then rest absolutely uMsured that so far you are on the right track. Next comes the piano accompaniment to your melody. This requires ft careful amount of thought. It must he easy in execution, it must lay under the fingers well, it must be rich in harmony, it must not, as a rule, contain chords of more than three notes, or, at the most, four; it must not be written in difficult and unpopular keys, and it must be inter- esting. Reference to the chapter that follows will explain the salient points which it is desirable to have in mind in writing au effective accompaniment. CHAPTER III. THE ACCOMPANIMENT. Rest keys to write in Range of Melody Different forms of Accompaniment. The first thing to determine in writing accompaniments to a song is the key in which your melody is to be placed. There is, of course, no hard and fast rule as to what is and what is not a desirable key; for in this matter, as in all others, circumstances alter cases. The best key may be de- termined after due consideration as to whether the song is intended for, or most suitable to, a certain range or quality of voice which comprises the following well known divisions : Soprano or Tenor (Range.) Contralto or Baritone ( Range. ) Basso (Range.) It is not to be supposed, of course, that the music for a brilliant, sparkling waltz-song should be written to suit a voice of low range; or, again, that a swingy, stirring story of the sea, war, etc., should be set to a melody that suggests nothing but a high soprano voice, or any other equally sim- ilar unharnionious combination of lyrics and melody. Con- K sequent ly the composer must exercise discretion in placing his melody for the soug in question in a range most adapted to the proper rendition of the song and melody. The above remarks are, perhaps, more important as applied to songs coming under the heads of high, class ballads, sacred songs, and those especially written for certain artists. For the accepted various classes of popular songs, such as Home, or Mother songs, Waltz, Coon, March songs, etc., then? is practically a set limit of range, which is generally between "<'" below the staff, and "E" on the stall'. Thus: Very rarely should a popular melody be set below or above these notes. The reason for this is, of course, that popular songs are, for the most part, sung by the masses, who, as a whole, do not possess cultivated voices, and the natural, untrained voice cannot produce tones outside of the range given without great effort. .Whatever is un effort in the production or rendition of a popular song should be eliminated before its public appearance. Moreover, the range of notes given is ample for any effective melody. Some of the tunes that have existed for centuries the old "folk songs" of many lands have all been encompassed within a much more restricted range than the example quoted. In- deed, many of the more popular songs of the day have melo- dies that are comprised within six notes, say, "E" to "C," both on the stuff. Popular songs written in the keys which have sharps (the sign for which is ) for their signature are not in favor, excepting the key of G Major, which has one sharp, F, for its signature. Experience has. shown .that for some 27 peculiar reason the masses, as well as quite a number of more or less educated musicians, do not finger or readily read music written in sharp keys. The following keys are the best to select from : C Major (No Sharps or Flats). G Major (One Sharp, F). F Major (One Flat, B). B Flat Major (Two Flats, B and E). B Flat Major (Three Flats, B, E, and A). For popular songs, where a soft or plaintive melody is desired, A Flat Major, (Four Flats, B. E. A and D) is useful. Minor keys for melodies to pathetic, weird, mysterious or mock sentimental lyrics, can be used with beautiful and ex- cellent effect. The usual Minor keys to be used in popular songs, are those which have the same signatures as the first five Major keys above mentioned, and are as follows : A Minor (No Sharps or Flats). E Minor (One Sharp, F). D Minor (One Flat, B). G Minor (Two Flats, B and E). C Minor (Three Flats, B, E and A). In each of the above keys, no matter which is used, the experienced composer of popular songs always; keeps the melody within the accepted limited range, as already in- dicated. Occasionally, as in a big catchy march number, where a rousing climax is desired, an F or F Sharp above, is admissible, but if nothing is lost by avoiding such notes, so much the better. Simplicity of accompaniment, with pretty harmonies, is a golden rule. Many an otherwise excellent popular song has been a failure because the accompaniment was too dif- ficult for the majority to play easily. Kemember, the patron 98 or the popular song docs not, as a rule, desire to exert any effort in -its rendition. On the other hand, the reader must not suppose that a bald, uninteresting accompaniment should be the rule. The aim of the composer should be to retain the interest even in the accompaniment. Arpeggios in a quick tempo, runs requiring skilful execu- tion, quick jumps in either right or left hand, are to be avoided in accompaniments to popular songs. The ordinary pianist or accompanist discards the use of a song containing such features, because he lacks the necessary skill required for an adequate rendition. A sudden change of key in a song is often very effective and brings a delightful surprise to the ear. This device will often relieve what would otherwise be a rather monotonous melody. Such sudden change, however, must be made to occur, as a rule, quite naturally and smoothly, and must (K7 here real!? to A!?.} There sat a tnasd re - pin - ing, Dn Cu - pid to that The lov - era,' \vh.s - peid greet - ings. Those sto - len in - ter * I ~r - ' }~ ( }^^~ v*ut c&nae. It* grist walls cooH not bar M* rack night Would ftll ' tb maid's heart Kith ening bars of the verse melody and accompaniment, closing with a domi- nant chord, or occasionally a chord of the seventh. Another effective prelude can be constructed by similarly using the closing strain of the refrain. Except in songs of a strictly fanciful order, or dainty, high class compositions, where a prelude may often he independent, and only slightly sug- gestive of what follows, this rule should be adhered to. It serves the double purpose of introducing the thi reasonable possible chance of suc- cess for them. Suooooo far me publisher means success fin- ancially for you. Incidentally, your reputation as a writer is brought to the front, which naturally counts for a good deal to you. Reputation, however, will avail nothing if the quality of your work does not at all times back it up. It is far better to write two or three songs that are really good and novel in all points than to "manufacture" an endless stream of Mss. of merely mediocre quality. CHAPTER VII. HINTS AND DON'TS. Watch your competitors. Note their success or failure ; analyze the cause and profit thereby. Note public demand. If you do not feel confident to write or compose a certain style of song, stick to the kind you are sure of, and gradu- ally, adapt yourself to the others, if possible, before public- ly presenting your work. Avoid slang and vulgarism; they never succeed. Avoid many-syllabled words aflid tMuijeJ^ontaining hard consonants, wherever possible. In writing lyrics be concise; get to your point quickly and when you arrive there make the point as strong as pos- sible. Simplicity in melody is one of the great secrets of suc- cess. Let your melody musically convey the character and sentiment of the lyrics. Don't try and write your music with a fine pointed pen. Use either a stub or a three-pointed music pen. Don't use blotting paper on your written composition; let the ink dry. Use a good black ink for writing. You can buy regular Music Ink at any good stationer's. Try and acquire a good hand for writing music, If you find you cannot accomplish this or acquire the knack with any degree of satisfaction, let some one do this who is com- petent. A poorly written manuscript is always handicapped when presented to a publisher, artist or manager. 59 Use good music paper. Cheap paper is never satisfac- tory; the ink dries through and shows on the reverse side. If it be necessary to scratch or erase any of your writing it is practically impossible to write on the erased portion of a cheap paper again without hopelessly blurring the whole thing. In syllabling your words under the notes, the divisions are not always made according to Webster, but are very often ruled by the way the respective divisions sound when sung. The following examples of five words selected at ran- dom will show the difference in syllabling words in songs : ll'ebstcr Mus - ic I'ocal di'ision Mu - sic Stor - y Sto - ry Prom - en - ade Prom - e - nade Re - cord Rec - ord Sail - or Sai - lor Some composers in writing their manuscripts use repeat marks for measures which are exactly similar in either the treble or bass clef to the preceding measure or measures. Thus : ?: Glid ing round the ball room With your "ba - by i ^ 9 9 or, where two measures in both treble and bass clefs a/e ex- actly similar to the two preceding measures, the following form of repeat mark is used : It is, however, always better to avoid the use of these devices. Write everything out just as it should appear in printed form. No mistakes can then arise. When writing "popular" songs, always remember that it is the masses, the untrained musical public, to whom you must largely look for support and popularity. Don't, there- fore, offer them anything which in subject or melody does not appeal to their ear. It is so much time thrown away if you do. When you write to or visit a publisher, don't worry him with a history of what you have written or accomplished. He cares nothing about it, for no matter how many suc- cesses you may have had, or how popular your name may have become, if the composition which you offer does not possess the merits he regards as necessary, your former successes will not make your present offering of any greater value than that which would attach to the work of an ut- terly unknown writer. If a publisher tells you coldly that he cannot use your composition, do not show or feel that you are hurt ; and do not make the foolish mistake of telling him that he evidently does not know a good composition when he sees one. Even if he may suffer from so great a misfortune, recollect that he is the purchaser and the party who has to invest the money. It is therefore his privilege to accept or refuse, and it is his judgment that counts and nobody else's. Al- ways be gracious and polite, for you never know how soon you may need one's interest and good will in some other connection. Don't be in a hurry. Don't think that everything you write is a "sure hit." Neither you nor anyone else knows the outcome until the public pronounces the verdict. Don't let your vanity get the upperhand of you. Often an outside suggestion properly considered will be of ines- timable value. Don't be "penny wise and pound foolish." If with the outlay of a few more dollars you can enhance the value of your work out of all proportion to the extra money invested, it will surely be a case, if ever there was one, of money well spent. Don't forget to enclose a separate typewritten set of the words, if your Ms. be a song. Don't get too easily discouraged. If at first you don't succeed, try again. Don't give up "pushing" your song until it has had every chance. Remember that because you or your im- mediate friends have grown tired of it through familiarity, there are thousands and thousands to whom it is still a novelty. Don't, when your name at last appears on the title page of a piece of music, sit all day admiring it. Get out and hustle. Let others do the admiring. It is much more ef- fective. Finally, don't fold your Mss. when mailing them. Either roll them or place them flat between paste-boards. How TO COPYRIGHT. If you desire to copyright your own composition or any other piece of music, address a letter to the Librarian of Congress, Copyright Office, Washington, D. C., and kindly request him to mail you one or more Application Copyright Registration Blanks, which he will send you free of charge. Directions for filling out Application Blanks and fullest information on how to proceed to obtain correct coyprights for your compositions will be found upon the back of the Blank. Entry fee for a composition is 50c. ; Certificate fee 50c. extra; making a total of One Dollar. The law explicitly requires, in addition, the transmission of a printed copy of the title, which must be sent with the Applica- tion in order to insure entry of copyright. If typewritten title is sent it will be used, but at the risk of the applicant. No entry can be made upon a written title. Preferably the printed title cover of music should be sent, when this contains complete title with names of author of the words and composer or arranger of the music and the instrumentation. Typewritten titles are accepted upon the sole responsibility of the sender. The law also requires, in addition to the entry of title, the deposit of two complete copies of the best edition of the work itself, not later than the day of publication in this or any foreign country. Copies of the blank application forms can be obtained as stated above. Make requests for blank forms in separate com- munications, not as part of a letter relating to other copyright business. Remittances should always be made preferably by money order, or by express order or blank draft. Currency or coin should not be sent, and checks only upon special arrangement with the Register of Copyrights. Postage stamps should under no circumstances be sent for copyright fees. DICTIONARY OF RHYMES DICTIONARY OF RHYMES A, compare ER. OR ACE Cont. AB plaice mlsplacr race ecklace cab tab space outlace crab drab trace outpace dab gab abase replace nab grab apace retrace slab scab birthplace solace stab debase surface AC, ACK deface terrace disgrace unlace back cardiac embrace Interlace black maniac chase populace clack zodiac dace displace claque demoniac face efface 'crack elegiac grace grimace hack sac horserace knack sack lac slack ACH, ATCH lack smack batch smatch pack stack catch snatch .plague tack hatch swatch quack track latch thatch attack whack match attach lilac wrack patch despatch nick-nack arrack ratch detach almanac scratch AGO ACHE (see AKE) ace lace ACT base mace brace pace act fract case place fact pact 67 ACT Cont. ADE Cont. tact infract unlade decade tract protract upbraid degrade attract react accolade dissuade co-act refract ambuscade evade compact retract barricade facade contact diffract bastinado grenade contract subact cannonade invade detract subtract cavalcade milkmaid: abstract transact centegrade parade distract cataract colonnade fusilade enact counteract esplanade gasconade- cpact Incompact afraid lemonade exact precontract arcade marmalade extract re-enact blockade masquerade impact brigade overlade Also the preterites of verbs brocade palisade in ack, as tack'd. cascade pasquinade AD chamade renegade cockade retrograde add pad crusade serenade bad plaid Also the preterites of verb* brad rad in ay, ey, eigb, as prey'd,. clad sad slelgh'd. fad shad gad wad ADGE glad dryad badge cadge had footpad A T^IT* lad monad AFM2 mad salad chafe waif naif unsafe ADE safe vouchsafe aid made bade maid AFF, ALF blade raid draff giraffe braid shade gaff riff-raff cade spade laugh tipstaff fade trade naff cenotaph glade persuade quaff epitaph grade pervade staff paragraph jade relald carafe quarter-staff lade tirade distaff AFT AGE, compare IDGE Cor aft raft cortege heritage craft shaft courage hermitage- draft waft crlbbage parentage draught abaft dotage parsonage graft ingraft engage pasturage haft handicraft enrage patronage Also the preterites of verbs hostage percentage in off, nugh, as quaff'd. marriage personage manage pilgrimage AO menage vlllanage bag quag message concubinage brag rag foliage cag sag crag scrag AID (see ADE) drag shag fag slag AIL ALB flag stag ale- detail gag swag bail entail hag tag bale exhale Jag wag brail female knag tag-rag dale pail lag zig-zag fail pale nag flail quail frail rail AGE, compare IDGE gale sail age passage grail sale cage peerage hail scale gage potage hale shale gauge presage jail snail page salvage mail stale rage sausage male swale sage scutage nail tail stage village wail tale swage wreckage wale trail wage appanage whale vale adage appendage assail veil assuage disengage avail impale baggage equipage blackmail prevail mirage cabbage bewail regale mortgage corsage curtail retail AIL ALE Cont. A1Y ANE Cont. .wholesale farthingale vein explain aventall nightingale wain henbane countervail wane maintain abstain murrain AIM AME amain obtain aim tame arraign ordain blame acclaim attain pertain came became campaign profane claim declaim champagne refrain dame defame complain regain fame disclaim constrain remain flame exclaim bontaln restrain frame inflame curtain retain game misname detain sustain lame nickname disdain appertain malm proclaim distrain entertain name reclaim xlomaln hurricane frame surname enchain same overcame shame AINT AIN ANB bane pane blain plain brain plane cane rain chain reign crane rein deign sane drain skein fain slain fane sprain feign stain gain strain grain swain lain thane lane train main twain mane vain pain vane faint feint quaint saint taint acquaint attaint complaint mayn't plaint constraint distraint restraint AIR ARE air flare bare gare bear glair care glare chair hair dare hare e'er heir ere lair fair mare fare ne'er 70 AIR ARE Cont. pair aware pare beware pear coheir scare compare share declare snare despair spare elsewhere square ensnare stair forbear stare forswear swear howe'er tare impair tear (verb) prepare there repair ware whate'er wear whene'er where where'er yare debonnalr affair howsoe'er armchair millionaire AIRS ARES theirs unawares And the plurals of nouns and the third persons singular of verbs in are, air, eirj as mares, repairs. blaze craze daze feaze AISE AZE phrase praise raise raze gaze amaze glaze cross-ways graze paraphrase maze Also the plurals of nouns, and the third person singular of verbs in ay, ey, elgb; as lays, obeys, weighs. \il-\n; bait calculate bate candidate date captivate eight castigate fate celebrate gait celibate gate circulate grate congregate great consecrate hate contemplate late cultivate mate dedicate pate delegate plate delicate prate deprecate! rate slate sate straight irate strait migrate wait narrate abate prostrate await rebate belate relate collate sedate create translate cremate abdicate debate abrogate dilate accurate elate adequate estate advocate frustrate aggravate ingrate agitate innate alienate desolate animate desperate anotate dislocate antedate dissipate apostate educate arbitrate elevate arrogate emigrate aspirate emulate cachinate estimate 71 AIT ATE Cent. AIT ATB Cont. extricate suffocate confederate expostulate formulate syndicate congratulate exterminate fornicate terminate considerate facilitate fortunate tete-a-tete contaminate illiterate generate titivate co-operate illuminate hesitate tolerate corroborate immoderate hibernate triturate debilitate importunate imitate vindicate degenerate inanimate immolate violate deliberate initiate impetrate abominate , denominate insatiate imprecate accelerate depopulate intemperate Innovate eccentuate disconsolate intimidate instigate accommodate v discriminate intoxicate Intimate accumulate effeminate Invalidate intricate adulterate elaborate investigate irfitate affectionate emancipate prognosticate Inundate annihilate emasculate recriminate magistrate anticipate equivocate regenerate meditate articulate eradicate reiterate micturate assassinate evaporate reverberate mitigate capacitate exaggerate subordinate moderate capitulate exasperate unfortunate nominate chalybeate expectorate obstinate coagulate oscillate commemorate AITH, ATH (see EATH) passionate commiserate penetrate communicate AKE, compare EAK perforate compassionate ache sake perpetrate Inveterate bake shake personate Inviolate brake snake derogate legitimate break spake predicate matriculate cake stake profligate necessitate drake steak propagate participate fake take regulate reprobate ruminate precipitate predestinate predominate flake hake wake awake rusticate premeditate lake bespake separate prevaricate make betake stipulate procrastinate quake corn-crake subjugate potentate rake forsake 72 AKE, compare EAK Cont. AL Cont keepsake partake physical hymeneal mandrake overtake principal Imperial mistake snowflake prodigal intellectual namesake undertake rational original seneschal poetical AL several political pal shall cabal canal cymbal dismal capital cardinal carnival comical conjugal cordial sepulchral temporal terminal tragical whimsical colloquial problematical prophetical reciprocal rhetorical satirical sempiternal dual equal feudal corporal criminal critical dogmatical equinoctial equivocal schtsmatlcal tyrannical final decimal formal festival ALD legal funeral bald piebald loyal general scald emerald martial genial Also the preterites of verbs medal hospital In all, awl; as call'd, bawl'd. metal inimical mettle initial ALE (see AIL) mortal interval naval liberal ALP (see AFF) partial literal pedal littoral ALK AUK, compare ORK portal madrigal rival regal magical medical auk balk mawk stalk royal mineral baulk talk rural total municipal musical calk chalk walk tomahawk ni wk trivial mystical admiral natural animal nocturnal ALL annual octagonal awl call arsenal pastoral ball caul autumnal pedestal bawl crawl cannibal personal brawl drawl ' ALL Cont. AME (see AIM) fall stall AMP gall tall hall thrall camp scamp haul trawl champ stamp mall wall clamp swamp pall appal cramp vamp scrawl enthral damp decamp shawl football lamp encamp small . install sprawl waterfall AN squall windfall ban artisan bran barracan ALM (see ARM) can caravan clan charlatan ALT fan Christian fault asphalt man courtesan halt assault pan musician malt default plan ottoman salt exalt ran partisan vault scan pelican span publican ALVE swan cosmopolitan tan attitudinarian calve salve van latitudinarian halve wan organ began orphan AM divan pagan cram dam beldam madam foreran trepan sedan platitudinarian unman cam quondam clam damn wigwam malgam ANCE dram diagram chance balance ham diaphragm dance enhance jamb epigram glance consonance lamb monogram lance countenance ram oriflamb prance defiance sham telegram trance dissonance swam parallelogram advance ignorance bedlam askance importance ANCE Cont. ANO Com. maintenance circumstance slang harangue ordinance complaisance swang rang purveyance concordance twang sang sufferance temperance sustenance utterance ANGE expanse vigilance Intrance deliverance change arrange mischance exorbitance grange estrange romance extravagance range exchange seance exuberance strange interchange ambulance inheritance arrogance intemperance ANK ANCH bank rank blank shank blanch paunch crank slank branch ranche drank spank ganch stanch frank stank haunch carte-blanche hank thank launch plank disrank prank mountebank AND clank band command bland demand ANM: (see ANCE) brand disband gland exband ANT grand withstand hand contraband ant adamant land countermand aunt arrogant sand deodand cant combatant stand reprimand chant complaisant strand understand grant consonant wand pant conversant plant cormorant ANE (see AIN) rant slant covenant disputant remnant dissonant ANG servant dominant bang gang supplant elegant clang hang tenant elephant fang pang transplant ignorant ANT Cont. jubilant poignant lieutenant protestant militant recreant 40lant recusant displant ruminant enchant termagant gallant vigilant Implant visitant merchant exorbitant mordant extravagant rampant Inhabitant recant predominant miscreant significant petulant AP cap pap chap rap clap sap dap scrap flap slap gap snap hap strap lap tap map trap nap- wrap enwrap entrap mishap APIS ape nape cape rape chape scape crape scrape drape shape grape tape Jape escape APSE lapse perhaps elapse relapse Also the plurals of nouns, and the third person singular of verbs in.ap; as maps, raps. APT apt adapt Also the preterites of verbs In ap; as rapp'cl. APH (see AFF) AQIE (see ACK) AR are felspar bar friar car guitar char hookah far hussar jar liar mar mortar pa nectar par unbar scar angular spar avatar star calendar tar caviare war cinnabar afar popular bazaar regular briar secular cellar scimitar catarrh singular cigar titular collar vinegar debar particular durbar perpendicular barb garb ARB rhubarb AU< K ARSE farce sparse arc parse ark ARCH, compare ARK and bark cark clerk ABSH dark arch parch lark larch starch mark march countermarch park ABO bard custard card dastard carl guard discard hard dotard gnarl marl lard drunkard nard leopard shard niggard arm sward petard balm ward regard barm yard renard harm bastard retard palm blackguard vineyard psalm blizzard wizard bombard disregard qualm alarm charade interlard coward Also the preterites of verbs in ar; as barr'd. barn darn ARF (see AFF) ARGE barge large carp charge marge harp ARGE Cont. discharge o'ercharge enlarge surcharge ARK shark spark stark embark monarch remark hierarch. hereslarch A HI. parle snarl ARM becalm calm charm farm disarm gendarme salaam ARN tarn yarn ARP snarp counterscarp 77 ARSli see also ARCH) ASH Cont. harsh marsh mash slash pash smash ART plash thrash rash trash art start sash abash cart tart dart apart hart braggart ADK heart depart ask flask mart dispart bask hask part impart cask mask smart counterpart ASM ARTH (see EARTH) chasm sarcasm ARVE spasm cataplasm mlasm enthusiasm carve starve phantasm protoplasm AS ASP ass amass asp grasp brass cuirass clasp hasp class harass gasp rasp crass morass grass repass lass surpass ASS (see AS) mass coup de grace pass embarrass AST alas erysipelas blast avast ASE (see ACE) cast caste bombast forecast fast repast ASH roast outcast ash dash last overcast bash flash past enthusiast brash gash vast iconoclast cash gnash aghast clash hash Also the preterites of v< crash lash In ! as mass'd. 7t ASTE baste waste chaste distaste taste haste waist paste Also the preterites of verbs In ace, aae; as lac'd, chas'd. AT AUK (see ALK) AUN (see AWN) AUNT, compare ANT daunt flaunt gaunt jaunt taunt haunt vaunt avaunt bat sat AUSE AUZE brat spat cat sprnt cause pause chat tat clause applause fat that gauze because flat vat Also the plurals of nouns. gnat cravat and the third person singular hat cushat of verbs in arv; as laws, caws. mat polecat pat acrobat rat AVE ATCII (see ACH) brave shave cave slave ATE (see AIT) clave stave ATH (see EATH) crave gave wave behave ATHE (see EATHE) grave deprave AUB (see OB) knave lave engrave forgave nave margrave AUD pave outbrave bawd abroad rave architrave broad applaud save fraud defraud laud AW Also the preterites of verbs in aw; as caw'd. AUGH (see AFF) AUGHT (see AFT CRT) chaw claw craw daw draw flaw gnaw haw jaw law AW Cont. maw cat's-paw paw guffaw raw hawhaw saw Jackdaw squaw withdraw straw overawe thaw usquebaugh foresaw AY Cont. AWL (see ALL) AWN compare ORN awn brawn dawn drawn fawn lawn axe flax lax tax wax borax climax pawn prawn spawn yawn withdrawn AX gimcracks poll-tax nicknacks relax thorax parallax Also the plurals of nouns, and the third person singular of verbs in ak; as backs, lacks. grey hay Jay lay may neigh pay play pray prey ray say slay spray stay stray sway they tray tway way weigh whey affray allay array astray away ballet belay betray bewray convey decay defray delay denay dismay display essay gainsay horseplay hurrah inveigh levee obey portray purvey relay repay soiree subway survey tramway dejeuner disarray disobey matinee roundelay stowaway runaway cabriolet AY aye bray clay day dray eh? fay flay fray gay AZE (see AISE) CRE, CHRE (see ER) E, EA (see EE) cease geese EACE, EASE: greas-- fleece - EACE, EASE Cont. lease decease niece decrease peace increase piece release apiece surcease caprice frontispiece BACH beach bleach breach each peach preach reach teach Impeach EAD (see EDE and EED) EAF (see IEF) EAGUE league league fatigue Intrigue renege EAK, compare AKE Words In eek may be al- lowed to pass as almost per- fect rhymes with beak. EAK, compare AKE Cont teak bezlque weak bespeak week critique wreak obllqu* antique i \ i , EEL deal weal dell heal eel heel feel keel leal kneel meal wheal peal wheel peel zeal reel anneal seal appeal squeal conceal steal congeal steel repeal teal reveal EALM ELM elm helm realm whelm overwhelm beak peak EALTH. bleak pique health wealth cheek reek stealth commonwealth clique seek creak creek sheik shriek EAM EEM eke sleek beam gleam freak sneak bream team leak speak cream teem leek squeak deem theme meek streak dream beseem 81 EAM KEM Cont. blaspheme seem esteem stream ream extreme scheme misdeem scream redeem scam supreme EAMT KMPT EAP cheap sheep creep sleep rtcep steep heap sweep keep weep neap asleep peep beweep EAR dreamt contempt tempt exempt beer career attempt cheer clear deer dear BAN BEN ear cohere fear compeer Words in con may be al- fleer endear lowed to pass as almost per- gear revere tect rhymes to bean. hear severe bean guillotine here sincere clean Intervene jeer veneer dean sheen leer auctioneer e'en seen mere bandolier glean skein near buccaneer green spleen peer chandelier keen teen queer chanticleer lean wean rear chiffonier mean ween sear disappear mien between seer domineer queen canteen sheer engineer screen careen smear gondolier demesne convene sneer hemisphere foreseen demean spear interfere machine margarine sphere mountaineer obscene nicotine steer muleteer routine quarantine tier musketeer serene submarine veer mutineer unclean tambourine year persevere aniline vaseline adhere pioneer crinoline velveteen appear privateer austere charioteer EANT (! see ENT) besmear 82 EARCH (sec ERCH) EAT, EET Cont. KARD (see ERD) escheat retreat estreat obsolete EARL (sec URL) replete plebiscite EARN (see ERN) EART (sec ART) EATH, ETII baith . wreath EARTH ERTH breath underneath heath death berth earth ncath faith birth mirth wraith dearth worth And the archaic third per EAST son singular of verbs. beast least east priest EATHE feast breathe wreathe Also the preterites of verbs seethe bequeathe tn eu.se; as ceas'd. sheathe EAT, EET EAVE "Words in eet may be al- cleave bereave lowed to pass as almost per- eave conceive fect rhymes to beat. eve deceive beat sheet grieve unweave bleat sleet heave perceive cheat stjeet leave receive eat sweet sleeve relieve feat treat thieve reprieve feet wheat weave disbelieve fleet complete achieve interleave greet conceit aggrieve interweave heat concrete believe meat deceit meet defeat EB, EBB mete discreet neat discrete bleb web seat entreat ebb beck check deck neck geek ECK neck peck apec speck wreck ECT ED Cont bred behead v dead homestead dread Instead tread misled wed o'erspread abed EDE (see EED) sect project affect protect EDGE, compare AGE, IDGE aspect reflect collect reject edge pledge correct respect fledge sedge deject select hedge wedge direct subject kedge allege dissect suspect ledge knowledge detect architect effect circumspect EE (see Y. second list) eject disaffect elect disrespect bee hour! erect Indirect flea lessee expect Intellect flee on dit Infect Incorrect free rupee Inspect recollect glee trustee neglect retrospect gree calipee object he cap-a-pla see committee Also the preterites of verbs she Coterie In eckj as henpeck'd. spree key tea knee ED thee lea three lee bed red tree me bled said agree nee bread shed bawbee plea fed shred decree sea fled sped degree devotee head spread foresee disagree lead stead fusee filigree read thread grandee jubilee S4 EE (see y, jeu d'esprit mortgagee nominee peccavl pedigree recipe referee repartee simile second list) Cont vis-a-vis animalculae con amore extempore felo de se fac simile hyperbole lapsus linguae sotto voce Words ending in y short; as merry, symmetry. EED, EDE bead bleed breed creed deed feed heed knead lead mead meed need plead read seed speed steed weed concede decreed exceed impede indeed linseed precede proceed recede succeed stampede intercede supersede velocipede EEP (see IEP) EEK (see EAR) breeze cheese ease freeze please seize sneeze squeeze tease these wheeze appease disease displease dives Also the plurals of nouns In e, ea; as fees, seas. JEET (see EAT) EF (see IEP) EFT cleft left theft weft bereft beg egg leg keg EG peg seg philabeg EGM (see EM) EIGN (see AIN) EIPT (see AIN) EINT (see AINT) EEL (see EAL) EIT (see EAT) EL ELK bell libel elk whelk belle mongrel kelk cell hell dwell knell ELM (see EALM) ell mell fell quell ill' smell sell spell shell help whelp swell petrel kelp yelp tell rebel well repel ELT yell sorrel befell towel belt melt compel vowel dealt pelt dispel yokel dwelt smelt excel asphodel felt welt. expel calomel gelt foretell citadel gazelle doggerel ELVE hotel infidel hovel muscatel delve shelve impel parallel helve twelve laurel sentinel eld geld held ELD beheld upheld withheld Also the preterites of verbs in ell; as swell'd. gem hem kemb phlegm stem them anthem condemn contemn anadem apothegm diadem requiem stratagem EME (see EAM) ELF delf elf pelf self shelf himself dreamt tempt attempt EMPT contempt exempt unkempt !0 EN ENCE. ENSE Cont. den acumen eloquence Innocence fen citizen eminence Indifference ben cozen evidence Intelligence ken dozen excellence Incontinence men foemen frankincense impenitence pen frozen inference Impertinence ten hyphen impotence Improvidence then omen Impudence magnificence wren open indigence munificence amen oxen _ indolence omnipotence sharpen seamen syren semen vixen denizen IN' II warden oxygen bencn tench clench trench ENCE , ENSE drench wrench quench intrench stench retrench cense penitence dense preference fence providence END hence recompense pence reference bend forefend sense residence blend impend thence reverence end misspend whence vehemence friend lend commence violence tend mend condense benevolence vend rend defence circumference amend send dispense concupiscence ascend spend expense silence attend offend Immense suspense befriend obtend incense abstinence commend portend Intense conference contend pretend nonsense confidence defend protend offence consequence depend suspend pretence continence descend transcend prepense difference distend unbend prudence diffidence expend apprehend negligence diligence extend comprehend 87 END Cont. ENT Cent condescend reprehend excrement lament dividend reverend exigent misspent recommend facculent o'erspent firmanent ostent Also the preterites of verbs flatulent present In e as kenn'd. fraudulent prevent fundament relent ENE (see EAN) government repent imminent resent impertinent rodent ENGE Implement sergeant avenge revenge impotent solvent Impudent strident ENGTH Incident student indictment tangent length strength indigent torment indolent torrent ENT Innocent unbent insolent abasement bent extent Instrument accident lent ferment languishment aliment pent foment ligament argument meant frequent malcontent banishment rent indent management battlement scent intent monument blandishmen sent invent negligent chastisement spent condiment arbitrament circumvent tent confident armipotent concurrent vent continent astonishment competent went corpulent belligerent complement absent detriment bellipotcnt compliment ascent different benevolent nourishment assent diligent disparagement nutriment augment discontent embellishment Occident cement document establishment opulent consent element equivalent ornament content eloquent experiment parllment crescent eminent impenitent penitent descent evident imprisonment permanent dissent excellent improvident pertinent ENT Cont. ER, ERR, compare OR. UR precedent tournament blur martyr president turbulent burr master prevalent underwent cur miller provident vehement err miser punishment violent purr mitre ravishment virulent sir. murmur redolent accomplishment slur nadir regiment acknowledgment spur ogre represent admonishment stir oyster resident indifferent whirr pauper reticent Incandescent aver forerunner reverent incompetent barber gardener rudiment incontinent blister grasshopper sacrament intelligent brother harbinger sediment irreverent cadger islander sentiment lineament caper lavender settlement magnificent cipher lawgiver subsequent malevolent cloister loiterer succulent mendicament clover luclfer supplement omnipotent codger mariner tenement temperament coster massacre testament cruiser messenger dapper minister daughter murderer ENTS (see ENCE) dempster officer deter passenger BP differ pillager douceur presbyter nep skep foster prisoner rep demirep ginger provender step heifer register hunger reveller inter sepulchre EPT lawyer slanderer leather sophister crept accept ledger flr kept adept leper fur sept except Lobster her slept Intercept lover myrrh wept lubber pepper ER, ERR, compare OR.UR Cent. ERCH pilfer bespatter church search prefer canister lurch smirch plunger. character perch research rambler chorister robber conjurer ERD rooster cottager rover cucumber bird herd scatter cylinder heard Also the sherd preterites of verbs simper dowager in er, nr; as err'd, purr'd. singer flatterer sinner forager i > i i sister foreigner EHK skipper sorcerer scurf surf sloper terrier serf turf smatter theatre smuggler thunderer soldier traveller ERGE sombre spinster stammer usurer villager victualler dirge merge diverge urge purge verge steamer voyager scourge emerge stopper waggoner serge immerge stutter wanderer surge summer administer temper adulterer toper artificer \ ERM trapper astronomer firm affirm transfer astrologer term confirm trooper filibuster worm whisper idolater arbiter Interpreter ERN armiger philosopher barrister amphitheatre burn adjourn churn concern Also the comparative of ad- dern discern jectives and nouns formed earn return from verbs in y; as higher, fern learn buyer. hern quern kerne spurn ERCE (see ERSE) yearn stern 90 tern turn urn curse hearse nurse purse terse verse worse accurse adverse amerce asperse averse blurt curt dirt flirt hurt vert wert wort advert assert avert concert convert culvert desert ERN Cont. sojourn overturn ERSE coerce converse commerce disperse immerse perverse rehearse reverse traverse intersperse reimburse universe i n\ i dessert pert shirt skirt spurt squirt divert exert expert inert insert Invert pervert subvert controvert ERTH (see EARTH) curve disserve nerve observe serve preserve swerve reserve conserve .subserve deserve l>, ESS bless profess cess recess chess redress cress actress dress address guess artless less assess mess caress press compress stress confess tress congress yes countess abbess countless abscess depress access digress duress distres? express duchess excess repress fortress sadness fruitless seamstress gladness sickness guileless spotless guiltless success hopeless tigress impress transgress largess acquiesce madness adultress oppress bashfulness possess coalesce princess effervesce ES, ESS Cont. ET, ETTE pennyless foolhardlncss bet casttnet And numerous compounds in debt cigarette ! and ness. fret cadet get carpet E5B (see EESE) Jet coquet let coquette met corset ESH net couplet flesh thresh set cricket fresh afresh sweat cygnet mesh refresh threat diet wet dulcet ESK whet fidget Jet forget desk morcsque abet gazette burlesque arabesque banquet hamlet grotesque picturesque basket leaflet beget magnet EST beset pamphlet blanket picket best digest bracelet piquette breast chest brunette quiet guest crest Jest divest regret rosette quartet quintet lest Infest roulette coronet nest Inquest sestet epaulette pest Invest quest molest rest obtest test protest vest request west suggest Abreast unrest arrest interest attest manifest 'bequest overdrest contest palimpsest jt at At serviette signet streamjet target ticket toilet triplet upset vignette alphabet amulet epithet etiquette floweret marionette martinet mignonette minaret minuet novelette omelette parapet Gclcol anchoret parroquet Also the preterites of verbs basinet pirouette in essj as express'd. bayonet rivulet ET, ETTE Cent. EX .vioiet wagonette ex convex vex Index ETCH annex perplex fetch stretch apex codex reflex vortex sketch wretch complex circumflex ETH (see EATH) ETE (see EAT) EVE (see EAVE> BUD (see ur>E) BUM (see UME) Also the plurals of nouns and the preterites of verbs In eckt as decks, recks. EY (see AT) I (see T. first list) EW, compare OO bib nib crib rib eve Imbue glib squib --flew few due hew IBE Jew hue knew nephew bribe prescribe mew mildew scribe proscribe new perdue tribe subscribe pew purlieu ascribe transcribe sue pursue describe diatribe view renew imbibe superscribe yew review inscribe adieu statue anew subdue 1C (see ICK) askew avenue bedew bellevue Impromptu Interview ICE, compare ISE curfew parvenu dice slice emew residue ice vice endue retinue mice advice ensue revenue nice concise eschew price device ICE, compare ISE Cont. ICK Cont entice splice lunatic poetta precise rice lymphatic politic suffice thrice magnetic prophetic paradise sacrifice majestic dyspeptic spice mechanic eccentric mimetic epidemic ICH (see ITCH) memphitic hieroglyphic narcotic Idiomatic ICK nomadic morganatic pacific paleocrystic brick artistic pathetic panegyric chick bucolic phlegmatic peripatetic kick prognostic plethoric prognostic lick quixotic nick realistic ICT pick rhetoric quick sick romantic schismatic strict conflict addict inflict afflict relict stick splenetic convict contradict thick antiseptic tick trick antagonistic arithmetic Also the preterites of verbs in Ick; as kick'd. attic ' beatific arctic cabalistic ID antic catholic bid eyelid caustic choleric chid florid chronic didactic grid foetid colic dogmatic hid forbid comic domestic kid frigid critic dramatic lid hybrid cynic electric quid morbid drastic emetic rid orchid hectic emphatic slid placid physic erratic aquid rabid picnic euphonic acid solid plastic exotic amid sordid rustic forensic arid torpid acrostic heretic' bestrid turgid agnostic Iambic Also the preterites of verbs aquatic fantastic in ry; as married, buried. H IDE IB (see T) IEP beef sheaf bide beside n r bride bestride chide collide brief reef 8 ,/ T 11 ?, chlef thief Si flef belief hide deride , . pride divide *' reller ride misguide side preside JEGE slide provide stride reside liege asslege tide subside siege besiege wide parricide abide regicide IELD aside subdivide astride suicide field wield betide Infanticide shield yield Also the preterites of verbs weald in le, y> as died, defied, and Also the pre terites of vcrbi in eel; as wheel'd. IDES IEN (see EAN) ides besides Also the plurals of nouns IEND (see END) and the preterites of verbs in idej as tides, rides. IERCE (see SREE) IDGE, compare AGE IES (see IS, ISE) bridge college fidge steerage ^^ < see EAST) midge privilege ridge sacrilege IEVE < see EAVE) abridge IF, IFF IDST cliff whiff didst amidst skiff caitiff midst sniff caliph Also the second person sin- stiff dandriff gular of verbs in Id; as bldd'st. tiff mjdwlfe plaintiff sheriff fife knife life IF, IFF Cent hieroglyph IKK in: rife strife wife dike gllke shrike spike strike child mild alike like Pike dislike ILD wild IPT Also the preterites of verbs drift whiff't In lie} as smll'd. revll'd. gift rift lift shift ILE 1ft adrift thrift snowdrift aisle reconcile tiff'd spendthrift bile tile chyle vile 10 file while guile awhile big rig Isle beguile dig snig mile compile fig sprig pile deflle gig swig smile edile grig twig stile erewhile Jig whig style exile Pig wig pensile gentile prig whirligig revile bibliophile crocodile IGH (see T. first list) IGHT (see ITE) IGN (see INE) IGUE (see EAGUE) ILL, compare ILE bill 111 chill kill drill mill fill pill frill quill Sill rill grill shrill hill skill ILL, compare ILE Com.. 1MB spin instil chime rhyme still missile climb slime swill pencil clime time thrill peril crime thyme till Sibyl grime sublime trill codicil lime maritime will daffodil prime overtime distil deshabille fuini utensil IMES idyll betimes sometimes Also many words In lie ac- cented on the penultimate or antepenultimate syllable; as fertile, juvenile. Also the plurals of nouns and the third person singular of verbs in Ime; as times, rhymes. milk ILK silk ILT IMP gimp imp jimp limp pimp built hilt IMPSE; gilt jilt guilt milt glimpse limps quilt stilt spilt tilt IN, compare INE ILTH bin spin chin thin filth tilth din tin fin twin gin whin brim rim grin win dim skim inn akin grim slim kin begin him trim lln buskin hymn limb whim pilgrim pin shin chagrin eodlA limn pseudonym sin griffin prim synonym skin margin -- IN, compare INE Cont. INE, compare EAN maudlin welkin muffin cannakln raisin javelin ruin kilderkin sanguine mandolin satin manikin tiffin origin tocsin palanquin virgin violin urchin IMCK mince since prince wince quince convince rinse evince INCH clinch pinch finch winch inch IN or llnk'd instinct tlnct precinct distinct succinct * extinct IXD bind rind blind wind find behind grind remind kind unkind mind brine chine fine kine linee min nine pine shine sign sine shrine syne thine trine twine vine whine wine assign combine condign confine consign decline define design divine enshrine dine entwl-ne Incline Indlgn opine recline refine repine saline supine akallne brigantine columbine concubine countermine crystalline incarnadine interline leonine porcupine superfine turpentine undermine There is no certain rule as to the letter I in the suffix Ine being long or short, but in either case words so ending form passable rhymes. It is long in feline, confine, crystal- line, turpentine, etc.; short in genuine, heroine, jessamine, medicine, etc.; In such words as alkaline, uterine, custom is unsettled. rvc Also the preterites of verbs In laei as twin'd. bring cling ging fling ING Cont. INT king thing dint quint ring wing flint squint sin? wring hint tint sling darling lint asquint spring: foundling mint imprint sting startling print suckling: sterling yearling stripling IN IH string underling swing- absinthe hyacinth plinth labyrinth Also the present participles of verbs. and participal ad- IV.X Jectlves In laughing;. Ing; as drinking, jinks minx sphinx INGE IP cringe tinge chip clip trip whip dingo fringe hinge twinge lozenge Infringe dip drip hip courtship cowslip equip singe orange lip friendship springe syringe nip gossip swinge rip hardship pip horsewhip scrip landslip INK ship township sip tulip blink sink skip turnip brink sklnk slip worship chink slink snip fellowship clink stink strip workmanship drink swink tip ink think link wink IPE pink zinc rink bethink gripe ripe shrink forethlnk pipe snipe IPE Cent. IRK Cont. stripe type wipe archetype prototype stereotype IPSE Eclipse rhymes with the plurals of nouns, and the third person singular of verbs In fp; as nips, clips. IQl E (see EAK) IR (see ER) IRCII (see URCH) IRD (see URD) kirk lurk murk chirm firm term worm smirk stlrk work IRL (see URL) IRM affirm confirm infirm IRST (see URST) IRT (see ERT) IKTII IRE, compare AR, ER birth mirth dire admire dearth worth fire aspire earth gyre attire WC T / hire conspire 1 . 1 '- ire desire his whiz lyre entire fizz breeches mire expire phiz pyre quire sire inspire inquire require Alst> nouns the plurals of ma in cy, yj as mercies. spire retire squire satire ISS tire transpire bliss axis wire umpire hiss chalice acquire kiss crisis miss dais IRGE (see ERGE) splss dismiss this gratis IRK wls jaundice burke flrk abyss lattice dirk jerk amis lettuce 100 ISS Cont. ISH Cent. notice prejudice cherish radish novice prolapsls finish relish phthisis synthesis flourish squeamish remiss verdigris nourish rubbish service amanuensis parish astonish thesis aposlopesls perish demolish analysis diagnosis antithesis metamorphosis ISK artifice metempsychosis chrysalis metropolis brisk basilisk emphasis necropolis disc obelisk paralysis parenthesis frisk odalisque risk tamarisk ISE, compare ICE whisk guise enterprise ISM prize advise rise assize chrism mysticism size chastise prism nepotism wise comprise schism organism devise despise abysm occultism disguise excise exercise idolise altruism optimism premise revise pulverise realise baptism deism pantheism pessimism supplies Improvise theism plagiarism surmise sacriflse truism radicalism surprise signalise aphorism realism agonise solemnise barbarism socialism authorise summarise cataclysm solecism canonise sympathise criticism stoicism catechise circumcise civilize tyrannise immortalise systematise egotism euphemism syllogism vandalism criticise euphuism vulgarism heroism witticism Also the third person sin- gular of verbs in yj as cries, tries. hypnotism mesmerism anachronism malthuslanlsm ISH ISP dfsh pish crisp wisp fish banish lisp 101 1ST IT Con t. fist optimist minute refit. list organist omit remit mist chemist outwit submit twist consist orbit transmit whist desist permit benefit wrist dentist pewit Jesuit assist exist rabbit perquisite artist insist persist linguist ITCH. resist papist sophist pessimist bitch rich subsist pianist ditch twitch alchemist pugilist hitch fitch amethyst rhapsodist itch flitch annalist ritualist niche which analyst satirist stitch witch bigamist socialist switch bewitch dogmatist vocalist pitch enrich eucharist anatomist exorcist antagonist ITE herbalist diplomatist humourist evangelist bite incite oculist rationalist blight indict Also the preterites of verbs in !) as hiss'd. bright cite fight indite invite midnight flight moonlight IT fright polite bit twit height recite cit whit kite requite chit wit knight twilight fit writ light unite flit acquit mite upright grit admit night zoophite hit biscuit pight aconite knit bowsprit plight acolyte Pit commit quite anchorite quit emit right slight sit forfeit rite smite split hermit sight spite 102 ITK Cont. IVE Cont. sprite despite forgive punitive tight excite furtive purgative trite foresight massive relative white disunite motive sensitive wight appetite native subjective write dynamite outlive talkative acclte expedite passive affirmative affright oversight pensive contemplative alight parasite restive demonstrative aright proselyte suasive diminutive bedight reunite votive distributive benight satellite fugitive Imaginative contrite stalactite laxative inquisitive delight sybarite narrative prerogative objective submissive ITH perspective restorative frith sith positive kith smith pith zenith IX 1 1 in: fix onyx six prefix blithe scythe mix statics hithe tithe nix transfix lithe writhe affix crucifix matrix intermix IVE (as in dive) mechanics mathematics dive five hydrostatics rheumatics drive gyve Also the plurals of nouns in hive connive lck} as bricks. rive contrive shrive deprive IZE (see ISE) strive derive thrive revive O alive survive arrive ago go beau hoe IVE dough lo give sieve foe mo live active fro no 103 */ v^iriii. OAD (see ODE) oh roe stingo zero OAF (see OFF) sloe apropos OAK (see OKE) though calico throe cameo OAL (see OLE) woe banjo comme il faut, domino OAM (see OME) bureau de novo OAN (see ONE) chapeau embryo chateau falsetto CAP (see OPE) cocoa dado fandango folio OAR (see ORE) depot indigo OARD (see ORD) echo in petto grotto libretto OAST (see OST) gusto mistletoe negro mulatto OAT (see OTE) stilletto octavo OATH (see OTH) tobacco piano tomato portmanteau OB tornado sirocco torpedo soprano bob rob virago braggadocio cob sob volcano imbroglio fob squab adagio magniflco hob swab duodecimo innuendo lob throb photo oratorio knob cabob plateau peccadillo mob hobnob polo seraglio nob nabob quarto generalissimo rondeau quid pro que OBE solo globe robe lobe conglobe OACH probe broach abroach OCE (see OSE) brooch approach coach encroach OCK loach reproach block cock poach brock clock 104 ^ r\sf*. WVU% ODGE crocjc toque bodge lodge dock rock dodge podge flock bannock frock bullock hough havoo OFF knock haycock cough scoff lock hillock doff trough lough padlock off mocK peacock shock pibroch OFT sock stock shamrock croft soft cough'd scoff'd OCT oft aloft decoct concoct Also the preterites of verbs OC, OGL'E In ock; as shock'd. bog shog clog agog OD cog prologue cod clod God quad quod rod dog hog fog frog catalogue demagogue dialogue epilogue hod shod Jog pedagogue nod sod log synagogue odd tod prog plod trod pod wad OKI:. compare OISE ODE choice rejoice bode woad i voice code abode goad commode OID load corrode void alkaloid mode explode avoid amyloid node forebode devoid cycloid ode a'-la-mode asteroid spheroid road episode rode incommode Also the preterites of verbs toad in 07; as buoy'd. 105 OIL OKE boll spoil broke spoke coll toll cloak stroke foil despoil croak yoke moll embroil folk yolk oil recoil joke awoke soil turmoil oak bespoke poke Invoke OIN smoke revoke coin subjoin soak artichoke foln sirloin groin proln OL join quoin doll extol loin adjoin loll alcohol purloin rejoin disjoin enjoin poll carol capitol OINT OLD joint olnt point anoint appoint disjoulnt counterpoint disappoint bold cold fold gold behold cuckold enfold foretold hold freehold OISE, compare OICE mould unfold noise counterpoise old uphold poise equipoise scold withhold Also the plurals of nouns, and the preterites of verbs In sold told wold manifold marigold oy> as toys , employs. Also the preterites of verbs OIST in oil, ole, owl; as roll'd. bowl'd. foist moist hoist rejoic'd OLE, compare OWL OIT bole goal coal hole colt exploit dole jole quoit dacoit droll molo adroit foal pole 106 ON, compare UN Cont. role console bonbon parson shoal Creole canon poison sole parole cannon prison stole pistole colon reason whole aureole felon season cajole girandole Iron squadron condole glrasole Jemon tendon jargon amazon OLN mammon battalion etol'n swol'n horizon cinnamon lexicon clarion OLT million dies non myrmidon environ bolt holt orison halcyon colt moult pro et con criterion dolt thunderbolt simpleton diapason automaton phenomenon 01. VK pardon sine qua non solve Involve absolve resolve ONCE (see UNCE) convolve revolve dissolve OND dome foam home loam OM (see UM) OMB (see OOM) mome roam tome bond conn'd donn'd fond pond abscond almond beyond despond second correspond diamond vagabond ONE, compare OWN OMP bone dethrone pomp swamp cone enthrone romp drone postpone groan monotone ON, compare UN hone telephone con swan loan moan don anon lone prone gone arson atone stone 107 ONE, compare OWN Cont. OO, compare EW Cont. tone alone undo billet-doux throne undertone Waterloo entre nous zone withdrew cockatoo ONG yahoo kangaroo long prong along among OOD, compare UD. UDE song belong brood mood strong ding-dong brew'd rude thong prolong coo'd woo'd throng bon-vivant food wrong ONK (see UNK) ONSn; (see UNCE) ONT, compare UNT ont want OOP hoof proof roof wdof aloof behoof disproof reproof OO, compare EW OOK, compare UCK blew you book rook blue accrue brook shook bcew ado cook took chew bamboo crook betook clue bas-blue fluke forsook coo canoe hook mistook lew crew look undertook loo drew pooh glue OOL, compare TILE rue grew screw coup buhl spool sfirew fou cool stool slew canoe fool tool threw cuckoo pool befool through debut rule cesspool too imbrue school true shampoo two skldoo OOM, compare UME who taboo bloom gloom woo tattoo doom groom ifs OOM, compare UME Cont OOT, compare TJTE loom tomb boot moot plume whom coot root rheum womb fluto shoot room entomb hoot cheroot spoom loot uproot OON, compare UNE OOTH boon lampoon booth soothe croon monsoon smooth moon noon OOVE (see OVE) soon prune f spoon poltroo*n OOZE (see USE) swoon pontoon balloon quadroon OP basoon buffoon shalloon simoon chop trollop cartoon cocoon dragoon typhoon 'honeymoon octoroon crop drop flop prop shop slop festoon lagoon pantaloon fop hop strop sop mop stop OOP pop swop bishop top coop sloop collop develop droop soup gallop envelop group stoop scallop hoop stoup loop troop OPE poop whoop cope aslope scoop nincompoop hope elope OOR, compare ORE. URE grope mope antelope envelope boor your ope heliotrope moor amour pope horoscope poor contour rope interlope sure detour soap kaleidoscope tour paramour scope microscope slope misanthrope OOSE (see UCE) trope telescope 109 OR, compare ER. ORE ORE, compare OOR corps counsellor ORB tor emperor boar whore war governor bore wore abhor flavour floor yore anchor horror four core author honour gore door doctor labour lore adore donor mirror more afore hector motor oar ashore sculptor parlour o'er claymore stupor prior ore deplore suitor sailor pore encore tailor metaphor pour explore tenor orator roar forebore traitor savior score foreswore tutor senator shore implore vendor warrior snore restore victor alligator soar albicore- ancestor ambassador sore hellebore auditor competitor store heretofore bachelor conspirator swore sycamore chancellor excelsior tore troubadour conqueror progenitor creator solicitor ORGE creditor forge disgorge ORCE (see ORSE) gorge regorge ORCH OUK, compare ALK porch torch cork pork scorch fork stork ork OBD board sword OHM cord abhorr'd form reform ford aboard storm transform hoard accord conform misinform horde afford deform multiform lord implor'd inform uniform ( roar'd record perform no ORBf, compare A\CN OSE. OZE born adorn chose disclose borne foreborne close (verb) dispose corn foresworn doze enclose horn forlorn foes expose lorn lovelorn froze foreclose morn suborn goes Impose scorn Capricorn hose oppose shorn chloroform nose propose sorn multiform pose repose sworn overborne prose suppose thorn thunderstorm rose transpose torn unicorn those discompose worn uniform toes interpose arose presuppose ORSE, ORCE compose recompose depose coarse morse corse torse OSS course endorse boss chaos force remorse cross emboss horse unhorse loss doss moss dross OUT, compare OUGHT across albatross x bathos asbestos court wart fort cohort OST mort consort port short snort distort exhort extort cost frost lost accost holocaust exhaust toss'd sort report tort resort OT retort blot knot ORTH clot lot cot trot forth north rot yacht fourth grot allot hot ballot OS (see OSS) Jot bigot w OT Cont. OU (see OO and OW) boycot shot OUCH complot sot couch slouch forgot spot crouch vouch apricot squat ouch avouch not counterplot pouch barouche plot idiot pot melilot OUD quat polyglot rot cloud aloud crowd enshroud OTCH loud o'ercloud blotch notch proud o'ershroud botch watch shroud crotch Also the preterites of i verbs in feet rhymes. blown noun brown own U (see EW) clown shown crown strewn _ UB down thrown drown town chub rub frown adown club shrub cub slub gown embrown drub snub mown renown dub tub grub hubbub OWSB hub beelzebub browse touse house (verb) trouse UBE rouse carouse spouse espouse cube rube Also, the plurals of some tuba Jujube nouns, and the third person singular of verbs in on; as brows, allows. UCE OX deuce disuse (noun) goose excuse box orthodox Juice induce fox paradox moose misuse ox heterodox puce obtuse equinox sluice produce Also the plurals of nouns, spruce propose and the third person singular truce recluse of verbs In ockj as cocks, use (noun) reduce mocks. abuse seduce obstruse traduce OY conduse Introduce boy annoy deduce buoy convoy cloy decoy UCH coy destroy Joy employ crutch such toy enjoy much touch alloy sepoy hutch retouch 115 UCK UDE, compare UD Cont. buck ducx luck muck pluck suck'd conduct duck'd deduct blood bud could cud flood good hood mud scud should struck suck truck tuck TTCT Instruct obstruct aqueduct viaduct UD stood stud rud wood would brotherhood likelihood neighborhood understood widowhood habitude platitude interlude plenitude prude promptitude nude servitude rood solitude rude beatitude lassitude ingratitude latitude inaptitude longitude similitude magnitude solicitude multitude vicissitude Also the preterites of some verbs in ew; as view'd. UDGE sludge smudge trudge adjudge prejudge UB (see EW, OO) UPP bluff counterbuff TIDE, compare UD buff rough exude chough ruff include chuff slough Intrude cuff snuff L obtrude gruff stuff rrotrude huff tough . seclude luff enough I altitude puff rebuff ide aptitude e attitude TTQ fortitude drug hug le gratitude dug Jug 116 UG Cont. mug slug pug snug rug tug shrug humbug VICE (see OOSE) UISE (see ISE. OOZE) HIT (see UTE I'KC duke fluke puke chibouque rebuke II. M.I. bashful brimful careful dreadful faithful grateful thoughtful beautiful bountiful dutiful fanciful merciful sorrowful I wonderful I worshipful ULE, compare OOL mule pule yule ferule bulge divulge reticule redicule vestibule ULGE indulge ULK bulk skulk hulk sulk ULP gulp sculp pulp ULSE pulse impulse convulse repulse expulse ULT cult insult adult occult consult result exult catapult indult difficult UM chum laudanum come phantom crum succumb crumb winsome drum asylum dumb burdensome plum cumbersome scum frolicsome. slum humoursome sum mausoleum swum maximum thrum glum thumb gum become hum gruesome mum gypsum numb handsome millennium hansom minimum humdrum opium 117 UM Cont. UNCE overcome encomium unce once pendulum interregnum quarrelsome memorandum UNCH solatium opprobrium bunch munch troublesome auditorium crematorium palladium pandemonium residuum crunch hunch lunch punch scrunch delirium symposium gymnasium UNO fund refund UME, compare OOM shunn'd moribund stunn'd fume perfume plume presume UNE, compare OON assume resume consume volume hewn untune deplume tune jejune importune UMP UNG bump frump bung stung clump jump clung sung lump stump dung swung plump thump flung tongue pump trump hung wrung rump rung young slung among TIN, compare ON sprung unsung strung done ton dun tun UNGE gun won lunge sponge none begun plunge expunge nun boatswain one coxswain UNK pun undone bunk shrunk run comparison chunk skunk shun garrison drunk slunk son onion hunk stunk spun skeleton junk sunk stun union monk trunk sun punk 118 UNT blunt grunt brunt hunt front wont UP cup hiccough pup stirrup sup syrup UPT abrupt supp'd corrupt interrupt UR (see ER) URB curb disturb herb suburb verb IIRCU (see ERCH) i ni) bird word curd absurd gird rcfcrr'd stirr'd URE cure obscure dure ordure ewer procure lure secure pure calenture brochure coverture conjure skewer demure abjure endure adjure immure allure inure azure manure epicure mature forfeiture URE Cont. immature sinecure miniature investiture overture temperature portraiture primogeniture URF surf turf URGE (sec ERGE) URK (see IRK) URL earl furl twirl uncurl unfurl churl curl girl hurl pearl URLD world The preterites of verbs in urlj as furl'd, hurl'd. URN (see ERN) URP chirp, discerp extirp usurp URSE (see ERSE) URST burst worst curst accurst durst vers'd first dispers'd thirst immers'd URT (see ERT) us, ous US, OUS Cont. buss glorious numerous timorous bus tyrannous odious traitorous thus valorous odorous treacherous truss venomous ominous indigenous us vigorous omnibus libidinous bulbous villainous overplus oleaginous bumptious adventurous perilous magnanimous callous adulteress poisonous miraculous caucus ambiguous ponderous necessitous cautious calamitous populous obstreperous circus cadaverous prosperous odoriferous crocus calcareous pugnacious omnivorous discuss cantankerous ravenous pachydermatous focus diaphanous rigorous ridiculous gracious fortuitous riotous solicitous grievous gratuitous ruinous somniferous heinous harmonious scandalous thaumaturgus litmus hilarious scrupulous victorious mucus hocus-pocus sedulous viviparous nervous idolatrous serious vociferous nimbu- Ignis fatuus slanderous ubiquitous plous impecunious sonorous unanimous porous Impetuous stimulous ungenerous rebus ignoramus vicious Incredulous USB amorous glutinous arquebus gluttonous booze accuse bibulous hazardous bruise amuse blasphemous boisterous hideous humorous cnoose lose diffuse disuse (verb) clamorous Impetuous muse excuse credulous Incubus noose Infuse curious Infamous ooze misuse dangerous lecherous ruse peruse delicious libellous shoes refuse dolorous litigious use (verb) suffuse emulous luminous abuse transfuse fabulous marvellous Also the plurals of noun frivolous mischievous and the third person slngula garrulous mountainous of verbs in TT and ncj as dewj generous mutinous sues. 120 USH blush hush brush lush bush push crush rush flush thrush frush tush USK brusque musk lu-sk tusR husk TIST bust dlscuss'd crust disgust dust distrust 3ust focuss'd lust locust must intrust rust mistrust thrust rubust trust unjust adjust UT butt slut cut smut glut soot gut strut hut abut jut gamut nut catgut rut englut scut rebut shut walnut TJTCH clutch hutch crutch much UTCH Cont. such retouch touch UTE, compare OOT bruit recruit brute refute cute repute flute salute fruit absolute lute attribute mute constitute newt contribute suit destitute acute dissolute compute execute confute institute depute parachute dilute persecute dispute prosecute Impute resolute minute substitute pollute UX crux lux dux reflux flux Also the plurals of nouns and the third person singular of verbs in uck; as trucks, sucks. As an end letter y has two sounds, the long i as in mile, and the short 1, as in mill, the former rhyming perfectly with such words as die, lgb, the latter allowably with he, ee, etc. Both, however, are 121 used Indiscriminately by all Y lone as in eye Cont. our poets; but for convenience' ratify terrify sake, lists of words of the two rectify testify sounds are given separately. sanctify k verify satisfy villlfy Y long as in eye. scarify vivify ay buy cry die fortify fructify gratify glorify signify simplify specify stupefy indemnify intensify lullaby solidify : dry horrify eye Justify Y short. as ty In duty. tie magnify fry modify beauty happy hie mollify bonnie haughty high sigh brandy hearty He sky busy heavy nigh sly comely homely pie spy cosy honey ply sty crazy hourly pry thigh crusty humbly rye tie curly hungry defy try dally hurry deny vie dainty Jaunty descry why dally Jetty imply ally dandy Jerky espy apply doubly Jockey outvie awry dreamy Jury outfly belie duly Justly rely comply dusky Illy reply decry duty ruddy supply mortify empty rudely untie multiply filly saintly amplify pacify gaily saucy beautify petrify gaudy scurvy certify prophesy ghastly singly crucify purify glory sJmply deify puterfy gory sleepy dignify qualify greedy snappy edify ramify grumpy sorry falsify rarefy guilty sunny 1-.' Y short, as ty In duty Cont. T short, as ty In duty Cont. steady Injury victory credulity strophe infamy villainy curiosity study infancy votary customary sweetly Infantry watery declivity tally jollity wearily deformity tardy knavery wantonly immaturity thirsty laity womanly immutability trophy laxity worthily impartiality truly legacy absurdity impecunloslty trusty leprosy activity impetuosity twenty lethargy adversity impiety ugly levity affability Impossibility vainly liberty affinity importunity vary library agility impurity wary livery alaclty inability weary lottery allegory inaccuracy wealthy loyalty ambiguity incapacity whisky lunacy anatomy incivility worthy majesty animosity inclemency academy malady antiquity incongruity agony melody anxiety inconsistency amity memory apostasy inconstancy anarchy misery apostrophe indemnity apathy modesty aristocracy inequality artery monarchy astronomy infidelity augury nrrummery austerity infinity battery mutiny authority infirmary beggary mystery auxiliary inflexibility bigamy nicety aviary insanity bigotry noisily brevity instability blasphemy novelty calamity Integrity botany nunnery capacity intensity bravery nursery captivity liberality bribery penalty catastrophe loquacity brevity penury complexity luminosity calumny perfidy concavity preliminary haughtily perjury confederacy priority history piety conformity probability honesty pillory congrulty prodigality idolatry piracy conspiracy profanity Industry pleurisy cosmography -profundity 123 Y short, as ty In duty Cont. Y short, as ty In duty Cont. ^propensity nobly courtesy prodigy ^prosperity noisy cruelty progeny radically orgie daintily prosody rapidly pamly dairy purity rascality palfrey \decency quality reality paltry destiny quantity reciprocity party diary raillery rotundity parsley dignity rectory rudimentary pastry drapery regency satiety petty drollery remedy security pigmy drudgery ribaldry seniority poorly ecstasy rivalry sensibility portly elegy robbery sensuality posy embassy royalty severity pretty enemy salary simplicity princely energy sanctity sincerity proudly equity secrecy sobriety pulley eulogy simony society purely euphony slavery solemnity queenly factory eorcery solidity quickly family strawberry soliloquy racy fallacy subsidy sovereignty rally fealty surgery sublimity rarely fecundity symmetry kindly rosy finery sympathy kingly rocky flattery symphony knightly roughly foolery tapestry lady ruby foolishly tragedy lastly canopy gaiety treachery lonely cavalry gallantry treasury lordly charity gallery trinity lovely chastity galaxy trumpery .manly chemistry granary tyranny marry chivalry gravity urgency meanly clemency poesy unity merry colony poetry usury misty comedy policy vacancy mouldy company potency vanity nasty constancy ..-poverty verily neatly cosily primary democracy nearly contrary privacy discovery 124 University of California SOUTHERN REGIONAL LIBRARY FACILITY 305 Do Neve Drive - Parking Lot 17 Box 951388 LOS ANGELES, CALIFORNIA 90095-1388 Return this material to the library from which it was borrowed. Onr Form L9-1 'LIB A 001 128 669 7 MUSH LIBRARY MT 40 H24h Un