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 The science of utterance 
 
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 Library 
 
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 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924031320884 
 
THE 
 
 SCIENCE OF UTTERANCE: 
 
 DESIGNED FOK 
 
 SUPPLEMENTARY INSTRUCTION 
 
 Reading Classes of Public and Private Schools. 
 
 By C. dean. 
 
 BEVISED WITH THE ASSISTANCE OF 
 
 JOSEPH ESTABEOOK, M.A., 
 
 State Superintendent of Public Instruction, Michigan; Formerly 
 President of Michigan State Normal School. 
 
 FOURTH EDITION. 
 
 CHICAGO: 
 JOHN C. BUCKBEE AND COMPANY, 
 
 1888. 
 
^.(.'i^T'^ 
 
 Copyright, 1881, 1884, 1886, 1888, 
 By C. dean. 
 
PREFACE. 
 
 This work has been prepared for supplementary- 
 instruction in the art of reading. The end proposed 
 is to train the vocal organs to express the sentiments 
 as well as to appreciate the literature of ordinary 
 reading in public and private schools. The ability 
 to properly present the ideas which are expressed in 
 written composition depends largely upon the habits 
 of utterance formed in the schoolroom. 
 
 The ordinary Reader is designed as a text-book to 
 assist in developing the powers of conception and 
 inculcating a taste for literature, but the cultivation 
 of the voice as pertaining to enunciation, articulation 
 and expression, should be taught separately as a sub- 
 ject, the application of which is essential in forming 
 a complete education. 
 
 The system, as arranged in the following pages, 
 has been successfully used in schools, and is offered 
 to teachers and pupils, with the hope and belief that 
 it will serve the purpose for which it has been care- 
 fully prepared. 
 
 The writer takes pleasure in acknowledging in- 
 debtedness to the numerous authors whose works have 
 been consulted in the preparation of this little vol- 
 ume. Among the number, special thanks are due 
 Profs. Monroe, Kidd, Shoemaker, Griffith, and Lewis, 
 for several examples used in the exercises. The later 
 editions have been carefully revised with the assist- 
 ance of prominent educators who are interested in the 
 subject of reading as a means of instruction. C. D. 
 
NOTES FOR TEACHERS. 
 
 The exercises in this book should be practiced 
 alternately with the reading lesson. 
 
 Each lesson has a purpose, which should be ex- 
 plained to the class, in order that they may under- 
 stand the results to be attained, and appreciate the 
 importance of the practice. 
 
 The essential elements of reading or speaking are 
 voice, articulation, and expression ; and the cultiva- 
 tion of these elements cannot fail to secure habits of 
 utterance which are healthful to the speaker, and 
 agreeable to the listener. 
 
 VOICE. 
 
 Voice is explained in Lessons II and VI. The 
 exercises in Lessons III, IV and V are valuable as a 
 means of strengthening the muscles of the chest, and 
 of gaining control of the breath. Lessons VII, IX, 
 XVII, XVIII, XIX, XX and XXI are adopted for 
 the cultivation of clearness, smoothness, variety, 
 flexibility, and strength of voice. The regular prac- 
 tice of these vocal exercises is very strengthening to 
 the muscles of the throat ; thus rendering them less 
 susceptible to the effects of exposure and disease. 
 
 AETICITLATION. 
 
 Articulation is a very important part of utter- 
 ance ; but it is often neglected, or exaggerated to the 
 extent of affectation. Great care should be exercised 
 in drilling the class to articulate distinctly without 
 giving undue prominence to the effort. 
 
6 NOTES FOE TBACHEES. 
 
 Lessons I, VIII and X explain tlie different 
 sounds and their formation, according to the action 
 of the organs of speech. Lessons XI, XII and XIII 
 give excellent opportunity to cultivate proper utter- 
 ance of the various combinations of these sounds. 
 The analysis of words as produced by the organs of 
 speech is a good mental discipline, which frequently 
 develops a taste for analytical work. 
 
 EXPEESSION. 
 
 Proper expression in reading is the great object 
 to be attained by these exercises. Pupils should be 
 required to read every sentence with the same ex- 
 pression as when speaking their own thoughts. By 
 this means a true impression is always conveyed. If 
 this effort is made a special exercise, a desire for 
 investigation and study will be promoted, greatly 
 adding to the interest of every branch of knowledge. 
 Lesson XXVIII contains easy examples for practicing 
 conversational tones in reading. 
 
 To vary the exercises, many of the selections may 
 be used for vocal training. Those on pages 80, 86, 
 90, 93, 99, 101 and 110 were selected for this purpose. 
 If rightly conducted, concert reading is very bene- 
 ficial to pupils, on account of the greater amount of 
 practice obtained, and the better style of expression 
 required. The selections on pages 101 and 113 are 
 very effective when skillfully rendered. 
 
 Note. — This book may be used with equal advan- 
 tage in the Grammar School or High School. The 
 writer has obtained by its use most satisfactory 
 results in the last four grades of the Grammar School. 
 
OON'TEIS'TS. 
 
 LESSON I. 
 
 The science of utterance Page 11 
 
 Analysis of words 11 
 
 Simple vocals 11 
 
 Compound Tocals 12 
 
 Sub-vocals » 12 
 
 Aspirates 12 
 
 Compound consonants 12 
 
 LESSON n. 
 
 Analysis of voice 13 
 
 Rules for the management of the breath 13 
 
 Muscular development of the chest 13 
 
 LESSON m. 
 
 Chest expansion 14 
 
 Shoulder movements 15 
 
 Development of the lungs 15 
 
 Percussion of the chest 16 
 
 Percussion with arm movement 16 
 
 LESSON IV. 
 
 Exercises in breathing 17 
 
 LESSON V. 
 
 Exercises in breathing. — Continued 17 
 
 LESSON VI. 
 
 Organs of the throat 18 
 
 LESSON VII. 
 
 Tones 20 
 
 Exercises In vocal tones 21 
 
 (7) 
 
8 CONTENTS. 
 
 LESSON vm. 
 
 Exercises In consonants 23 
 
 LESSON IX. 
 
 Vowels and consonants 24 
 
 LESSON X. 
 
 Labials 25 
 
 Dentals 25 
 
 Palatals 25 
 
 Nasals 25 
 
 Aspirate 25 
 
 Unguals 25 
 
 LESSON XI. 
 
 Articulation 26 
 
 Aspirate consonants 26 
 
 Voice consonants 27 
 
 Difficult double and triple consonants 27 
 
 LESSON XIL 
 
 Difficult combinations 27 
 
 LESSON XIII. 
 
 Recreations in articulation 39 
 
 LESSON XIV. 
 
 Vocal sounds 33 
 
 LESSON XV. 
 
 Vowel and consonant sounds 35 
 
 Aspirate sounds in plurals 36 
 
 Unaccented vowels 36 
 
 Exercise in pronunciation 37 
 
 LESSEN XVL 
 
 Vocal practice 88 
 
 Orotund voice 38 
 
 LESSON XVII. 
 
 Quality of pure and orotund voice 40 
 
 Pitch 40 
 
 Gamut for varying the pitch of the speaking voice. 40 
 
 Force 42 
 
CONTENTS. 9 
 
 LESSONS xvro. 
 
 stress 43 
 
 Radical streas 42 
 
 LESSON XIX. 
 
 Medium stress 44 
 
 Vanishing stress ' 44 
 
 LESSON XX. 
 
 Derivative forms of stress 45 
 
 Thorough stress 45 
 
 LESS0:N XXI. 
 
 Compound stress 46 
 
 LESSON XXII. 
 
 Movement 47 
 
 Quantity 4S 
 
 LESSON XXIII. 
 
 Inflections 49 
 
 Rising inflection 49 
 
 Falling inflection 50 
 
 Circumflex 60 
 
 LESSON XXIV. 
 
 Pauses 52 
 
 Parenthesis 53 
 
 LESSON XXV. 
 
 Emphasis 53 
 
 Cadence 54 
 
 LESSON xxvr. 
 
 Impure tones 56 
 
 Aspirate 56 
 
 Guttural '56 
 
 Falsetto 57 
 
 LESSON XXVII. 
 
 Position 57 
 
 Countenance 59 
 
 Gesture 59 
 
 Directions and abbreviations 60 
 
 LESSON xxvni. 
 
 Exercises in conversational tones 60 
 
10 CONTENTS. 
 
 LESSON XXIX. 
 
 Expression 64 
 
 LESSON XXX. 
 
 Transition 65 
 
 Examples in transition t 66 
 
 Questions for examination 70 
 
 How to criticize utterance 73 
 
 Hamlet's instruction 73 
 
 SELECTIONS. 
 
 The elocution of the pulpit 75 
 
 The cynic 77 
 
 Definition of eloquence 78 
 
 The old forsaken school-house 79 
 
 Evening at the farm 80 
 
 Hamlet's soliloquy 82 
 
 A Legend of Bregenz 83 
 
 Char-co-o-al 86 
 
 Supposed speech of John Adams 88 
 
 Bugle song 90 
 
 Ignorance in our country a crime 91 
 
 Charge of the light brigade 93 
 
 Apostrophe to cold water 94 
 
 Superficial learning 96 
 
 Industry and eloquence 97 
 
 The burning ship 99 
 
 The bells 101 
 
 Pliysical geography and history 104 
 
 Clarence's dream 109 
 
 The charcoal man 110 
 
 The bells of Shandon 113 
 
 The cataract of Lodore 113 
 
 Nobody's child 114 
 
 APPENDIX. 
 Words often mispronounced 117 
 
SCIENCE OF UTTERANCE. 
 
 LESSON I. 
 
 The science of utterance teaches the proper de- 
 livery of words. 
 
 ANALYSIS OF WORDS. 
 
 "Words are a combination of articulate sounds. 
 
 These sounds are represented by letters, and pro- 
 duced by the organs of speech. 
 
 In the English language there are twenty-six let- 
 ters, each representing one or more sounds. 
 
 The letters are divided into vowels and conso- 
 nants. 
 
 The sounds are divided into vocals, sub-vocals, 
 and aspirates. 
 
 Vowels represent vocal sounds ; consonants repre- 
 sent sub-vocal and aspirate sounds. 
 
 Vocals are unobstructed voice sounds ; sub-vocals 
 are obstructed voice sounds ; and aspirates are breath 
 sounds. 
 
 Vocal sounds are simple and compound. 
 
 TABLE OF SIMPLE VOCALS. 
 
 1. 
 
 a 
 
 as in 
 
 arm, far, car. 
 
 7. 
 
 I as in it, ill, in. 
 
 2. 
 
 a 
 
 it 
 
 all, or, law. 
 
 8. 
 
 6 " on, dog, what. 
 
 3. 
 
 i 
 
 (( 
 
 dare, fare. 
 
 9. 
 
 00 " ooze, rule, moon. 
 
 4. 
 
 & 
 
 (( 
 
 at, can, lad. 
 
 10. 
 
 00 " book, good, piit. 
 
 5. 
 
 e 
 
 i< 
 
 eve, me, the. 
 
 11. 
 
 er " her, <irn, str. 
 
 6. 
 
 S 
 
 <( 
 
 ell, end, met. 
 
 12. 
 
 ii " up, sup, us. 
 
 fii) 
 
12 
 
 THE SCIENOE OF UTTERANCE. 
 
 Compound vocals are composed of two simple 
 vowel sounds. 
 
 TABLE OF COMPOUND VOCALS. 
 
 13. a as in ale, has the sound of i-\-e. 
 
 14. i " ice, " " a-fl. 
 
 15. o " old, " " o+5o. 
 
 16. ou " out, now, " " a+oo. 
 
 17. oi " oil, joy, " " a-}-i. 
 
 18. u " use, few, " " I-f 5o. 
 
 TABLE OF SUB-VOCALS. 
 
 19. b as in boy, ebb, bat. 
 
 20. 
 
 d 
 
 ' did, dog, die. 
 
 28. 
 
 n 
 
 ' run, on, an. 
 
 31. 
 
 g 
 
 ' gag, go, ,wag. 
 
 29. 
 
 ng ' 
 
 ' sing, ring. 
 
 23. 
 
 J 
 
 ' judge.ioy, wedge. 
 
 30. 
 
 1 • 
 
 ' lo, biU, wiU. 
 
 23. 
 
 V 
 
 ' valve, wave, vale. 
 
 31. 
 
 r ' 
 
 ' roar, rear, row 
 
 24. 
 
 tb 
 
 ' thee, tbis, breathe. 
 
 32. 
 
 w ' 
 
 ' we, way, war. 
 
 25. 
 
 z 
 
 ' zeal, zone, rise. 
 
 33. 
 
 y ' 
 
 ' yes, yet, year. 
 
 26. 
 
 zh 
 
 ' azure, measure. 
 
 
 
 
 27. m as in man, me. 
 
 TABLE OF ASPIRATES. 
 
 34. p as in pipe, cap. 
 
 35. t " top, met. 
 
 36. k " back, chasm. 
 
 37. f " fife, laugh. 
 
 38. eh " church, which. 43. wb " what, when 
 
 39. th as in thin, think. 
 
 40. s " see. hiss, dice. 
 
 41. sh " she, wish. 
 43. h " horse, home. 
 
 COMPOUND CONSONANTS. 
 
 44. X sounds like k-|-s or g-j-z, as in ox, locks, exact. 
 
 45. qu sounds like k+w — , as in quart, quarter. 
 
THE SCIENCE OF UTTERANCE. 13 
 
 LESSON II, 
 ANALYSIS OF VOICE. 
 
 The proper delivery of words depends on voice, 
 articulation, and expression. 
 
 Voice is produced by the vibration of the edges 
 of the glottis, caused by the breath passing over the 
 vocal cords (which are situated in the larnyx), and 
 through the cavities of the mouth and nose. 
 
 Perfect control of the breath and vocal organs wUl 
 produce a clear, full, and resonant voice. 
 
 HINTS FOR THE MANAGEMENT OF THE BREATH. 
 
 I. Always inhale through the nostrils. 
 
 II. Take a deep inspiration, expanding the ab- 
 domen, waist and chest. 
 
 III. Keep the lungs well inflated while reading 
 or speaking. 
 
 MUSCULAR DEVELOPMENT OF THE 
 CHEST. 
 
 Position — Expand the chest and the 
 upper part of the body as if defying a 
 blow, and you have the active chest. 
 
 Relax the muscles and let the chest fall 
 as if fatigued, and you have the passive 
 chest. 
 
14 
 
 THE SCIENCE OP UTTERANCE. 
 
 LESSON III. 
 
 I.— CHEST EXPANSION. 
 
 Position — Elbows sharply bent 
 and close to the side, fore-arm hori- 
 zontal, fingers carved, palms up- ^v.-sj:. 
 ward. Take a deep inspiration. 
 Hold the breath. 
 
 1. Extend the arms forward 
 with force, relaxing the muscles 
 and opening the hands, palms 
 downward. 
 
 2. Bring the arms energetically 
 back to their former position, ex- 
 panding the chest as much as possible. 
 
 3. Expel the breath through the nostrils, take a 
 fresh inspiration, and repeat from first movement. 
 
 n.— SHOULDER MOVEMENTS. 
 
 Position — Arms falling easily at the side. Take 
 a full breath. 
 
 1. Bring the shoulders forward, contracting the 
 chest. 
 
 2. Throw the shoulders back and down, expand- 
 ing the chest, 
 
 3. Eepeat these two movements with expiration 
 and inspiration of the breath. 
 
THE SCIENCE OP UTTERANCE. 
 
 15 
 
 ni.— SHOULDER MOVEMENTS,— ARMS BENT. 
 
 Position— Fingers curved at the 
 Bide of the shoulders, palms for- 
 ward, fore-arms vertical. 
 
 1. Bring the hands, palms in- 
 ward, nearly touching each other 
 about three inches from the chin. 
 
 2. Throw the fore-arms back, as 
 in last position, fingers curved, 
 palms outward. 
 
 3. Repeat with expiration and 
 inspiration. 
 
 DEVELOPMENT OF THE LUNGS. 
 
 1. Bring the tips of the fingers 
 to the shoulders, inhaling the 
 breath through the nostrils at 
 the same time. 
 
 2. Strike downward and for- 
 ward, curving the fingers with 
 the palms front, and expelling 
 the breath through the nostrils 
 with the movement. In this 
 movement keep the body steady 
 and let the expulsion be done 
 
 by the abdominal muscles and diaphragm. 
 
16 
 
 THE SCIENCE OP UTTERANCK 
 
 PERCUSSION OF THE CHEST. 
 
 Place the closed hands on the chest, 
 with the elbows at the side. Take a 
 deep inspiration through the nostrils. 
 Hold the breath. 
 
 1. Strike on the chest rapid per- 
 cussive blows with the hand from the 
 elbow. 
 
 2. Expel the breath through the 
 nostrils, inhaling deeply. Repeat the 
 first movement. 
 
 N. B. — The blows should be light at first. "When 
 the practice is easy, they may be increased in force, 
 but always free from violence. 
 
 PERCUSSION WITH ARM MOVEMENTS. 
 
 Position — Let the hands fall 
 easily at the side; take a fuU 
 breath. 
 
 1. Swing the arms from the 
 shoulder alternately, giving elas- 
 tic but not heavy blows upon 
 the chest, below the collar-bone. 
 Give two blows with each hand. 
 
 2. Exhale and inhale the 
 breath as in the preceding ex- 
 ercises. 
 
THE SCIENCE OF UTTERANCE. 17 
 
 LESSON IV- 
 EXERCISES IN BREATHING. 
 
 1. Eelax the muscles of the chest. Take a full 
 breath, expanding the chest to its fullest capacity. 
 Exhale gradually. 
 
 2. Expand the sides while inhaling. Exhale 
 gradually. 
 
 3. Inhale, expanding the entire waist as if trying 
 to burst a belt. Expel the breath by contracting the 
 whole waist. 
 
 4. Inhale, directing the will to the muscles of the 
 back and expand them as much as possible. Expel, 
 drawing these muscles inward. 
 
 5. Breathe deeply, expanding the chest and waist. 
 Hold the breath as long as possible. Expel slowly. 
 
 6. "Inhale slowly, exercising the will upon all 
 parts of the body simultaneously. Exhale slowly. 
 This is an intense form of what should be the natural 
 habit of breathing." 
 
 N. B. — Inhale and exhale through the nostrils. 
 Commence gradually and discontinue if any sensa- 
 tion of dizziness is experienced. Persons not accus- 
 tomed to habits of full breathing will derive special 
 advantages from these exercises. 
 
 LESSON V. 
 ESERCISES IN BREATHING.— CONTmUBD. 
 Stand perfectly erect, the weight of the body 
 resting on one foot, the other in advance, the arms 
 
18 THE SOIENOE OF UII£KANC£. 
 
 akimbo, with fingers pressing on the abdominal mus- 
 cles in front and the thumbs on the dorsal muscles 
 each side of the spine, the chest fully expanded, the 
 shoulders held backward and downward. 
 
 Inhale slowly until the lungs are well expanded, 
 retain the breath a moment, exhale slowly ; repeat 
 six times in succession. 
 
 Inhale quickly; exhale through the mouth slowly 
 and quietly, as in natural breathing, retaining the 
 active chest. Repeat six times. 
 
 Expand the lungs to their utmost capacity, ex- 
 pel slowly through the open mouth, gently sounding 
 the letter h; repeat six times. This exercise is called 
 effusive breathing. • 
 
 Expand the lungs as before, expel with force as 
 in a whispered cough ; repeat six times. This exer- 
 cise is called expulsive breathing. 
 
 Expand the lungs as usual, expel suddenly with 
 great force as if whispering loudly "who" to a person 
 in the distance ; repeat six times. This is called ex- 
 plosive breathing. 
 
 N. B. — Avoid irritating the throat. Whenever 
 the exercise causes coughing, the effort is too violent. 
 
 LESSON YI. 
 ANALYSIS OF VOCAL ORGANS. 
 
 The glottis is the opening at the upper part of 
 the larynx. 
 
 The larynx is at the top of the windpipe, and is 
 the organ of voice. It is susceptible of a multitude 
 of changes, affecting the pitch, force, and quality of 
 the voice. 
 
 The passage between the larynx and mouth is 
 called the pharynx, and is susceptible of various de- 
 grees of expansion and contraction. 
 
THE SCIENCE OF UTTERANCE. 19 
 
 In front of the pharynx is the month, which is 
 thrown open by the movement of the lower jaw, and 
 produces the full effect of a round, smooth, and 
 agreeable tone. 
 
 At the top of the phaiynx, behind the soft palate, 
 is the entrance to the nasal passages. When the 
 soft palate is raised it prevents the breath from pass- 
 ing into the nose, and when it is depressed the 
 breath flows through the nostrils as well as into the 
 mouth. 
 
 THE VOCAL ORGANS. 
 
 Flo. T. 
 1. Larynx. 8. Pharynx. S. Dvnla. 
 
 4. Nasal Pasaage. 6. Base of Tongaa. S. Top of Tonr<M- 
 
 7-7. Point of Tongae. 8. Lips. 9. CHotHs. 
 
20 
 
 THE SCIENCE OF UTTERANCE. 
 
 Fia. 8. 
 
 Interior of the moath when 
 the tone is impnie. 
 
 EiG. 9. 
 
 Interior of the mouth when 
 the tone is pure. 
 
 LESSON VII. 
 TONES. 
 
 Tones are pure or impure. 
 
 Pure tone is that quality of voice in which all the 
 breath is converted into a clear, round, smooth, and 
 agreeable sound. It is free from nasal or impure 
 quality. 
 
 Impure tones are used in expressing malignant 
 feelings, passions, personations, and mimicry. 
 
 Pure tone is used more than any other quality of 
 voice, and should be cultivated. The most severe 
 and sustained exercise of the voice in pure tone, if 
 pitched in the right key, will strengthen and invig- 
 orate the lungs and throat and give a healthful stim- 
 ulus to the vital organs. 
 
 Commence with the sound of ah, as that is the 
 most open sound. 
 
THE SCIENOE OP UTTERANOB. 21 
 
 If ah is produced in a deep, full tone, the palate 
 and the uvula will rise, while the tongue lies flat, 
 and the top of the windpipe descends as in Pig. 9. 
 
 If ah is produced in a nasal tone, the uvula wUl 
 fall and appear to touch the tongue, as in Fig. 8. 
 
 " To think a gape " wDl place the vocal organs 
 in position for pure tones, 
 
 EXERCISES IN VOCAL TONES. 
 
 Active chest. — Inhale the breath until the ab- 
 domen, waist and chest are expanded. Keep the 
 head erect but not stiff, and the chest and shoulders 
 firm and steady. The effort is made by the working 
 of the muscles of the abdomen and the relaxation 
 and contraction of the diaphragm.* 
 
 1. 
 
 Sound a, a, o, 05, a, 6, sending the voice out in a 
 straight column, as follows : — 
 
 & 
 
 
 Sound the vocals with 
 
 one breath. 
 
 as follows : 
 
 — 
 
 a 
 
 a o 
 
 00 
 
 a 
 
 e 
 
 8. 
 
 Sound the vocals with one breath, breaking the 
 sound at the beginning of each one : — 
 
 *The diaphragm is the muscle eeparating the chest from the abdo- 
 men, and by it* mnscnlar contraction and dilatation, assists inspiration 
 and expiration. 
 
22 
 
 XH£ SOI£NOi: OF UIT£KAMCB. 
 
 Sound each vocal, commencing softly, advance to 
 greater force, then gradually decrease the sound : — 
 
 Sound each vocal explosively, as follows : — 
 
 6. ~ 
 Sound each vocal in a powerful and distinct whis- 
 per, as if calling to a person at a distance. 
 
 7. 
 Sound each vocal as if asking a question — 
 
 8. 
 Sound each vocal as if answering a question : — 
 & — ^ a^ o^.^ 00 ^ a-^ e--~ 
 
 Sound each vocal, as in laughing, as follows: 
 
 10. 
 Sound each vocal rapidly, as in laughing : — 
 ai'^>^>».<*wa ^v^-w*^". o.'^x'^'wv od'<>'<«''N,''>.' a"'<'..»>.«-«.> e-"" 
 
 Note. — The above vocal sounds are the sounds 
 from which all other vocal sounds are derived. 
 
THE SCIENCE OF UTTERANCE. 
 
 23 
 
 LESSON VIII. 
 
 EXERCISES IN CONSONANTS IN THE ORDER OF THEIR 
 FORMATION. 
 
 In practicing across the page, the position of the 
 mouth is similar for each letter. In practising verti- 
 cally, the action begins with the lips and recedes 
 toward the back of the mouth, passing from a whis- 
 per to voice, as p to b. 
 
 
 ASPIRATE. 
 
 
 SXTB-VOCAL. 
 
 fame. 
 
 
 Sound. 
 
 Name 
 
 
 Sonnd. 
 
 P 
 
 as in 
 
 pipe, cap. 
 
 b 
 
 as in 
 
 boat, bat. 
 
 wh 
 
 (( 
 
 why, when. 
 
 w 
 
 (< 
 
 wine, we. 
 
 f 
 
 ti 
 
 fat, fife. 
 
 V 
 
 (( 
 
 vine, vat. 
 
 th 
 
 K 
 
 thin, pith. 
 
 th 
 
 u 
 
 then, that. 
 
 s 
 
 tt 
 
 sin, sis. 
 
 z 
 
 (( 
 
 zone, zoe. 
 
 t 
 
 It 
 
 top, too. 
 
 d 
 
 (1 
 
 dog, day. 
 
 sh 
 
 <l 
 
 shad, sure. 
 
 zh 
 
 (( 
 
 azure, vision 
 
 h 
 
 (1 
 
 hat, home. 
 
 y 
 
 II 
 
 yet, yes. 
 
 k 
 
 (( 
 
 kite, kine. 
 
 g 
 
 II 
 
 gag, go. 
 
 ch 
 
 U 
 
 chain, such. 
 
 J 
 
 II 
 
 jump, joy. 
 
 LIQUIDS. 
 
 Liquids are sub-vocals that may be prolonged. 
 
 Name. Sonnd. 
 
 m as in man, mum. 
 n " nun, name. 
 
 1 " lame, lull. 
 
 Name. 
 
 r as in 
 
 ng 
 
 Sonnd. 
 
 rear, rank, 
 sing, singing. 
 
 The correct sounding of consonants in words is 
 necessary to perfect articulation, and is also indis- 
 pensable to intelligent speech. 
 
24 THE SOIENOE OP UTTERANCE. 
 
 LESSON IX. 
 VOWELS AND CONSONANTS. 
 
 Correct enunciation depends on the distinct utter- 
 ance of the proper sound of the vowels and conso- 
 nants contained in a word. 
 
 Practice the following words, giving the proper 
 sounds to the vowels and consonants. 
 
 1. Assume the proper position; inhale through the 
 nostrils ; open the mouth as wide as possible ; raise 
 the palate ; the larynx and base of tongue depressed ; 
 the lower jaw dropped ; commence each word softly, 
 advance to greater force and then gradually decrease 
 the sound. 
 
 2. Sound each word with one breath, pausing 
 after each sound as follows : b-ii-m. 
 
 3. Sound each word in a powerful and distinct 
 whisper. 
 
 4. Pour them forth as if calling to a person afar 
 oflP. 
 
 EXEEOISES. 
 
 1. Arm, balm, calm, palm, farm. 
 
 2. Awe, ball, call, pall, fall. 
 
 3. Ho, bow, flow, go, row, lo, no. 
 
 4. Coo, do, who, pool, rue. 
 
 5. Way, gay, main, pain, rain. 
 
 6. Eel, seal, feel, peel, reel. 
 
 7 . Inhale through the nostrils, expanding the 
 lungs to the greatest capacity ; expel the breath by 
 counting 1, 2, 3, 4, 5, 6, etc. 
 
THE SOIENCE OF UTTERANCE. 
 
 25 
 
 LESSON X. 
 
 CONSONANTS ARRANGED ACCORDING TO THE ACTION 
 OE THE ORGANS OF SPEECH. 
 
 LABIALS. 
 
 Labials or lip sounds are made chiefly with the 
 lips ; there is a firm comj)ression of the lips to arrest 
 the escape of the breath ; then the lips are suddenly 
 separated, as follows : — 
 
 p as in pipe. 1 b as in bab. I m as in mum. 
 w " woe. I V " viva. I f " fife. 
 
 DENTALS. 
 
 Dentals or teeth sounds are made by the tongue, 
 pressing on the teeth or the gums, as follows : — 
 
 t as in tat. 
 
 d as in did. 
 
 th as in thin 
 
 th " the. 
 
 zh " azure. 
 
 sh " she. 
 
 ■s " sis. 
 
 z " zuz. 
 j « judge. 
 
 eh « etch 
 
 PALATALS. 
 
 Palate sounds are made by the tongue pressing 
 on the palate, as follows: — 
 k as in kirk. | g as in gay. | y as in ye. 
 
 NASALS. 
 
 Nasals sounds are made by the tongue pressing 
 Against the gums above the upper front teeth, the 
 sound passing through the nose, and the lips open. 
 Ng is sounded by drawing back and elevating the 
 tongue against the veil of the palate so that the 
 sound becomes thoroughly nasal. 
 iD as in nun. | ng as in sing. | nk as in ink. 
 
26 THE SCIENCE OF UTTERANOB. 
 
 ASPIRATE. 
 
 Aspirate sounds are made by a simple effort of 
 the breath as follows: — 
 
 h as in ha. 
 
 LINGUALS. 
 
 Linguals depend on the action of the tongue, 
 •which is raised, the tip pressing gently against the 
 roof of the mouth, touching the ridge of the upper 
 front teeth. 
 
 1 as in lull. | r as in roar. 
 
 LESSON XI. 
 AETICULATION. 
 
 Articulation consists in giving every sound in a 
 syllable or word proper utterance, and in making a; 
 distinction between the syllables of which words 
 are composed, according to the standard of pro- 
 nunciation. 
 
 Pronounce each of the following words. Do not. 
 fail to complete the sound of every consonant by 
 restoring the vocal organs to their normal state: — 
 
 1. Slowly, taking breath between each sound. 
 
 2. Eapidly and energetically. 
 
 3. In whispers. 
 
 ASPIRATE CONSONANTS. 
 Pity, pulp, peter, paper, fitter, falter, filter, laugh,, 
 rough, thin, tent, taller, elk, wash, post, posts, health,, 
 height, milk, nymph, strength, call'st, roll'st, heal'st,. 
 tc«t, trusts, straightest, sect, church, shrine, shrub. 
 
THE SCIENCE OF UTTEEANCB. 27 
 
 /■QICE CONSONANTS. 
 
 Blame, brave, bleed, blow, blest, bread, drain, 
 barb, orb'd, disturb'd, gorg'd, barr'd, bulbs, delve, 
 barbarous, babe, eggs, stabb'd, builds, guinea, groat, 
 giddy, giggling, deadly, adjudged, fatigued, vulgar, 
 vague. 
 
 DIFFICULT DOUBLE AND TRIPLE CONSONANT ENDINGS. 
 
 And, buds, wasp, alps, gulfed, tenths, lengths, 
 ringst, depths, droopst, laughst, asps, helpst, twelfths, 
 attemptst, thinkst, precincts, overwhelmst, sixths, 
 tests, charmst, diggst, hundredst, beggdst, catchdst, 
 actst, tasks. 
 
 LESSON XII. 
 
 DIFFICULT COMBINATIONS. 
 
 1. A big black bug bit a big black bear. (Repeat.) 
 
 2. Did you say a notion or an ocean ? 
 
 3. I snufE shop snuff ; do you snuff shop snuff ? 
 
 4. He crossed wastes and deserts and wept bit- 
 terly. 
 
 5. The sun shines on the shop signs. 
 
 6. Would that all difference of sects were at an 
 end. 
 
 7. The old cold scold sold a school coal-scuttle. 
 
 8. Bight great gray geese grazing gaily into 
 Greece. 
 
 9. The cat ran up the ladder with a lump of raw 
 liver in her mouth. 
 
 10. Amos Ames, the amiable aeronaut, aided in an 
 aerial enterprise at the age of eighty-eight. 
 
28 IHE SCIENCE OP TTTTERANCE. 
 
 11. Thou'bridl'dst thy tongue, wreath'dst thy lips 
 with smiles, imprison'dst thy wrath, and truckl'dst 
 to thine enemy's power. 
 
 12. Thou reason'dst falsely, harden'dst thine heart, 
 smother' dst the light of thine understanding, heark- 
 en'dst to the words of lying lips, and doom'dst thy- 
 self to misery. 
 
 13. Thirty-three thousand and thirty -three thought- 
 less youths thronged the thoroughfare and thought 
 that they could thwart three thousand thieves by 
 throwing thimbles at them. 
 
 14. His exclamation was, " chaste stars," not " chase 
 tars." 
 
 15. Sheba Sherman Shelly sharpened his shears 
 and sheared his sheep. 
 
 16. Benjamin Bramble Blimber, a blundering 
 banker, borrowed the baker's birchen broom to 
 brush the blinding cobwebs from his brain. 
 
 17. Some shun sunshine; do you shun sunshine? 
 
 18. Man wants but little here below, nor wants 
 that little long. 
 
 19. Foreign fo-oweZ enlarges and liberalizes the 
 mind. 
 
 20. Some sell sea-shells ; do you sell sea-shells ? 
 
 21. Don't run along the wrong lane. 
 
 22. PercivaZ's acts and extracts. 
 
 23. He boasts, he twists the texts to suit the several 
 sects. 
 
 24. He sawed six sleek slim saplings. 
 
 25. Thou wreath'dst and muzzledst the far-fetched 
 ox. 
 
 26. Amidst the mists, he thrusts his fists against 
 the posts. 
 
THE SCIENCE OP UTTERANCE. 29 
 
 27. The ineligibility of the preliminaries is unpar- 
 alleled. 
 
 28. The swan swum over the sea, well swum swan. 
 
 29. Theophilus Thistle, the successful thistle sifter, 
 in sifting a sieve of unsifted thistles, thrust three 
 thousand thistles through the thick of his thumb. 
 
 30. Such individual irregularities are generally ir- 
 remediable. 
 
 31. He acted contrary to the peremptory injunc- 
 tions that were given. 
 
 32. Execrable Xantippe exhibited extraordinary 
 and excessive imtability. 
 
 33. The rough and rugged rocks rear their hoary 
 heads high on the heath. 
 
 34. We alienate many by requiting a few with su- 
 pernumerary gratuities. 
 
 35. An inalienable eligibility of election, which 
 was of an authority that could not be disputed, ren- 
 dered the interposition of his friends altogether su- 
 pererogatory. 
 
 36. Whelply Whewell White was a whimsical, 
 whining, whispering, whittling whistler. 
 
 LESSON XIII. 
 
 RECREATIONS IN ARTICULATION. 
 
 A day or two ago, during a lull in business, two 
 little boot-blacks, one white and one black, wers 
 standing at the corners doing nothing, when the 
 white boot-black agreed to black the black boot- 
 black's boots. The black boot-black was of course 
 willing to have his boots blacked by his /ellow boot- 
 
30 THE SCIENCE OF UTTERAKOE 
 
 black, and the boot-black who had agreed to blaci 
 the black boot-black's boots -went to work. 
 
 "When the boot-black had blacked one of the blacl 
 boot-black's boots till it shone in a manner that 
 would make any boot-black proud, this boot-black 
 who had agreed to black the black boot-black's 
 boots refused to black the other boot of the black 
 boot-black until the black boot-black, who had con- 
 sented to have the white boot-black black his boots, 
 should add five cents to the amount the white boot- 
 black had made blacking other men's boots. This 
 the boot-black whose boot had been blacked refused 
 to do, saying it was good enough for a black boot- 
 black to have one boot blacked, and he didn't care 
 whether the boot that the white boot-black hadn't 
 blacked was blacked or not. 
 
 This made the boot-black who had blacked the 
 black boot-black's boot as angry as a boot-black 
 often gets, and he vented his black wrath by spitting 
 upon the blacked boot of the black boot-black. 
 This roused the latent passions of the black boot- 
 black, and he proceeded to boot the white boot-black 
 with the boot which the white boot-black had blacked. 
 A fight ensued, in which the white boot-black who 
 had refused to black the unblacked boot of the black 
 boot-black blacked the black boot-black's visionary 
 organ, and in which the black boot-black wore all 
 the blacking off his blacked boot in booting the 
 white boot-black. 
 
 Shrewd Simon Short sewed shoes. Seventeen 
 summers' storms and sunshine saw Simon's small, 
 shabby shop standing staunch, saw Simon's self-same 
 sign still swinging, silently specifying: " Simon 
 
THE SCIENCE OF UTTERANCE. 31 
 
 Short, Smithfield's sole surviving shoemaker. Shoes 
 sewed and soled superfinely." Simon's spry sedulous 
 spouse, Sally Short, sewed shirts, stitched sheets, and 
 stuffed sofas. Simon's six stout sturdy sons — Seth, 
 Samuel, Stephen, Saul, Shadrach, and Silas, sold 
 sundries. Soher Seth sold sugar, starch, spices ; 
 Simple Sam sold saddles, stirrups, screws; sagacious 
 Stephen sold silks, satins, shawls; skeptical Saul sold 
 silver salvers, silver spoons; selfish Shadrach sold 
 shoe strings, soaps, saws, skates; slack Silas sold 
 Sally Short's stuffed sofas. 
 
 Some seven summers since, Simon's second son, 
 Samuel, saw Sophia Sophronia Spriggs somewhere. 
 Sweet, sensible, smart Sophia Sophronia Spriggsl Sam 
 soon showed strange symptoms. Sam seldom stayed 
 at the store selling saddles, but sighed sorrowfully, 
 sought Sophia Sophronia's society, sang several sere- 
 nades slyly. Simon stormed, scolded severely, said 
 Sam seemed so silly, singing such shameful, senseless 
 songs. 
 
 " Strange Sam should slight such splendid sum- 
 mer sales," said Simon. " Strutting spendthrift! shat- 
 ter-brained simpleton 1 ' ' 
 
 "Softly, softly, sire," said Sally; "Sam's smitten 
 — Sam's spied a sweetheart. 
 
 "Sentimental schoolboy 1" snarled Simon; "Smit- 
 ten! Stop such stuff!" 
 
 Simon sent Sally's snuff-box spinning, seized 
 Sally's scissors, smashed Sally's spectacles, and scat- 
 tered several spools. " Sneaking scoundrel 1 Sam's 
 shocking silliness shall surcease ! " Scowling Simon 
 stopped speaking, starting swiftly shopward. Sally 
 sighed sadly. Summoning Sam she spoke sweet 
 sympathy. 
 
32 THE SCIENCE OF UTTERANCE. 
 
 " Sam," said she, " sire seems singularly snappy: 
 so, son, stop strolling, stop smoking segars, and 
 spending specie superfluously ; stop sprucing so ; 
 stop singing serenades, — stop short: sell saddles, 
 son; sell saddles sensibly; see Sophia Sophronia 
 Spriggs soon; she's sprightly, she's staple, so solicit 
 and secure Sophia speedily, Sam." 
 
 "So soon? so soon?" said Sam, standing stock 
 still. 
 
 "So soon I surely," said Sally, smiling, " specially 
 since sire shows such spirit." 
 
 So Sam, somewhat scared, sauntered slowly, shak- 
 ing stupendously. Sam soliloquizes: 
 
 " Sophia Sophronia Spriggs Short — Sophia Soph- 
 ronia Short, Samuel Short's spouse — sounds splendidi 
 Suppose she should say — she sha'n'tl" 
 
 Soon Sam spied Sophia starching shirts and sing- 
 ing softly. Seeing Sam, she stopped starching and sa- 
 luted Sam smilingly. Sam stammered shockingly: 
 
 " Sp-sp-splendid summer season, Sophia." 
 
 " Somewhat sultry," suggested Sophia. 
 
 " Sar-sartin, Sophia," said Sam. (Silence seven- 
 teen seconds.) 
 
 " Selling saddles still, Sam?" 
 
 " Sar-sar-sartin," said Sam, starting suddenly. 
 " Season's somewhat soporific," said Sam, stealthily 
 staunching streaming sweat, shaking sensibly. 
 
 " Sartin," said Sophia, smiling significantly. " Sip 
 some sweet sherbet, Sam." (Silence sixty seconds.) 
 
 "Sire shot sixty sheldrakes, Saturday," said 
 Sophia. 
 
 "Sixty? sho!" said Sam. (Silence seventy-seven 
 seconds.) 
 
THE SOIENOE OF UTTEBANOB. 83 
 
 " See sister Susan's sunflowers," said Sophia, so- 
 ciably scattering such stiif silence. 
 
 Sophia's sprightly sauciness stimulated Sam 
 strangely: so Sam suddenly spoke sentimentally: 
 " Sophia, Susan's sunflowers seem saying, ' Samuel 
 Short and Sophia Sophronia Spriggs, stroll serenely 
 and seek some sequestered spot, some sylvan shade. 
 Some sparkling spring shall sing soul-soothing 
 strains ; sweet songsters shall silence secret sighing ; 
 super-angelic sylphs shall — ' " 
 
 Sophia snickered; so Sam stopped. 
 
 " Sophia," said Sam solemnly. 
 
 " Sam," said Sophia. 
 
 "Sophia, stop smiling. Sam Short's sincere. 
 Sam's seeking some sweet spouse, Sophia. Speak, 
 Sophia, speak! Such suspense speeds sorrow." 
 
 " Seek sire, Sam, seek sire." 
 
 So Sam sought sire Spriggs. Sire Spriggs said, 
 " Sartin." 
 
 Seven short sabbaths later saw Sophia Sophronia 
 Spriggs the smiling spouse of Simon Short's son 
 Samuel. 
 
 LESSON XIV. 
 
 VOCAL SOUNDS. 
 
 The sound of a not followed by r is frequently 
 
 mispronoimced, using the short sound. Examples — 
 
 balm, calm, palm, psalm, calf, half, wrath, aunt, 
 
 laugh, mustache. 
 
 The Bound of a as in ask, pass, dancer etc, is fre- 
 
 3 
 
34 
 
 THE SCIENCE OP UTTERANCE. 
 
 quently pronounced with the short sound of a as in 
 at by many educated speakers, although eminent 
 orthoepists give it the sound of a, or an intermediate 
 sound marked a. This sound occurs chiefly in words 
 ending mff,ft, sa, sk, sp, nee, nt, st. 
 
 
 EXAMPLES. 
 
 
 aft 
 
 bombast draft 
 
 last 
 
 after 
 
 bask dance 
 
 lance 
 
 alas 
 
 basket fast 
 
 lass 
 
 amass 
 
 blanch graft 
 
 mass 
 
 aghast 
 
 branch glass 
 
 mask 
 
 ask 
 
 craft ghastly 
 
 mast 
 
 asp 
 
 class grant 
 
 pass 
 
 advance 
 
 contrast glance 
 
 pant 
 
 answer 
 
 cast haft 
 
 plaster 
 
 ant 
 
 casket hasp 
 
 pastor 
 
 Short d should not be sounded like broad a, nor 
 
 like Italian &. 
 
 EXAMPLES. 
 
 
 on 
 
 dog log 
 
 off 
 
 often 
 
 soft long 
 
 prong 
 
 song 
 
 strong thong 
 
 gone 
 
 Webster says this sound is like broad a shortened. 
 
 Long u is often incorrectly sounded, like do 
 when preceded by d, g, j, 1, n, s, t, ch, th, wh, z. 
 Examples, — dubious, duke, duet, due, June, juice, 
 jubilee, lunacy, lute, lucid, luminous, new, nude, neu- 
 ter, nuisance, suit, sue, suicide, tune, tube, Tuesday, 
 chew, illume, institute, thews, whew. 
 
 Long u represents the sound of do after r and sh. 
 
 Examples. — Eude, true, grew, shute, fruit. 
 
THE BOIENOE OF UTTERANCE. 63 
 
 The sound of d as in fare should not be given the 
 vanishing element e, as in haven. It is frequently pro- 
 nounced with short a, although not sanctioned by 
 orthoepists. 
 
 When or occurs in an accented syllable, followed 
 by a vowel or by r, it has its regular short sound. 
 
 Examples. — Orange, torrid, foreign, coral, cor- 
 ridor, coronet. 
 
 Some orthoepists make a distinction in the sounds 
 of ur, as in v/m, er as in her, ir as in first; also 
 ear as in heard, or as in work, our as in scourge, 
 yr as in myrtle, ar as in lia/r, tier as in guerdon. 
 Smart says, " Even in the refined classes of society 
 in England, sur, dv/rt, hwrd, etc., are the current pro- 
 nunciation of sir, dirt, bird; and indeed, in aU very 
 common words it would be somewhat afiected to in- 
 sist on the delicate shade of difference." See Web- 
 ster's Dictionarj^, Principles of Pronunciation. 
 
 LESSON XV. 
 
 VOWEL AJJD CONSONANT SOUNDS. 
 
 The article a is always given its long sound when 
 emphatic. When unemphatic it becomes obscure, ap- 
 proaching the short vowel U. 
 
 The article the, when emphatic, is pronounced with 
 e long. When unemphatic before a vowel, the e has 
 the sound of short i, and before a consonant th only is 
 sounded. 
 
36 THE SCIENCE OF OTTERANOE. 
 
 The sound of s, when followed by long ii, or the 
 pronoun you, is often incorrectly changed to sh. 
 
 Examples. — We shall miss you. He will pass 
 Utica. 
 
 ASPIRATE SOUNDS IN PLURALS. 
 
 The aspirate sound of th should be preserved in 
 the plurals, as truths, youths, breaths, withes. The vocal 
 sound th in the plurals, as baths, laths, paths, moths, 
 oaths, mouths, wreaths. 
 
 In the adjective forms, as blithe, lithe, it is vocal ; 
 also, in the verb forms, bathe, clothe, sheathe, wreathe, etc. 
 
 ACCENT. 
 
 Accent distinguishes one syllable from another by 
 a greater distinctness and loudness of pronanciation. 
 In quite, a large number of words there is a diversity 
 of practice among good speakers as to the place ot 
 primary accent. Ease of utterance has some influ- 
 ence in deciding the syllable. In poetry, words are 
 frequently used with an accentuation different from 
 that adopted in ordinary speech. 
 
 The sound of short ii being the easiest of utterance, 
 is often called the natural vowel. This sound is fre- 
 quently used by careless speakers thus: p&tatHh for 
 potato, ervWrny for enemy, windUh for window, will 
 yHh for will you, charUty for charity, etc. 
 
 The following general principles indicate the 
 tendencies of unaccented vowels. 
 
 Long a and long e tend toward short I. 
 
 Examples. — Sunday, village, before, society, etc. 
 
THifi SOIilNOE OP UTTEEANOB. 37 
 
 Italian a, intermediate a, long and short o tend 
 toward short U. 
 
 Examples. — Dollar, compass, particular, tobacco, 
 potato, labor, orator. 
 
 EXEKCI3EB IN PKONUNCIATION. 
 
 " An Indian, attracted by the aroma of the cof- 
 fee and the broth arising from the bivouac, and mo- 
 ving down the path, met a bombastic brave who was 
 troubled with bronchitis. The Indian, being in dis- 
 habille, was treated with disdain by this blackguard, 
 who called him a dog and bade him with much ve- 
 hemence and contumely to leave his domain, or he 
 would demonstrate with his carbine the use of a cof- 
 fin and a cemetery. The Indian calmly surveyed 
 the dimensions of his European antagonist and op- 
 ponent, and, being sagacious and robust, and having 
 all the combativeness of a combatant, shot this ruffian 
 in the abdomen with an arrow. 
 
 " A young patriot with a black mustache, coming 
 from the museum, laughingly said, 'Bravo; you 
 should be nationally rewarded by receiving the right 
 of franchise ; for I witnessed the altercation, and the 
 evidence is irrefragable and indisputable that you 
 have removed a nauseous reptile.'" 
 
 Roland sent Diana a ring set with onyx, a chalce- 
 donic variety of stone, and hung a placard where he 
 knew she would see it from her casement, but she 
 steadfastly rejected his overtures, and ogled him as 
 if he were a dromedary. 
 
38 THE SCIENCE OP UTTERANCE. 
 
 LESSOTSr XVI. 
 VOCAL PRACTICE. 
 
 Practice the exercise as in Figs. 2, 3, 4, expelling 
 the breath, uttering the sound Ho, in half whisper 
 and half voice. Eepeat six times. 
 
 Sound a twice in a whisper, and the third time in 
 voice with one breath. 
 
 whisper whisper voice 
 
 ah ah ah 
 
 Eepeat six times. 
 
 Practice the exercise as in Figs. 2, 3, 4, convert- 
 ing breath into sound, uttering the exclamation ha 
 each time. Avoid the violence which irritates the 
 throat; do not send out breath mixed with voice, as 
 in half whisper. 
 
 OROTUND VOICE 
 Is the symmetrical enlargement of pure voice, and 
 is produced by a corresponding expansion of all the 
 vocal organs. It is the grandest quality of the speak- 
 ing voice. It is a full, clear, strong, smooth and ring- 
 ing sound, rarely heard in ordinary speech except 
 by careful cultivation. Dr. Eush describes the fine 
 qualities of voice constituting the orotund in the 
 following words : — 
 
 It is used to express whatever is grand, vast, or 
 sublime. 
 
 By a fullness of voice is meant that grave or hol- 
 low volume which approaches to hoarseness. 
 
 By a freedom from nasal murmur and aspiration. 
 
 By a satisfactory loudness and audibility. 
 
 By a smoothness or freedom from all reedy or 
 guttural harshness. 
 
THE SOIENOE OP UTTEEANOB. 39 
 
 Persons possessing the orotnnd voice appear to 
 be laboring under a slight degree of hoarseness. It is 
 more musical and flexible than the common voice, 
 and depends on cultivation and management. More 
 depends on cultivation than natural peculiarity. 
 
 RULES TO BE OBSERVED IN THE OROTUND VOICE. 
 
 1. Take a deep breath, contracting the muscles of 
 the abdomen. 
 
 2. Let the pharynx or back part of the mouth be 
 well expanded. 
 
 3. The tongue depressed. 
 
 4. The uvula raised. 
 
 5. The larynx depressed. 
 
 6. The breath or voice directed in a vertical stream, 
 with great boldness and firmness. 
 
 EXAMPLES. 
 
 1. It took Eome three hundred years to die; and 
 our death, if we perish, will be as much more terrific 
 as our intelligence and free institutions have given 
 to us more bone and sinew and vitality. May God 
 hide me from the day when the dying agonies of my 
 country shall begin! 0, thou beloved land, bound 
 together by the ties of brotherhood and common 
 interest and perils, live forever — one and undivided. 
 
 2. thou that roUest round as the shield of my 
 fathers I "Whence are thy beams, sun! thy ever- 
 lasting light ? 
 
 3. Thy right hand, Lord, is become glorious in 
 power: thy right hand, Lord, hath dashed in 
 pieces the enemy, and in the greatness of thine ex- 
 cellency thou hast overthrown them that rose up 
 
40 THE SCIENCE OF UTTERANCE. 
 
 against thee : thon sendest forth thy wrath, which 
 consumed them as stuhble, and.with the blast of thy 
 nostrils the waters were gathered together: the 
 floods stood upright as an heap, and the depths 
 were congealed in the heart of the sea. 
 
 LESSON XVII. 
 
 QUALITY OF PURE AND OROTUND VOICE. 
 
 Quality of yoice depends on pitch, force, stress and 
 
 movement. 
 
 PITCH. 
 
 Pitch signifies the place in the musical scale on 
 which the element, syllable, or word is sounded, or 
 the key-note of the voice in reading or speaking. 
 
 The speaking voice in good utterance, seldom 
 rises higher than a sixth above the lowest note of its 
 compass. 
 
 Pitch is produced by the elevation or depression 
 of the larnyx, and by the increased or diminished 
 size or capacity of the throat. Low or grave sounds 
 appear to come from the chest, caused by the depres- 
 sion of the larynx, and high or acute tones from 
 the head, caused by the elevation of the larynx. 
 
 Pitch is either very low, low, middle, high, or 
 very high. 
 
 Low pitch is adapted to solemn, sublime, and 
 grand passages. 
 
 Middle pitch is adapted to ordinary, unimpas- 
 sioned conversation. 
 
 High pitch is adapted to gay and joyous emo- 
 tions, also for triumph and exultation, or for the ex- 
 tremes of grief and alarm. 
 
THE SCIENCE OF UTTERANCE. 
 
 41 
 
 GAMUT FOR VARYING THE PITCH OF THE SPEAKING 
 
 VOICE. 
 
 Arranged by Lewis. 
 
 lOtli. 
 
 B— »ni. 
 
 John, get up, yon lazy boy. 
 
 Falsetto. 
 
 9th or 2d, 
 full tone. 
 
 D—re. 
 
 In the lost battle borne down by the 
 
 flying. 
 Where mingles war's rattlei with 
 
 groans of the dying. 
 
 High waHing 
 tone like a 
 chant. 
 
 8th(oct've), 
 fnll tone. 
 
 C— DO. 
 
 TTp, comrades 1 npl in Rokeby's 
 
 halls 
 Ne'er be it said our conrage falls I 
 
 Very high, for 
 joy or alarm. 
 
 7th pitch, 
 semitone. 
 
 B-»l. 
 
 Oh mercy I dispel 
 Ton sight, that it freezes my spirit 
 to tell. 
 
 High, for pa- 
 thos. 
 
 6th pitch, 
 fall tone. 
 
 A-ta. 
 
 To arms 1 to arms 1 to arms 1 they 
 cry. 
 Grasp the shield, and draw the 
 
 sword; 
 Lead ns to Philippi's lord. 
 Let us conquer him, or die. 
 
 High tona. 
 
 5th pitch, 
 toll tone. 
 
 Q-IOt. 
 
 Come one— Come all! This rock 
 
 shall fly 
 From its firm base as soon as I. 
 
 Bold and domi- 
 nant tone. 
 
 4th pitch, 
 fnll tone. 
 
 F-/0. 
 
 Oh, how wretched 
 Is that poor man that hangs on 
 princes' favors. 
 
 Grave tone. 
 
 8d pitch, 
 semitone. 
 
 B-mi. 
 
 'Tis the eternal law that where 
 
 guilt is, 
 Sorrow shall answer It. 
 
 Pathos and so- 
 lemnity. 
 
 2d pitch, 
 full tone. 
 
 D-r«. 
 
 Oh look, my son, upon yon sign 
 Of the Redeemer's grace Divine. 
 
 Eeverential so- 
 lemnity. 
 
 1st pitch, 
 fall tone. 
 
 C— DO. 
 
 If this same were a churchyard 
 where we stand. 
 
 And thou possessed with a thous- 
 and wrongs. 
 
 Deepest tone of 
 awe. 
 
42 THE SCIENCE OP UTTERANCE. 
 
 FORCE. 
 
 Force relates to the loudness of the somid; the 
 degrees of which may be described as subdued, 
 moderate, energetic and vehement. 
 
 Note. — An improper and unscientific exercise 
 of force often marks the delivery of public speakers, 
 and has a tendency, ifiore than any other cause, to 
 injure the vocal organs, and often to ruin them for 
 life ; but proper discipline and culture develop their 
 power, and improve the general health. 
 
 LESSON XVIIL 
 
 STRESS. 
 Stress relates to the application of force to the 
 different parts of the word or sound. 
 Stress has three leading forms, viz. : — 
 
 1. !(iadical. 
 
 2. Median. 
 
 3. Vanishing. 
 
 RADICAL STRESS. 
 
 Eadical stress is the application of force to the 
 first part of the vocal sound. It is sudden and quick. 
 " The breath is held for a moment and then sent out 
 suddenly with a clear, distinct, "and cutting force." 
 
 It is used to express intense feeling and emotion. 
 
 "It is this which draws the cutting edge of 
 words across the ear, and startles even stupor into 
 attention ; this which lessens the fatigue of listening 
 and outvoices the stir and rustle of an assembly." 
 — Br. Rush. 
 
THE SCIENCE OF tTTTERANCB. 43 
 
 "The utter absence of radical stress bespeaks 
 timidity and indecision, confusion of thought, and 
 feebleness of purpose. The right degree of this 
 function indicates the manly, self-possessed speaker." 
 — Mv/rdoch amd Bussdl. 
 
 Sound each v.ocal quick and loud six times : — 
 
 a>- o>- a^* S5> B^ 
 
 Give the following examples, with proper spirit. 
 Bring out the emphatic words with intense force ; 
 keep the voice within range, not too high. 
 
 EXAMPLES. 
 
 1. ifise/ father, rise! 'tis Rome demands your help I 
 
 2. Out with you ! — and he went out. 
 
 3. Hold! hold for your lives! 
 
 4. Forward the Light Brigade/ 
 
 5. To arms I to arms I to amnsl they ray. 
 
 6. Bovm, soothless insulter I 
 
 7. Go from my sight I I hate and I despise thee I 
 
 8. BoUfSe ye Romans 1 rouse ye slcwes! 
 
 9. He dares not touch a hmr of Cataline I 
 
 10. The foe, they come! they come! 
 
 11. Hence! hornet ye idle creatures ! get you home! 
 
 12. You hloclcs! you stmws! you worse than sense- 
 less things ! 
 
 13. Fret! 'till your proud heart breaks! 
 
 14. If it will feed nothing else, it will feed my re- 
 venge! 
 
 15. Back to thy punishment, false fugitive I 
 
 16. Lord Angus, thou hast lied! 
 
44 THE SCIENCE OF UTTERANCE. 
 
 LBSSO]Sr XIX. 
 MEDIAN STRESS. 
 
 Median stress is the application of force to the 
 middle of the vocal sound. 
 
 Commence the sound in a very subdued tone; 
 gradually increase until the sound is full and deep, 
 then gradually diminish in force to the close. 
 
 It is used to express pathos, solemnity, reverence, 
 sublimity, devotion, and grandeur. It should be 
 applied in different degrees, according to the sen- 
 timent. 
 
 Median stress is one of the greatest beauties in 
 reading, — although carried to excess, it becomes a, 
 fault, — and should be judiciously used. 
 
 EXAMPLES. 
 
 1. a O 5 O a O 55 O 5 O 
 
 2. Woe unto thee, Chorazin. Woe unto thee, Beth- 
 saida. 
 
 3. Then age and want, oh ill matched pair. 
 
 Show man was made to mourn. 
 
 4. Soil on, thou deep and dark blue ocean, roB. 
 
 5. JBhw, bugle, blow; set the wild echoes ^iw^'. 
 
 6. Oh the wild charge they made. 
 
 VANISHING STRESS. 
 
 Vanishing stress is the application of the voice to 
 the last part of the vocal sound. It commences 
 with a light and gentle sound, which gradually in- 
 creases in volume, and suddenly terminates with a 
 heavy and violent sound. It is one of the best exer- 
 
THE SCIENCE OP UTTEHANCE. 45 
 
 cises for strengthening the voice. It is used to ex- 
 press determined purpose, earnest resolve, stern re- 
 buke, astonishment, contempt, horror, revenge, and 
 hate. 
 
 EXAMPLES. 
 
 1. a< 6< a< 55 < S< 
 
 2. 1 won't/ 1 shan't/ 
 
 3. Thous/cM>«/ thouioretch/ thon coward / 
 
 4. Thou little valiant, great in villainy/ 
 
 5. Thou ever strong upon the strongest side ; 
 
 6. ThoM forttme's champion/ 
 
 7. / an itching ^o&ra? 
 
 8. Tou know that you are Brutus that speaks this, 
 
 9. Or by the gods this speech were else your last 1 
 
 10. I tell thee, thou art defied/ 
 
 11. Hence/ horrible shadow, liencel 
 
 12. I say you are not/ 
 
 13. I hate him. 
 
 LESSON iX. 
 DEKIVATITE FORMS OF STRESS. 
 
 1. Thorough stress. 
 
 2. Compound stress. 
 
 3. Intermittent stress. 
 
 THOROUGH STEE13S. 
 Thorough stress is the application of the force of 
 the voice to the whole extent of the vowel sound. 
 It is used in expressing joy, exultation, lofty com- 
 mand, indignation, and bravado. 
 
46 THE SCIENCE OF UTTERANCE. 
 
 EXAMPLES. 
 
 1. a 311 3^ * HZ ^^ HI ^ ZIZ 
 
 2. i?'ire/ i?'ir«/ Fwe! 
 
 3. Hurrah 1 hurrah for Sheridan ! 
 Hurrah ! hurrah for horse and man ! 
 
 4. Princes I potentates! warriors I 
 The flowers of heaven 
 Once yours, now lost ; 
 
 Awakel arise/ or he forever fallen ! 
 . 5. Eejoiee, ye men of Algiers, ring your bells/ 
 
 King John, your king and England's, doth ap- 
 pear, 
 Op&n your gates and give the victor way/ 
 
 (This is a vigorous shouting exercise. The chest 
 must be expanded to its greatest capacity, the mouth 
 well opened, using the utmost force without violence. 
 It is invigorating and agreeable, and will give 
 strength to the lungs and volume to the voice.) 
 
 LESSON XXI. 
 COMPOUND STRESS. 
 Compound stress is the application of the force to 
 the first and last parts of the sound. It is the union 
 of the radical and vanishing stress on the same 
 sound, and is used to express surprise, contempt and 
 mockery, or sarcasm. 
 
 EXAMPLES. 
 
 1. a X >< a X 00 >< S X 
 
 2. Gone to be married/ Gone to swear a peace ! 
 It is not so ; thou hast mis-spoke, mis-heard ; 
 
THE SOIENOE OP UTTERANCE, 47 
 
 Be well advised ; tell o'er thy tale again, 
 It cannot be; thou dost but say 'tis so. 
 
 3. Banished from Rome, 
 
 4. Smile on, my lords: 
 
 / scorn to count what feelings, withered hopes, 
 Strong piyvocationB, bitter, burning wrongs, 
 I have within my heart's hot cells shut up 
 To leave you in your lazy dignities; 
 But here I stand and scoff yon ; here I fling 
 Hatred and full defiance in your face. 
 
 INTERMITTENT STRESS. 
 
 Intermittent stress is a tremulous effort of the 
 voice ; the force is broken, it is used to express feeble 
 and broken utterance of age, sickness, and grief. 
 
 EXAMPLES. 
 
 2. Pity the sorrows of a poor old man, 
 
 Whose trembling limbs have borne him to your door. 
 
 3. He's sinking/ he's sinking/ 
 Oh, what shall I do ? 
 
 LESSON XXII. 
 MOVEMENT. 
 
 Movement of voice is the rate at which we speak. 
 
 Words are uttered slowly, moderately, and rap- 
 idly, according to the nature of the sentiment to be 
 «xpressed. 
 
 Slow movement is used to express reverence, sub- 
 limity, amazement, awe and horror. 
 
48 THB SCIENCE OP TJTTEHANCE. 
 
 Moderate movement is used in narrative, essays, 
 and newspaper articles. 
 
 Eapid movement is used to express joy, anger, or 
 excitement. 
 
 "Appropriate utterance accommodates the move- 
 ment of voice to every mood of thought, from the 
 slowest prolonged and lingering utterance of deep 
 contemplation and profound awe, to the swift and 
 rapid strains of lyric rapture and ecstasy. Utter- 
 ance to be natural and effective must have the gen- 
 uine expression of its appropriate movement. So- 
 lemnity cannot exist to the ear without slowness — 
 gayety without briskness of utterance, gravity with- 
 out sedate style, nor imagination without a lively 
 movement." 
 
 The three principal faults in movement are, uni- 
 form slowness or drawling, uniform rapidity, or uni- 
 form moderate movement. 
 
 "Perfect command of every degree of move- 
 ment is indispensable to the appropriate expression 
 of the different forms of thought and emotion." 
 
 QUANTITY. 
 
 Quantity is time upon words. It is prolonged 
 or shortened according to the nature of the meaning 
 of the word. The word long should receive more 
 time than s/iort, though the latter contains more 
 letters. 
 
 Words of dignity require long quantity. 
 
 Words of impatience or sudden action require 
 short quantity. 
 
THE SCIENCE OP UTTERANCE. 49 
 
 LESSON XXIII. 
 
 INFLECTIONS. 
 
 Inflections are slides of the voice used in reading 
 or speaking, to give better expression ; also to give 
 emphasis. 
 
 Inflections are rising and faUing : both are united 
 in the cvrcv/mflex. 
 
 RISING INFLECTION. 
 
 Eising inflection denotes uncertainty, interroga- 
 tion, and incompleteness of idea. 
 
 EXAMPLES. 
 
 1. Are you going home? 
 
 2. Shall I know your answer? 
 
 3. Hast thou ever known the feeling I have felt, 
 
 when I have seen. 
 Mid the tombs of aged heroes, 
 Memories of what hath been — 
 What it is to view the present 
 In the light of 'by-gone days; 
 From an eminence to ponder 
 Human histories and ways? 
 
 4. "Was it the chime of a tiny bell, 
 
 That came so sweet to my dreaming ear, 
 Like the silvery tones of a fairy's shell. 
 
 That he winds on the beach so mellow and 
 clear. 
 When the winds and the waves lie together 
 
 And the moon and the fairy are watching the 
 deep. 
 
50 THE SCIENCE OP UTTERANCE. 
 
 She dispensing her silvery light, 
 And he his notes so silvery quite, 
 
 While the boatman listens and ships his oar, 
 To catch the music that comes from the 
 shore? 
 
 FALLING INFLECTION. 
 
 Falling inflection denotes positiveness, confidence, 
 and determination or completion of idea. 
 
 EXAMPLES. 
 
 1. A wise son maketh a glad father, but a foolish 
 son is the heaviness of his mother. 
 
 2. Shakspeare was the greatest tragic writer. 
 
 3. The war is ended. 
 
 4. It is my living sentiment, and, by the blessing 
 of God, it shall be my dying sentiment, independ- 
 ence now, and independence forever. 
 
 5. Art is never art till it is more than art. The 
 finite exists only as to the body of the infinite. 
 The man of genius must first know the infinite, 
 unless he wishes to become, not a poet, but a maker 
 of idols. 
 
 EXAMPLES IN RISING AND PALLING INPLEOTION. 
 
 Touch. — How old are you? 
 Will. — Five and twenty, sir. 
 Touch. — ^A ripe age. Is thy name William? 
 Will. — William, sir. 
 
 Touch. — A fair name. Wast bom i' the forest, 
 here? 
 
 Will. — Ay, sir, I thank God. 
 
 Touch. — Thank God? a good answer. Art rich? 
 
THE SCIENCE OP UTTERANCE. 61 
 
 Will. — Faith, sir, so-so. 
 
 , Tonch. — So-so is good, very good; — ^very excellent 
 good: and yet, it is not; it is but so-so. 
 
 CIRCUMrLEX. 
 
 The circumflex is a combination of the rising and 
 falling inflection on the same syllable or word. 
 
 The falling circumflex terminates on the down- 
 ward slide. 
 
 The rising circumflex terminates on the upward 
 slide. 
 
 The circumflex inflections express ironj/, sarcasm, 
 doubt, mockery, reproach, and wonder. 
 
 EXAMPLES. 
 
 1. It is vastly easier for you. Mistress Dial, who 
 have always, as everybody knows, set yourself up 
 above me — ^it is vastly easier for you, 1 say, to ac 
 cuse other people of laziness. 
 
 2. My father's trade I now really that's too bad. 
 -'-> ^^ 
 
 My father's trade ! why, blockhead, are you mad? 
 
 My father, sir, did never stoop so low — 
 He was a gentleman, I'd have you know. 
 
 3. The common error is, to resolve to act right 
 
 after breakfast, or after dinner, or to-morrow mom- 
 
 ^_^ ^_' ^ 
 
 ing, or next time, but now, just-now, this once, we 
 
 must go on the same as ever. 
 
 4. Now, in building of chaises, I tell you what, 
 There is always somewhere a weakest spot ; 
 And that's the reason, beyond a doubt, 
 
 A chaise breaks down, but doesn't wear out. 
 
52 THE SCIENCE OF UTTERANCE. 
 
 LESSON XXIV. 
 
 PAUSES. 
 
 There are two kinds of pauses in reading, — Gram- 
 matical and Rhetorical. 
 
 The grammatical pause is indicated by the marks 
 of punctuation, as follows: The comma (,), semi- 
 colon (;), colon (:), and period (.); also interrogation 
 (?), exclamation (!), dash ( — ), parenthesis (), and 
 quotation marks ("•"). These are pauses which di- 
 vide composition into sentences, and sentences into 
 sections. 
 
 These pauses are of great importance, as a disre- 
 gard of them in reading will very frequently de- 
 stroy the sense completely or change the meaning 
 from what it should be. 
 
 Rhetorical pause depends on the construction of 
 the sentence, and is one of the chief means of dis- 
 tinctness in the expression of thought. It consists 
 in suspending the voice before or after the utterance 
 of an important thought. The pause before the prin- 
 cipal word excites curiosity and expectation ; the 
 pause afier the principal word carries the mind back 
 to what has been said. " It should not be repeated 
 too frequently; for as it excites strong emotions, and 
 of course raises expectations ; if the importance of the 
 matter be not fully answerable to such expectations 
 it occasions disappointment and disgust." Sense and 
 sentiment are the best guides in the use qf the pause. 
 
 PAKENTHESIS. i 
 
 A sentence or certain words inserted in a sen- 
 tence, which interrupts the sense or natural eonnec 
 
THE SCIENCE OP UTTERANCE. 53 
 
 tion of words, but serves to explain or qualify the 
 sense of the principal sentence. 
 
 Parenthesis should be read more rapidly and in a 
 more subdued tone, making a short pause before 
 commencing, and resuming the former pitch and 
 tone at the principal sentence. 
 
 EXAMPLES. 
 
 1. Know then this truth, (enough for man to 
 know,) 
 Virtue alone is ha])piness below. 
 5?. Oh, woman 1 though only a part of man's rib, 
 (If the story in Genesis don't tell a fib,) 
 Should your naughty companion e'er quarrel 
 
 with you 
 You are certain to prove the best man of the 
 two. 
 
 3. I have seen charity (if charity it may be 
 called,) insult with an air of pity. 
 
 4. Know ye not, brethren (for I speak unto them 
 that know the law), that the law hath dominion over 
 a man as long as he liveth ? 
 
 5. I am happy, said he (expressing himself with 
 the warmest emotion), infinitely happy in seeing you 
 return. 
 
 LESSON XXV. 
 
 EMPHASIS. 
 
 Emphasis gives prominence to certain words and 
 phrases, and may be expressed by an increase of force 
 or stress. 
 
 " Emphasis is in speech, what coloring is in paint- 
 
54 THE SCIENCE OP UTTERANCE. 
 
 ing. It admits of all degrees, and must, to indicate 
 a particular degree of distinction, be more or less 
 intense, according to the ground word or current 
 melody of the discourse." 
 
 " No certain rules can be given to guide the stu- 
 dent in the employment of emphasis. If the voice 
 be clear, full, flexible, and under the control of the 
 will, he will be able to express what he fully under- 
 stands and strongly feels in an effective manner, 
 without the aid of rules. The best advice to the 
 student upon this point is to study his subject until 
 he thoroughly understands it, and then practice upon 
 until he can express it to his own satisfaction." 
 
 EXAMPLES. 
 
 "In Homer, we discern all Greek vivacity; in Virgil 
 all the Eoman stateliness. Homer's imagination is by 
 much the more rich and copious ; Virgil's the more 
 chaste and correct. The strength of the former lies in 
 his power of warming the fancy; that of the latter in 
 his power of toiiching the heart. Hom&r's style is 
 more simple and animated ; Virgil's more elegant and 
 uniform. Theirs* has on many occasions a sublimity 
 to which the latter never attains; but the latter in re- 
 turn never sinks below a certain degree of epic dignity 
 which cannot so clearly be pronounced of the/ornjer." 
 
 CADENCE. 
 
 ' Cadence is the natural termination of the voice at 
 the close of a sentence or phrase. It may have the 
 descending or ascending slide, or it may close with 
 no slide whatever. 
 
 A sentence expressing a complete thought, and 
 
THE SCIENCE OF UTTERANCE. 55 
 
 which is not affected by another phrase or clause pre- 
 ceding or following it, should always terminate with 
 a downward slide ; but-for modified sentences no in- 
 variable rule can be given ; we must be guided by 
 the ideas to be expressed. 
 
 Expression in reading depends greatly on Cadence. 
 
 EXAMPLES. 
 
 1. 
 1, 2, 3, 4, 5,. a, e, i, o. 
 
 ^6, 
 
 Smith, Chambers, Butterfield, Morgan, Brown, 
 Page, Jones, ^ 
 
 3. 
 Speak the speech, I pray you, as I pronounced it to 
 you — trippingly on the tongue ; but if you mouth it, 
 as many of our players do, I had as lief the town crier 
 
 spake my lines. 
 
 4. 
 
 For weeks the clouds had raked the hills. 
 5. 
 
 The war must go on. We must fight it through. 
 And if the war must go on, why put off longer the 
 Declaration of Independence ? 
 
 It is impossible to indulge in such habitual severity 
 of opinion upon our fellow men without injuring the 
 tenderness and delicacy of our own feelings. 
 
 7. 
 
56 THE SCIENCE OF UTTERANOK. 
 
 LESSON XXVI. 
 
 IMPUEE TONES. 
 
 impure tones are aspirate, guttural and falsetto. 
 
 ASPIBATE. 
 
 Aspirate is the intense whisper with little or no 
 vocality. It is used to express fear, secrecy, horror 
 and aversion. 
 
 EXAMPLES. 
 
 1. Hark I what was that? Hark I hark! to the 
 shout. 
 
 2. Hark ! I hear the bugles of the enemy ! They 
 are on the march along the bank of the river! We 
 must retreat instantly or be cut off from our boats! 
 I see the head of their column already rising over 
 the height! Our only safety is in the screen of the 
 hedge. Keep close to it — be silent — and stoop as 
 you run! For the boats! Forward. 
 
 3. Soldiers ! You are now within a few steps of the 
 enemy's outposts! Our scouts report them as slum- 
 
 . bering in parties around their watch-fires, and ut- 
 terly unprepared for our approach. A swift and 
 noiseless advance around that projecting rock, and 
 we are upon them, — we capture them without the 
 possibility of . resistance ! One disorderly noise or 
 motion may leave us at the mercy of their advanced 
 guard. Let every man keep the strictest sUence un- 
 der pain of instant death. 
 
 GUTTURAL. 
 
 Gfuttural is a harsh throat tone. The sound is sent 
 forth in a rough, discordant tone. It expresses hat- 
 red, intense anger, loathing and contempt. 
 
THE 80IEN0E OF UTTERANCE. 57 
 
 The prominent characteristic of this tone is its 
 narsh, discordant quality, produced by the compressed 
 an d partial closing of the throat above the glottis. It 
 denotes all those states of mind classed under dislike 
 and ill-humor. When carefully controlled, it is an 
 element of great power, but the greatest care should 
 be taken to use it in the right sentiment. 
 
 EXAMPLES. 
 
 1. I loathe ye in my bosom, 
 
 I scorn ye with my eye, 
 And I'll taunt ye with my latest breath. 
 And fight ye till I die. 
 
 2. AvoMjnt! and quit my sight. Let the earth 
 
 hide thee. 
 Thy bones are marrowless, thy blood is cold, 
 Thou hast no speculation in those eyes, 
 Which thou dost glare with, 
 
 3. Hence horrible shadow, 
 Unreal mockery, keiwe ! 
 
 4. I'll have my bond ; I will not hear thee speak. 
 rU have my bond ; and therefore speak no more. 
 I'll not be made a soft and dull-eyed fool. 
 
 To shake the head, relent, and sigh; and yield 
 
 To Christian intercessors. Follow not; 
 
 I'll have no more speaking, / mil have my bond. 
 
 FALSETTO. 
 
 Falsetto voice is generally produced above the 
 natural tone, and is used in imitation of high female 
 voices, in the voices of children, and in affectation, 
 «to. 
 
68 THE SCIENCE OP UTTERANCE. 
 
 EXAMPLES. 
 
 1. " Now, Socrates, dearest," Xantippe replied, 
 I hate to hear every thing vulgarly my'd. 
 Now whenever you speak of your chattels 
 
 again. 
 Say <ywr cow-house, awr barn-yard, owt pig-pen." 
 2. Oh 1 what shall I do when the night comes ao^yn 
 In its terrible blackness all over the town ? 
 Shall I lay me down 'neath the angry sky, 
 On the cold hard pavement, alone to die ? 
 
 3. WUl the New Tear come to-night, mamma, I'm 
 
 tired of waiting, so. 
 My stocking hung by the chimney side, full 
 
 three long days ago. 
 I run to peep within the door by morning's early 
 
 light, 
 'Tis empty still — Oh, say, mamma, will the New 
 
 Tear come to-night. 
 
 4. "Tes, it is worth talking of! But that's how 
 you always try to put me down. Ton fly into a rage, 
 and then, if I only try to speak, you won't hear me. 
 That's how you men always will have all the talk to 
 yourselves 1 A poor woman isn't allowed to get a 
 word in." 
 
 LESSON XVII. 
 POSITION. 
 The position in speaking or reading should be 
 natural, easy and graceful. 
 
 The book should be held in the left hand. The 
 
THE SCIENCE OP UTTERANCE. 59 
 
 eyes should not be fixed on the book, but as the 
 reader takes in as many words as he can remember 
 at a glance, he should look and read to the audience 
 or teacher. 
 
 COUNTENANCE. 
 
 K the speaker or reader has an intelligent knowl- 
 edge of his subject, his countenance will assume the 
 proper expression. 
 
 GESTURE. 
 
 The arm should be free and unconstrained in ges- 
 tures, the movement should be from the shoidder 
 rather than the elbow. Elbow slightly curved. 
 
 The hands in gesture should be used easily and 
 gracefully. 
 
 The hands may be supine, prone, vertical, pointing, 
 and clenched. 
 
 The supine hcmd lies open with the palm ujjward. 
 
 The prone hand is opened with the palm down- 
 ward. 
 
 The vertical hcmd is opened with the palm out- 
 ward from the speaker. 
 
 The pointing hcmd, forefinger extended, is Used in 
 designating or pointing out a particular object. 
 
 The clenched hand denotes intense action of the 
 will or passions. 
 
 Hcmd and a/rm gestures are made in four general 
 directions— ^row^, oblique, lateral, and backward. Each 
 is divided into horizontal, descending and ascending. 
 
 Front gestures are used to illustrate that which is 
 near to us. 
 
 Oblique gestures are more general in their applica- 
 tion, relating to things indefinitely. 
 
60 THE SCIENCE OF UTTERANCE. 
 
 Lateral gestures denote expansion, extreme dis- 
 tance, etc. 
 
 Backwa/rd gestures denote things remote, obscure, 
 or hidden. 
 
 Horizontal gestures are used in general allusiong, 
 indicating equality. 
 
 Descending gestures denote inferiority or inequal- 
 ity, also expresses determination and jmrpose. 
 
 Ascending gestures denote superiority, greatness, 
 and lofty ideas. 
 
 LESSON XXVIII. 
 
 EXAMPLES FOE EXERCISE IN CONVERSATIONAL 
 
 TONES. 
 
 See page 73, No. 10. 
 
 [Note. — These exercises should be given with the 
 natural tone and expression of the reader.] 
 
 1. 
 There is nothing like fun, is there ? I have none 
 myself, but I do like it in others. We need all the 
 counterweights we can muster to balance the sad 
 relations of life. 
 
 2. 
 
 People talk of liberty as if it meant the liberty 
 of doing what a man likes. The only liberty that a 
 man worthy the name of a man ought to ask for, is 
 to have all restrictions, inward and outward, that 
 prevents his doing what is right, removed. 
 
 3. 
 Do not, like a lecturer or dramatic star, try over 
 hard to roll the British R ; Do put your accents in 
 the proper spot ; Do not let me beg you — Do not say 
 "How? "for "What?" 
 
THE SCIENCE OF UTTERANCE. 61 
 
 4. 
 
 I dislike a fellow whom pride, or cowardice, or 
 laziness drives into a corner, and who does nothing 
 when he is there but sit and growl. Let him come 
 out as I do, and bark. 
 
 5. 
 
 When speaking in a large hall, or addressing per- 
 sons at a distance, a greater power of voice is required. 
 The tone of ordinary conversation lacks the requisite 
 strength and dignity. 
 
 6. 
 A clergyman and Garrick, the tragedian, were 
 spending an evening together. In the course of their 
 conversation the clergyman asked Garrick, " Why are 
 you able to produce so much more effect, with the 
 recital of fiction, than we can by the delivery of the 
 most important truths ? " Garrick replied, " My Lord, 
 you speak truths as if they were fictions ; we speak 
 fictions as if they were truths." 
 
 7 
 " I can say that I have seen Michael Angelo when 
 he was sixty years of age, and not then very robust, 
 make the fragments of marble fly about at such a 
 rate that he cut off more in a quarter of an hour than 
 three strong young men could have done in an hour, a 
 thing almost incredible to any one who has not seen it ; 
 and he used to work with such fury, and with such an 
 impetus, that it was feared he would dash the ' whole 
 marble to pieces, making at each stroke chips of three 
 or four fingers thick fly off into the air ; ' and that 
 with a material in which, if he had gone only a hair's 
 
62 THE SCIENCE OF UTTERANCE. 
 
 breadth too far, he would totally have destroyed the 
 work, which could not be restored like plaster or 
 clay." 
 
 8. 
 
 " Shakespeare imputes to the cricket the sense of 
 hearing : ' I will tell it softly ; young crickets shall 
 not hear me.' This was long considered a scientific 
 blunder on the part of the poet, the most eminent 
 naturalists having maintained that insects in general 
 have no sense of hearing. Brunelli, an Italian natur- 
 alist, however, has demonstrated that the cricket, at 
 least, has that sense. Several of these insects, which 
 he shut up in a chamber, continued their usual crink- 
 ing or chirping the whole day, except at moments 
 when he alarmed them by suddenly knocking at the 
 the door. The noise always produced a temporary 
 silence on their part, He contrived to imitate their 
 sounds so well that the whole party responded in a 
 chorus, but were instantly silenced on his knocking 
 at the door." 
 
 9. 
 
 " Young Peter Py ramus — I call him Peter, 
 Not for the sake of the rhyme or the meter, 
 But merely to make the name completer — 
 For Peter lived in the olden times. 
 And in one of the worst of pagan climes 
 That flourish now in classical fame." 
 
 10. 
 ■" Now Peter loved a beautiful girl 
 As ever ensnared the heart of an earl 
 In the magical trap of an auburn curl — 
 A little Miss Thisbe, who lived next door, 
 
THE SCIENCE OF UTTERANCE. 63 
 
 " (They lived, in fact, on the very same floor, 
 With a wall between them and nothing more — 
 Those double dwellings were common of yore), 
 And they loved each other, the legends say, 
 In that very beautiful, bountiful way, 
 That every young maid and every young blade 
 Are wont to do before they grow staid, 
 And learn to love by the laws of trade." 
 
 11. 
 
 There is not a shout sent up by an insane mob on 
 this side the Atlantic, but it is echoed by a thousand 
 presses, and by ten thousand tongues, along every 
 mountain and valley on the other. 
 
 12. 
 
 Now, there are different ways of feeling and 
 
 thinking, and so there are different tones of voice. 
 
 for expressing feelings and thoughts. When a boy 
 
 is angry, his voice sounds very differently from what 
 
 it does when he is speaking kindly to his little 
 
 brother or sister. And when a little girl receives 
 
 a beautiful doll for a Christmas present, and tells 
 
 about it, she speaks very differently from what she 
 
 does when the doll falls into the fire and is burned. 
 
 You see, then, that different feelings require different 
 
 tones of voice. 
 
 13. 
 
 I should like to know how the children are to 
 go to school tomorrow. They shan't go through 
 such weather, I am determined. No ; they shall stop 
 
64 THE SCIENCE OF TJTTBEANCE. 
 
 at home and never learn anything, sooner than go 
 and get wet ! And when they grow up, I wonder 
 who they'll have to thank for knowing nothing ? 
 "Who, indeed, but their father. People who can't 
 feel for their own children, ought never to be fathers. 
 
 LESSOliT XXIX. 
 
 EXPRESSION. 
 
 Expression is the art of adapting the voice, cotm- 
 tenance, and gestures to the nature of the sentiment. 
 
 "As it is impossible to print a tear, a groan, a 
 sneer, a laugh, or a look, so it is impossible to express 
 aU the meaning of an author unless, in the spirit of 
 the sentiment, and from long practice, one is able to 
 express that sentiment. The mere repetition of the 
 words of Shakspeare would give little idea of the full 
 meaning and power of those words. In this view, 
 manner is quite as important as matter, for without it 
 the choicest ideas, as represented by words, are life- 
 less." Hence, expression in utterance is the appro- 
 priate and harmonious application of all the princi- 
 ples of voice culture. 
 
 Quality, Pitch, Force, Stress, Movement, Empha- 
 sis, Inflection, Pause, and Personation, are essential 
 requirements to give expression and educate the 
 taste and judgment. 
 
 Special attention should be given to the change 
 of voice in Personation, as it is of the greatest im- 
 portance in public reading and declamation. 
 
 The best guide for expression is to realize and 
 
THE SCIENCE OF UTTEKANCB. 65 
 
 understand the passage to be read, and then give the 
 appropriate tones, which will require an intelligent 
 analysis of the subject. 
 
 We may, by the use of Pitch, Force, Stress, 
 Movement, Emphasis, Inflection, Pause, and Persona- 
 tion, give different meaning to our words or sentences, 
 according to the application. 
 
 Eead the sentence, " Many men are misled by 
 fame," without emphasis, middle pitch. Emphasize 
 one of the words and the sense will be different, as 
 follows: — 
 
 1. Many men are misled by fame. 
 
 2. Many men are misled by fame. 
 
 3. Many men are misled by fame. 
 
 4. Many men are misled hjfame. 
 
 5. Many men are misled by fame. (Loud.) 
 
 6. Many men are misled by fame. (Whisper.) 
 
 " A good reader or speaker ought not only to be 
 able to sound every word correctly, but should know 
 always the eaxict meaning of what he reads, and /eel 
 the sentiment he utters, and also to know how to 
 give the intended meaning and emotion when he 
 knows them." 
 
 LESSON XXX. 
 TRANSITION. 
 
 Transition in utterance is the power of giving 
 proper variety to reading. Without it, reading is mo- 
 notonous. There must be harmony between the 
 voice and the sentiment. If the subject of descrip- 
 
 5 
 
66 THE SCIENCE OF UTTERANCE. 
 
 tion or the sentiment be one of calmness and gentle- 
 ness, the voice must be soft and gentle. If it be 
 noisy or contentious, it becomes high and powerful. 
 " Transition also refers to the changes in style, as 
 from persuasive to declamatory; also to the expres- 
 sion of passion or emotion, as from grief to joy, fear 
 to courage, hope to despair." 
 
 EXAMPLES, ADAPTED PROM MONROE'S MANUAL. 
 
 1. 
 
 Soft. Soft Is the strata when zephyr gently hlows, 
 
 And the smooth stream in smoother numhers flows; 
 
 Loud. But when loud surges lash the sounding shore, 
 
 The hoarse, rough Terse should like the torrent roar. 
 
 Slow. When Ajax strives some rock's vast weight to throw. 
 The line, too, labors : and the words move slow ; 
 
 Quick. Not so, when swift Camilla scours the plain, 
 
 riies o'er the unbending corn, and skims along the main. 
 
 3. 
 
 AgFiBA.TED. Husht harkl did stealing steps go by I 
 
 Came not faint whispers near ? 
 PoEB TONB. No 1 — The wild wind hath many a sigh 
 
 Amid the foliage sere. 
 
 PuBE TONE. A thousand hearts beat happily; and when 
 Music arose with its voluptuous swell, 
 Soft eyes looked love to eyes which spake again, 
 And aU went merry as a marriage-bell ; — 
 
 AsFiBATSD. But hush ! hark I a deep sound strikes like a ristag 
 kneUl 
 
 5. 
 
 Obotund. Her giant form 
 
 O'er wrathful surge, through blackening storm, 
 Majestically calm, would go, 
 'Mid the deep darkness, white as snow! 
 
THE SCIENCE OF UTTERANCE. 
 
 67 
 
 PvBB TONE. But gentler now the small waves glide 
 Like playful lambs o'er a mountain side, 
 
 Orotund. So stately her bearing, so proud her array, 
 The main she will traverse forever and aye. 
 Many ports will exult at the gleam of her mast t 
 
 ASPIBA.T1ID. Hushlhnsbl thou vain dreamer 1 this hour is her last 
 
 Ghaddallt How soft the music of those village bells, 
 aoPTBR. Falling at intervals upon the ear 
 
 In cadence sweet 1 now dying all away. 
 Now pealing loud again, and louder stil], 
 Clear and sonorous as the gale comes on. 
 
 7. 
 Middle pitch. From that chamber clothed in white, 
 
 The bride came forth on her wedding night; 
 There, in the silent room below. 
 The dead lay in his shroud of snow. 
 
 8. 
 
 Qbaduaixt 
 
 LOUDEB. 
 
 Low PITCH. 
 
 LOTTD. 
 
 SUBDUBD. 
 
 Loud. 
 
 Soft. 
 
 Loud. 
 
 Else I rise I ye wild tempests, and cover his flight! 
 'Tis finished. Their thunders are hushed on the moors, 
 Culloden is lost, and my country deplores. 
 
 9. 
 The double, double, double beat 
 
 Of the thundering drum. 
 
 Cries, Hark I the foes come : 
 Charge, charge I 'tis too late to retreat. 
 
 The soft complaining flute, 
 
 In dying notes discovers 
 
 The woes of hapless lovers ; 
 Whose dirge is whispered by the warbling lute. 
 
 .10. 
 The combat deepens. On, ye brave, 
 Who rush to glory, or the grave I 
 Wave, Munich 1 all thy banners wave, 
 And charge with all thy chivalry ! 
 
68 
 
 iSE SCIENCE OP UTTERANCE. 
 
 Son. Ah I few shall part where many meet I 
 The snow shall be their winding-sheet, 
 And every turf beneath their feet 
 Shall be a soldier's sepulchre. 
 
 11. 
 
 Lom>. Once more unto the breach, dear friends, once more, 
 
 Or close the waU up with our English dead 1 
 
 MoDEBATB. In peace, there's nothing so becomes a man. 
 As modest stillness and humility ; 
 
 Loud. But when the blast of war blows In our ears, 
 
 Then imitate the action of the tiger; 
 Stiffen the sinews, summon up the blood, 
 Disguise fair nature with hard-favored rage. 
 
 Vbet loud. On, OK, you noblest English, 
 
 Whose blood is fetched from fathers of war-proof I 
 Fathers, that, like so many Alexanders, 
 Have, in these parts, from morn till even fought, 
 And sheathed their swords for lack of argument. 
 
 Quick and I see you stand like greyhounds in the slips, 
 Straining upon the start. The game 's afoot; 
 Follow your spirits, and, upon this charge, 
 
 VBBT LOUD. CkT, — HEAVEN rOB HaBBT 1 ENGLAND 1 AND ST. 
 
 Gbokge 1 
 
 12. 
 AspiBATBD. Hark! below the gates unbarring ! 
 
 Tramp of men and quick commands! 
 PuBB TONB. '"Tis my lord come back from hunting." 
 And the Duchess claps her hands. 
 
 Soft. Slow and tired, came the hunters ; 
 
 Stopped in darkness in the court. 
 Loud. " Ho, this way, ye laggard hunters I 
 
 To the hall! What sport, what sportl " 
 
 Slow and Slow they entered with their Master; 
 
 SOFT. In the hall they laid Mm down. 
 
 Slightlt On his coat were leaves and blood-stains, 
 
 ASPIBATED. On his brow an angry frown. 
 
THE SCIENCE OF tTTTERANCE. 
 
 69 
 
 13. 
 
 GRADUAiJiT Ever, as they bore, more loud, 
 LOUDEB. And louder rang the pibroch proud. 
 
 Obasuaixt At first the sound, by diatance tame, 
 B07ISB. Mellowed, along the waters came; 
 
 And lingering long by cape and bay, 
 Wailed eyery harsher note away ; 
 
 Loud. When bursting bolder on the ear. 
 
 The clan's shrill gathering they could hear,- 
 Those thrilling sounds, that call the might 
 Of old Clan-Alpine to the fight. 
 
 14. 
 
 Soft oro- Father of earth and heaven I I call thy name I 
 THUD. Round me the smoke and shout of battle roll; 
 
 My eyes are dazzled by the rustling flame;— 
 Father, sustain an untried soldier's soul. 
 Or life, or death, whatever be the goal 
 That crowns or closes round the struggling hoar, 
 
 Thou knowest, if ever from my spirit stole 
 One deeper prayer, 'twas that no cloud might lower 
 On my young fame I — O hear 1 God of eternal power. 
 
 LotTD ORO- Now for the fight, — now for the cannon peal, — 
 TDND. Forward, — through blood and toil and cloud and 
 
 fire! • 
 Glorious the shout, the shock, the crash of steel, 
 The voUey's roU, the rocket's blasting spire ; 
 They shake, — like broken waves their squares 
 retire, — 
 On them, hussars I — Now give them rein and heel; 
 
 Think of the orphaned chUd, the murdered sire : — 
 Earth cries for blood, — in thunder on them wheel 1 
 This hour to Europe's fate shall set the triumph-seal ! 
 
70 THE SCIENCE OE UTTERANCE, 
 
 QUESTIONS FOR EXAMINATION. 
 
 What does the science of utterance teach ? 
 
 What are words? 
 
 How are vocal sounds represented? 
 
 How are vocal sounds produced? 
 
 How many letters in the English language? 
 
 How many sounds have each letter? 
 
 How are the letters divided? 
 
 How are the sounds divided? 
 
 What are vowels ? 
 
 What are consonants? 
 
 What are vocals ? 
 
 What are sub-vocals? 
 
 What are aspirates? 
 
 How many sounds has a? e? i? o? n? 
 
 What is a compound vocal sound? 
 
 Name them, and give the sounds of each one. 
 
 How many sub-vocal sounds? Name them. 
 
 How many aspirate sounds? 
 
 What combination of sounds has q? x? 
 
 How many sounds has c? Name them. 
 
 What constitutes the proper delivery of words? 
 
 What is voice? 
 
 What will produce a pure voice? 
 
 How should the breath be inhaled? 
 
 Explain the active chest. 
 
 Explain the passive chest? 
 
 Explain how voice is produced. 
 
THE SCIENCE OF UTTERANCE. 71 
 
 Where is the glottis? 
 Where is the larynx ? what is its use? 
 What is the pharynx? 
 
 Explain the position and use of the soft palate? 
 What is pure tone? 
 What is impure tone? 
 Which quality of voice is more used ? 
 Which is the most open vocal sound? 
 What action of the will places the vocal organs in 
 position for pure tone? 
 What is the diaphragm? 
 What is articulation? 
 Explain the orotund voice? 
 What are the rules to be observed? 
 What does pitch signify? 
 What compass should the speaking voice have? 
 How is pitch produced? 
 What does force relate to? 
 What are the degrees? 
 What is stress? 
 How many forms has stress? 
 What are they called? 
 What is radical stress? 
 What does it express? 
 What is median stress ? 
 What does it express? 
 What is vanishing stress? 
 What does it express? 
 What are the derivative forms of stress? 
 What is thorough stress? 
 What is compound stress? 
 What is intermittent stress? 
 Explain the different movements of voice? 
 
72 THE SCIENCE OP UTTERANCE. 
 
 Explain quantity? 
 
 What are inflections? 
 
 Explain the rising inflection? 
 
 Explain the falling inflection ? 
 
 Explain the circumflex inflection? 
 
 What are pauses ? 
 
 Explain the grammatical pause? 
 
 Explain the rhetorical pause? 
 
 Explain parenthesis? 
 
 Explain emphasis? 
 
 Explain cadence? 
 
 What are impure tones? 
 
 Explain the aspirate tone? 
 
 Explain the guttural tone? 
 
 Explain the falsetto tone? 
 
 What should be observed in positiont 
 
 Explain countenance in reading? 
 
 Explain gesture? 
 
 What is expression? 
 
 What is transition? 
 
THE SCIENCE OV UTTEaANOB. 73 
 
 HOW TO CRITICIZE THE UTTERANCE OF 
 A READER OR SPEAKER. 
 
 1. Is the breath under perfect control? 
 
 2. Is the voice clear, full, and resonant ? 
 
 3. Is the articulation distinct and correct, with- 
 out being too precise ? 
 
 4. Is the mouth open enough to give fall effect to 
 the words, without mouthing ? 
 
 6. Is the voice modulated correctly to ^uit the 
 sentiment ? 
 
 6. Is force used properly? 
 
 7. Is the movement too fast or too slow, or two 
 uniform ? 
 
 8. Are inflections used properly? 
 
 9. In narrative, are looks, tone, and manner as if 
 relating the experience of the speaker ? 
 
 10. In description, does the reader or speaker pro- 
 ceed as if he had seen, heard, felt or known that 
 which he describes? 
 
 11. Does the'style appear affected? 
 
 12. Are imitation and personation true to the 
 character. 
 
 13. Are the expression of the face, the position 
 and gestures suited to the subject and the occasion. 
 
 HAMLET'S INSTEUCTIONS. 
 
 Speak the speech, I pray you, as I pronounced it to 
 you, trippingly on the tongue ; but if you motiih it,^8 
 many of your players do, I had as lief the tmim crier 
 
74 THE SCIENCE OF UTTERANCE. 
 
 spoke my lines. Nor do not saw the air too much 
 with your hand, thiis; but use all gently : for in the 
 very torrent, tempest, and (as I may say) whirlwind 
 of your passion, you must acquire and beget a tem- 
 perance that may give it smoothness. Oh ! it offends 
 me to the soul, to hear a robustious, periwig-pated 
 fellow tear a passion to tatters, to very rags, to split 
 the ears of the groundlings ; who for the most part, 
 are capable of nothing but inexplicable dumb shows 
 and noise. I would have a fellow whipped for o'er- 
 doing Termagant; it out-herods Herod; pray you 
 avoid it. 
 
 Be not too tame neither, but let your own discre- 
 tion bo your tutor : suit the action to the word, the 
 word to the action, with this special observance, that 
 you o'erstep not the modesty of nature ; for anything 
 BO overdone is from the purpose of playing, whose 
 end, both at the first, and now, was, and is, to hold, 
 as 'twere, the mirror up to nature ; to show virtue 
 her own feature, scorn her own image, and the very 
 age and body of the time his form and pressure. 
 Now, this overdone, or come tardy off, though it 
 make the unskillful laugh, can not "but make the 
 judicious grieve ; the censure of the which one must, 
 in your allowance, o'erweigh a whole theater of 
 others. Oh there be players that I have seen play, 
 — and heard others praise, and that highly, — not to 
 speak it profanely, that, neither having the accent ot 
 Christians, nor the gait of Christian, pagan, or Turk, 
 have so strutted and bellowed, that I have thought 
 some of Nature's journeymen had made men, and not 
 made them well, they imitated humanity so abom- 
 inably. — Shakespeare. 
 
THE 80IEN0E OF UTTERANCE. 70 
 
 SELECTIONS. 
 
 THE BLOCUTIOlSr OP THE PULPIT. 
 
 I can not forbear regretting here, that a matter 
 of such vast importance to preaching, as delivery, 
 should be so generally neglected or misunderstood. 
 A common apprehension prevails, indeed, that a 
 strict regard to these rules would be deemed theatri- 
 cal ; and the dread, perhaps, of incurring this imputa- 
 tion is a restraint upon many. But is it not possible 
 to obtain a just and expressive manner, perfectly 
 consistent with the gravity of the pulpit, and yet 
 quite distinct from the more passionate, strong, and 
 diversified action of the theatre ? And is it not pos- 
 sible to hit off this manner so easily and naturally, 
 as to leave no room for just reflection? An affair 
 this, it must be owned, of the utmost delicacy ; in 
 which we shall probably often miscarry, and meet 
 with ahwndcmce of censure at first. But, stUl, I imagine, 
 that through the regulations o£L taste, the improve- 
 ments of experience, the corrections of friendship, the 
 feelings of piety, and the gradual mellowings of time, 
 such an elocution may be acquired, as is above de- 
 lineated ; and such as, when acquired, will make its 
 way to the hearts of the hearers, through their ears 
 
76 THE SCIENCE OP UTTERANCE. 
 
 and eyes, with a deliglit to both that is seldom felt ; 
 whUe, contrary to what is now practiced, it will ap- 
 pear to the former the very language of nature, and 
 present to the latter the Iwely image of the preathefr's 
 soul. Were a taste for this kind of elocution to take 
 place, it is difScult to say how much the preaching 
 art would gain by it. Pronunciation would be stud- 
 ied, an ear would be formed, the voice would be 
 modulated, every feature of the face, every motion 
 of the hands, every posture of the body, would be 
 brought under right management. A graceful, and 
 correct, and animated expression in all these would 
 be ambitiously sought after; mutual criticisms and 
 friendly hints would be universally acknowledged; 
 light and direction would be borrowed from every 
 quarter, and from every age. The best models of 
 antiquity would in a particular manner be admired, 
 sui-veyed, and imitated. The sing-song voice, and 
 the see-saw gestures, if I may be allowed to use 
 those expressions, would, of course, be exploded ; 
 and, in time, nothing would be admitted, at least ap- 
 proved, among performers, but what was decent, 
 manly, and truly excellent in kind. Even the people 
 themselves would contract, insensibly, a growing 
 relish for such a manner ; and those preachers would 
 at last be in chief repute with all, who followed 
 nature, overlooked themselves, appeared totally ab- 
 sorbed in the subject, and spoke with real propriety 
 and pathos, from the immediate impulse of truth 
 and virtue. — Jcmies Fordyoe. 
 
THE SCIENCE OP UTTERANCE. ^7 
 
 THE CYEIC. 
 
 The Cynic is one who never sees a good quality 
 in a nian, and never fails to see a had one. He is the 
 human owl, vigilant in darkness and blind to light, 
 mousing for vermin, and never seeing noble game. 
 
 The Cynic puts all human actions into only 
 two classes — openly bad, and secretly bad. AH virtue, 
 and generosity, and disinterestedness, are merely the 
 appearance of good, but selfish at the bottom. He 
 holds that no man does a good thing except for profit. 
 The effect of his conversation upon your feelings is 
 to chill and sear them ; to send you away sour and 
 morose. 
 
 His criticisms and innuendoes fall indiscrim- 
 inately upon every lovely thing, like frost upon the 
 flowers. If Mr. A is pronounced a religious man, he 
 will reply : yes, on Sundays. Mr. B has joined the 
 church : certainly; the elections are coming on. The 
 minister of the gospel is called an example of dili- 
 gence : it is his trade. Such a man is generous : oj 
 other men's money. This man is obliging : to lull sus- 
 picion amd cheat you. That man is upright : because 
 he is green. 
 
 Thus his eye strains out every good quality, and 
 takes in only the bad. To him religion is hypocrisy, 
 honesty a preparation for fraud, virtue only a want 
 of opportunity, and undeniable purity, asceticism. 
 The livelong day he will coolly sit with sneering lip, 
 tramfixing every character that is presented. 
 
 It is impossible to indulge in such habitual 
 severity of opinion upon our fellow-men, without in- 
 juring the tenderness and delicacy of our own feel- 
 
78 THE SCIENCE OF UTTERANCE. 
 
 ings. A man will be what his most cherished feel- 
 ings are. If he encourages a nohh generosity, every 
 feeling wiU be enriched by it ; if he nurse bitter and 
 envenomed thoughts, his own spirit wUl absorb the 
 poison, and he wUl crawl among men as a burnished 
 adder, whose life is mischief, and whose errand is 
 death. 
 
 He who hunts for flowers, will find flowers; 
 and he who loves weeds, may find weeds. Let it be 
 remembered that no man, who is not himself mortally 
 diseased, will have a relish for disease ia others. 
 Reject, tlien, the morbid ambition of the Cynic, or cease to 
 call yourself a mem. — n. W. Beecher. 
 
 DEPIOTTION OF ELOQUBNCB. 
 
 When public bodies are to be addressed on mo- 
 mentous occasions, when great interests are at stake, 
 and strong passions excited, nothing is valuable in 
 speech, farther than it is connected with high intel- 
 lectual and moral endowments. Clearness, force, 
 and earnestness are the qualities which produce con- 
 viction. True eloquence indeed does not consist in 
 speech ; it cannot be brought from far. Labor and 
 learning may toil for it, but they toil for it in vain : 
 words and phrases my be marshaled in every way, but 
 they can not compass it : it must exist in the man, 
 in the subject, and in the occasion. Affected passion, 
 intense expression, the pomp of declamation, — all 
 may aspire after it ; they can not reach it : it comes, 
 if it come at all, like the outbreaking of a fountain 
 from the earth, or the bursting forth of volcanic fires, 
 with spontaneous, original, native force. — Webster. 
 
THE SCIENCE OF UTTBEANCE. 79 
 
 THE OLD FOESAKEN SCHOOL-HOUSE. 
 
 [Pure tone — conversational.] 
 
 They've left the school-house, Charley, where years ago we sat 
 And shot our paper huUets at the master's time-worn hat ; 
 The hook is gone on which it hung, the master sleepelh now 
 Where school-boy tricks can never cast a shadow o'er his 
 brow. 
 
 They've built a new, imposing one, — the pride of all the 
 
 town, — 
 And laughing lads and lasses go its broad steps up and down; 
 A tower crowns its sununit with a new, a monster bell. 
 That youthful ears, in distant homes, may hear its music 
 
 swell. ' 
 
 I'm sitting in the old one, with its battered, hingeless door ; 
 The windows are all broken, and the stones lie on the floor ; 
 I, alone, of all the boys who romped and studied here, 
 Remain to see it battered up, and left so lone and drear. 
 
 I'm sitting on the same old bench where we sat side by side. 
 
 And carved our names upon the desk, when not by master 
 eyed ; 
 
 Since then a dozen boys have sought their great skiU to dis- 
 play, 
 
 And, like the foot-prints on the sand, <ywr names have passed 
 away. 
 
 'Twas here we learned to conjugate "amo, a/mas, cmtat," 
 While glances from the lasses made our hearts go pit-a-pat ; 
 'Twas here we fell in love, you know, with girls who looked 
 us through — [of blue. 
 
 Yowrs with her piercing eyes of black, and mine with eyes 
 
 ■Our sweethearts — pretty girls were they — to us how very 
 
 dear — 
 Bow down your head with me, my boy, and shed for them 
 
 a tear ; 
 With them the earthly school is out ; each lovely maid now 
 
 stands [hands." 
 
 Before the one Great Master, in the " house not made with 
 
 You tell me you are far out West ; a laveyer, deep in laws. 
 With Joe, who sat behind us here, and tickled us with straws; 
 Look out for number one, my boys; may wealth come at your 
 touch ; [much. 
 
 But with your long, strong, legal straws don 't tickle men too 
 
80 THE SCIENCE OF UTTERANCE. 
 
 Here, to the right, sat Jimmy Jones — you must remember 
 
 Jim — 
 He 's teaching now, and punishing, as master punished him; 
 What an unlucky lad he was ! his sky was dark with woes ; 
 Whoever did the sinning it was Jim who got the blows. 
 
 Those days are all gone by, my boys ; life's hill we 're going 
 
 down. 
 With here and there a silver hair amid the school-boy brown ; 
 But memory can never die, so we'l talk o'er the joys 
 We shared together, in this house, when you and I were 
 
 boys. 
 
 Though ruthless hands may tear it down — this old house 
 
 lone and drear, 
 They'll not destroy the characters that started out from 
 
 here ; 
 Time's angry waves may sweep the shore and wash out all 
 
 beside ; 
 Bright as the stars that shine above, they shall for aye abide. 
 
 I've seen the new house, Charley ; 'tis the pride of all the 
 town, 
 
 And laughing lads and lasses go its broad steps up and 
 down. 
 
 But you nor I, my dear old friend, can't love it half so well 
 
 A.S this condemned, forsaken one, with cracked and tongue- 
 less bell. 
 
 John H. Yates. 
 
 EVENING AT THE FAEM. 
 
 Over the hill the farm-boy goes, 
 
 His shadow lengthens along the land, 
 
 A giant staff in a giant hand ; 
 
 In the poplar tree above the spring, 
 
 The katy-did begins to sing ; 
 
 The early dews are falling ; — 
 Into the stone-heap darts the mink . 
 The swallows skim the river's brink , 
 And home to the woodland fly the crows, 
 
THE SCIENCE OF UTTEKANCK. 81 
 
 When over the hill the farm-boy goes, 
 Cheerily calling, 
 
 "Co", boss! CO', boss I coM co' I co'l" 
 Farther, farther over the hill, 
 Faintly calling, calling still, 
 
 " Co', boss 1 CO', boss 1 co' ! co' I " 
 
 Now to her task the milkmaid goes. 
 
 The cattle come crowding through the gate, 
 
 Looing, pushing, little and great ; 
 
 About the trough, by the barn-yard pump, 
 
 The frolicsome yearlings frisk and jump, 
 
 While the pleasant dews are falling ; — 
 The new milch heifer is quick and shy, 
 But the old cow waits with tranquil eye, 
 And the white stream into the bright pail flows, 
 When to her task the milkmaid goes. 
 
 Soothingly calling, 
 "So, boss 1 so, boss! sol so! sol" 
 The cheerful milkmaid takes her stool. 
 And sits and milks in the twilight cool. 
 Saying, " So ! so, boss ! so ! so ! " 
 
 To supper at last the farmer goes. 
 The apples are pared, the paper read, 
 The stories are told, then all to bed. 
 Without, the crickets' ceaseless song 
 Makes shrill the silence all night long ; 
 
 The heavy dews are falling. 
 The housewife's hand has turned the lock ; 
 Drowsily ticks the kitchen clock ; 
 The household sinks to deep repose. 
 
82 THE SCIENCE OF UTTERANCE. 
 
 But still in sleep the farm-boy goes 
 Singing, calling, 
 " Co', boss ! co', boss 1 co' 1 co' ! co' ! " 
 And oft the milkmaid in her dreams, 
 Drums in the paU with the flashing streams. 
 Murmuring, "So, boss 1 so I" 
 
 — J. T. Trowbridge. 
 
 HAMLET'S SOLILOQUY. 
 
 Hamlet : — To be, or not to be : that is the question : 
 Whether 'tis nobler in the mind to suffer 
 The stings and arrows of outrageous fortune. 
 Or to take arms against a sea of troubles. 
 And by opposing end them? To die, — ^to sleep, — 
 No more ; and by a sleep to say we end 
 The hea/i-tache, and the thousand natural shocks 
 That flesh is heir to, — 'tis a consv/mmation 
 Devoutly to be wish'd. To die, to sleep; 
 To sleep! perchance to dream,; — ay, there's the rub ; 
 For in that sleep of death what dreams may come 
 When we have shuflled off this mortal coil, 
 Must give us paiose : there 's the respect 
 That makes calamity of so long life : 
 For who would bear the whips and scorns of time, 
 The oppressor's wrong, the proud man's contiimely, 
 The pangs of despised love, the law's delay. 
 The insolence of oflS.ce, and the spv/ms 
 That patient merit of the unworthy takes, 
 When he himself might his qmettts make 
 With a bare bodhin? who would fardels bear, 
 To grunt and sweat under a weary life. 
 But, that the dread of something after death. 
 
THE SOIBNOE OF tJTTERANCB. 83 
 
 The undiscovered country from whose bourne 
 
 No traveler returns, puzzles the will, 
 
 And makes us rather bear those ills we have 
 
 Than fly to others that we know not of? 
 
 Thus conscience does make cowards of us all ; 
 
 And thus the native hue of resolution 
 
 Is sicklied o'er with the pale cast of thought; 
 
 And enterprises of great pith and moment. 
 
 With this regard, their currents turn awry, 
 
 And lose the name of action. 
 
 — Shakespeare. 
 
 A LEGEND OP BEEGENZ. 
 
 Girt round with rugged mountains, the fair Lake 
 Constance lies ; in her blue heart reflected shine back 
 the starry skies ; and, watching each white cloudlet 
 float silently and slow, you think a piece of heaven 
 lies on our earth below 1 
 
 Midnight is there; and silence, enthroned in 
 heaven, looks down upon her own calm mirror, upon 
 a sleeping town : for Bregenz, that quaint city upon 
 the Tyrol shore, has stood above Lake Constance a 
 thousand years or more. Her battlements and tow- 
 ers, from off their rocky steep, have cast their tremb- 
 ling shadow for ages on the deep. Mountain, and 
 lake, and valley, a sacred legend know, of how the 
 town was saved, one night, three hundred years ago. 
 
 Far from her home and kindred a Tyrol maid 
 had fled, to serve in the Swiss valleys, and toil for 
 daily bread ; and every year that fleeted so silently 
 and fast, seemed to bear farther from her the mem- 
 ory of the past. She served kind, gentle masters, 
 
84 THE SCIENCE OP UTTERANOB. 
 
 nor asked for rest or change ; her friends seemed no 
 more new ones, their speech seemed no more strange; 
 and when she led her cattle to pasture every day, 
 she ceased to look and wonder on which side Bre- 
 genz lay. She spoke no more of Bregenz, with long- 
 ing and with tears ; her Tyrol home seemed faded in 
 a deep mist of years. She heeded not the rumors 
 of Austrian war and strife ; each day she rose con- 
 tented to the calm toils of life. Yet, when her mas- 
 ter's children would clustering round her stand, she 
 sang them ancient ballads of her own native land ; 
 and when at mom and evening she knelt before 
 God's throne, the accents of her childhood rose to 
 her lips alone. 
 
 And so she dwelt : the valley more peaceful year 
 by year; when suddenly strange portents of some 
 great deed seemed near. The golden com was bend- 
 ing upon its fragile stalk, while farmers, heedless of 
 their fields, paced up and down in talk. The men 
 seemed stem and altered, with looks cast on the 
 ground ; with anxious faces, one by one, the women 
 gathered round ; all talk of flax, or spinning, or 
 work was put away ; the very children seemed 
 afraid to go alone to play. 
 
 One day, out in the meadow with strangers from 
 the town, some secret plan discussing, the men 
 walked up and down ; yet now and then seemed 
 watching a strange, uncertain gleam, that looked like 
 lances 'mid the trees that stood below the stream. 
 
 At eve they aU assembled, then care and doubt 
 were fled ; with jovial laugh they feasted ; the board 
 was nobly spread. The elder of the vUlage rose up, 
 his glass in hand, and cried, " We drink the downfall 
 
THE SCIENCE OP UTTERANCE. 85 
 
 of an accursed land 1 The night is growing aarfeer, 
 ere one more day is flown, Bregenz, our foemen's 
 stronghold, Bregenz shaU be our own ! " 
 
 The women shrank in terror (yet pride, too, had 
 her part), but one poor Tyrol maiden felt death 
 within her heart. Before her stood fair Bregenz; 
 once more her towers arose ; what were the friends 
 beside her ? Only her country's foes 1 The faces of 
 her kinsfolk, the days of childhood flown, the echoes 
 of her mountains, reclaimed her as their own. Noth- 
 ing she heard around her (though shouts rang forth 
 again) ; gone were the green Swiss valleys, the pas- 
 ture and the plain ; before her eyes one vision, and 
 in her heart one cry, that said, "Go forth, save 
 Bregenz, and then, if need be, die I " 
 
 With trembling haste and breathless, with noise- 
 less step, she sped; horses and weary cattle were 
 standing in the shed ; she loosed the strong, white 
 charger, that fed from out her hand, she mounted, 
 and she turned his head toward her native land. 
 Out — out into the darkness — faster, and still more 
 fast ; the smooth grass flies behind her, the chestnut 
 wood is past ; she looks up ; clouds are heavy ; why 
 is her steed so slow? — scarcely the wind beside them 
 can pass them as they go. 
 
 "Paster I" she cries, "Oh, faster!" Eleven the 
 church-bells chime: "0 God," she cries, "help Bre- 
 genz, and bring me there in time 1 " But louder than 
 bells' ringing, or lowing of the kine, grows nearer in 
 the midnight the rushing of the Ehine. Shall not 
 the roaring waters their headlong gallop check? 
 The steed draws back in terror, — she leans upon his 
 neck to watch the flowing darkness; the bank is 
 
86 THE SCIENCE OF UTTERANCE. 
 
 high and steep; one pause — he staggers forward, 
 and plunges in the deep. She strives to pierce the 
 blackness, and looser throws the rein ; her steed 
 must breast the waters that dash above his mane. 
 How gallantly, how nobly, he 'struggles through the 
 foam, and see — in the far distance shine out the 
 lights of home I Up the steep bank he bears her, 
 and now they rush again toward the heights of Bre- 
 genz, that tower above the plain. They reach the 
 gate of Bregenz just as the midnight rings, and out 
 come serf and soldier to meet the news she brings. 
 
 Bregenz is saved ! Ere daylight her battlements 
 are manned ; defiance greets the army that marches 
 on the land. And if to deeds heroic should endless 
 fame be paid, Bregenz does well to honor the noble 
 Tyrol maid. 
 
 Three hundred years are vanished, and yet upon 
 the hill an old stone gateway rises, to do her honor 
 Btill. And there, when Bregenz women sit spinning 
 in the shade, they see in- quaint, old carving the 
 Charger and the Maid. And when, to guard old 
 Bregenz, by gateway, street, and tower, the warder 
 paces all night long and calls each passing hour: 
 "nine," "ten," "eleven," he cries aloud, and then (O 
 crown of Fame !) when midnight pauses in the skies, 
 he calls the maiden's name. — Adelaide Procter. 
 
 CHAE-CO-0-AL ! 
 
 (Cll8^-co-o-alI Char-co-o-all Scale: 1—3—1—5; 5—3—1—5.] 
 
 The chimney soot was falling fast. 
 As through the streets and alleys passed 
 A man who sang, with noise and din. 
 This word of singular meaning, 
 
 Char-co-o-al ! 
 
IHE SCIENCE OF UITERANCK. 87 
 
 His face was grim, his nose upturned, 
 As if the very ground he spumed — 
 And like a trumpet sound was heard, 
 The accents of that awful word, 
 
 Char-co-o-al I 
 
 "Don't go there I" was the warning sound; 
 The pipes have all burst underground, 
 The raging torrent's deep and wide ; " 
 But loud his trumpet voice replied, 
 
 Char-co-o-al I 
 
 "Beware of Main street crossing deep, 
 Away from Walnut gutter keep ! " 
 This was the sweeper's only greet, 
 A voice replied far up the street, 
 
 Char-co-o-al I 
 
 At set of sun, as homeward went, 
 The joyous men of cent per cent, 
 Counting the dollars in their till, 
 A voice was heard, both loud and shrill, 
 
 Char-co-o-al 1 
 
 A man upon the watchman's round. 
 Half steeped in mud and ice was found. 
 Shouting with voice, though not so strong. 
 That awful word which heads my song, 
 
 Char-co-o-al I 
 
 There in the gas-light, dim and gray, 
 Dreaming unconsciously he lay, 
 And from his nose, turned up still more. 
 Came sounding like a thrilling snore — 
 
 Char-co-o-al 1 
 
88 THE SCIENCE OP UTTERANCE. 
 
 [RAPID MOVEMENT.] 
 
 Great rats, small rats, lean rats, brawny rats, 
 Brown rats, black rats, gray rats, tawny rats, 
 Grave old plodders, gay young friskers, 
 Fathers, mothers, uncles, cousins. 
 Pointing tails and pricking whiskers, 
 Families by tens and dozens. 
 Brothers, sisters, husbands, wives — 
 Followed the Piper for their lives. 
 
 SUPPOSED SPEECH OF JOHN ADAMS. 
 
 The war must go on. We must fight it through. 
 And if the war must go on, why put off longer the 
 Declaration of Independence? That measure will 
 strengthen us. It will give us character abroad. 
 Why then, sir, do we not, as soon as possible, change 
 this from a civil to a national war? And since we 
 must fight it through, why not put ourselves in a state 
 to enjoy all the benefits of victory, if we gain the 
 victory? If we fail, it can be no worse for us. But 
 we shall not fail. The cause will raise up armies ; 
 the cause will create navies. The people, — the people, 
 if we are true to them, will carry us and will carry 
 themselves gloriously through this struggle. 
 
 I care not how fickle other people have been 
 found. I know the people of these colonies ; and I 
 know that resistance to British aggression is deep 
 and settled in their hearts, and can not be eradicated. 
 Every colony, indeed, has expressed its willingness 
 to follow, if we but take the lead. Sir, the declara- 
 
THE SCIENCE OF UTTERANCE. 89 
 
 tion will inspire the people with increased courage. 
 Instead of a long and bloody war for restoration of 
 privileges, for redress of grievances, for chartered 
 immunities, held under a British king, set before 
 them the glorious object of entire independence, and 
 it will breathe into them anew the breath of life. 
 
 Eead this declaration at the head of the army; 
 every sword will be drawn from its scabbard, and 
 the solemn vow uttered, to maintain it or to perish 
 on the bed of honor. Fublish it from the pulpit ; re- 
 ligion will approve it, and the love of religious liberty 
 will cling round it, resolved to stand with it or fall 
 with it. Send it to the public halls ; proclaim it there ; 
 let them hear it, who heard the first roar of the 
 enemy's cannon ; let them see it, who saw their 
 brothers and their sons fall on the field of Bunker 
 HUl, and in the streets of Lexington and Concord, 
 and the very walls will cry out in its support. 
 
 Sir, I know the uncertainty of human affairs ; 
 but I see, I see clearly through this day's business. 
 You and I, indeed, may rue it. We may not live to 
 the time when this declaration shall be made good. 
 We may die ; die colonists ; die slaves ; die, it may 
 be, ignominiously, and on the scaffold. Be it so. 
 Be it so. If it be the pleasure of Heaven that my 
 country shall require the poor offering of my life, the 
 victim shall be ready at the appointed hour of sac- 
 rifice, come when that hour may. But while I do 
 live, let me have a country (or at least the hope of a 
 country), and that a/ree country. 
 
 But whatever may be our fate, — be assured, be 
 assured, that this declaration will stand. It may 
 «ost treasure, and it may cost blood ; but it wUl stand, 
 
90 THE SCIENCE OP UTTERANCE. 
 
 and it will richly compensate for both. Through the 
 thick gloom of the present, I see the brightness of 
 the future, as the sun in heaven. We shall make 
 this a glorious, an immortal day. When we are in 
 our graves, our children will honor it. They will 
 celebrate it with thanksgiving, with festivity, with 
 bonfires, and illuminations. On its annual return 
 they will shed tears, copious, gushing tears, not of 
 subjection and slavery, not of agony and distress, 
 but of exultation, of gratitude, and of joy. 
 
 Sir, before God, I believe the hour is come. 
 My judgment approves this measure, and my whole 
 heart is in it. All that I have, and all that I am, 
 and all that I hope in this life, 1 am now ready here 
 to stake upon it ; and I leave off as I began, that 
 live or die, survive or perish, I am for the declara- 
 tion. It is my living sentiment, and by the blessing 
 of God it shall be my dying sentiment ; independence 
 now ; and independence forever. — Webster. 
 
 BUGLE SONG. 
 
 [Dtino, dying, dying, should be read with one breath, each word 
 fainter until almost inaudible.] 
 
 The splendor falls on castle walls. 
 
 And snowy summits old in story 
 The long light shakes across the lakes. 
 And the wild cataract leaps in glory. 
 Blow, biigle, blow ; set the wild echoes flying ; 
 Blow, bugle ; answer, echoes, dying, dying, dying. 
 
 hark, O hear I how thin and clear. 
 
 And thinner, clearer, farther going; 
 sweet and far, from cliff and scar. 
 The horns of Elf-land faintly blowing ! 
 Blow ; let us hear the purple glens replying ; 
 Blow, bugle ; answer, echoes, dying, dying, dying. 
 
THE SCIENCE OF UTTERANCE. 9] 
 
 O love, they die in yon rich sky, 
 
 They faint on field, on hill, on river ; 
 Our echoes roll from soul to soul. 
 And grow forever and forever. 
 Blow, hugh, blow ; set the wild echoes flying, 
 And answer, echoes, answer dying, dying, dying. 
 
 — Tennyson. 
 
 IGNOEANCE IN OUE COUNTET A CEIME. 
 
 In all the dungeons of the old world, where the 
 strong champions of freedom are now pining in cap- 
 tivity beneath the remorseless power of the tyrant, 
 the morning sun does not send a glimmering ray 
 into their cells, nor does night draw a thicker vail of 
 darkness between them and the world, but the lone 
 prisoner lifts his iron-laden arms to Heaven in prayer, 
 that we, the depositaries of freedom and of human 
 hopes, may be faithful to our sacred trust ; while, on 
 the other hand, the pensioned advocates of despot- 
 ism stand, with listening ear, to catch the first sound 
 of lawless violence that is wafted from our shores, to 
 note the first breach of faith or act of perfidy among 
 us, and to convert them into arguments against lib- 
 erty and the rights of man. 
 
 There is not a shout sent up by an insane mob, 
 on this side of the Atlantic, but it is echoed by a 
 thousand presses, and by ten thousand tongues, 
 along every mountain and valley on the other. 
 There is not a conflagration kindled here by the 
 ruthless hand of violence, but its flame glares over 
 all Europe, from horizon to zenith. On each occur- 
 reoce of a flagitious scene, whether it be an act of 
 
92 THiJ SCIENCE OF TTTTEEANCE. 
 
 turbulence and devastation, or a deed of perfidy or 
 breach of faith, monarchs point them out as fruits 
 of the growth and omens of the fate of republics, 
 and claim for themselves and their heirs a further 
 extension of the lease of despotism. 
 
 The experience of the ages that are past, the 
 hopes of the ages that are yet to come, unite their 
 voices in an appeal to us ; they implore us to think 
 more of the character of our people than of its num- 
 bers ; to look upon our vast natural resources, not as 
 tempters to ostentation and pride, but as a means to 
 be converted, by the refining alchemy of education, 
 into mental and spiritual treasures ; they supplicate 
 us to seek for whatever complacency or self-satisfac- 
 tion we are disposed to indulge, not in the extent of 
 our territory, or in the products of our soil, but in 
 the expansion and perpetuation of the same means 
 of human happiness ; they beseech us to exchange 
 the luxuries of sense for the joys of charity, and thus 
 give to the world the example of a nation whose 
 wisdom increases with its prosperity, and whose vir- 
 tues are equal to its power. For these ends they en- 
 join upon us a more earnest, a more universal, a 
 more religious devotion to our exertions -and re- 
 sources, to the culture of the youthful mind and 
 heart of the nation. Their gathered voices assert 
 the eternal truth, that, in a republic, ignorance is a 
 crime i amd that private immorality is not less an 
 opprobrium to the state than is guilt in the perpetrar 
 tor. — H. Mann, 
 
IHE SCIENCE OP UTTERANCE. 93 
 
 CHAEGE OP THE LIGHT BEIGADB. 
 
 Half a league, half a league, 
 
 Half a league onward, 
 All in the valley of death 
 
 Eode the six hundred. 
 " Forward the Light Brigade I 
 Charge for the guns," he said. 
 Into the valley of death 
 
 Eode the six hundred. 
 
 "Forward the Light Brigade ! " 
 Was there a man dismay'd ? 
 Not though the soldier knew 
 
 Some one had hhmder'd; 
 "Theirs not to make reply, 
 Theirs not to reason why, 
 Theirs but to do and die. 
 Into the valley of death 
 
 Eode the six hundred, 
 
 Com/non to right of them, 
 Garvnon to left of them, 
 GamiMm in frcmi of them, 
 
 VoUey'd and thunderd; 
 Storm'd at with shot and shell, 
 Boldly they rode and wdl, 
 Into the jaws of death, 
 Into the mouth of hell 
 
 Eode the six hundred. 
 
 Fkbsh'd aU their sabres bare, 
 Mash'd as they tum'd in air. 
 Sabring the gunners there, 
 
94 THE SCIENCE OF UTTERANCE. 
 
 Charging an army, while 
 
 All the world wonder'd : 
 Plunged in the battery-smoke, 
 Bight through the line they broke ; 
 
 Cossack and Eussian 
 Eeel'd from the sabre-stroke 
 
 Shatter'd and stmder'd, 
 Then they rode back, but not — 
 
 Ifot the six hundred. 
 
 Cannon to right of them, 
 Cannon to left of them, 
 Cannon behind them 
 
 Volley' d and thunder' d; 
 Storm'd at with shot and shell, 
 While horse and hero fell, 
 They that had fought so well 
 Came through the jaws of death, 
 Back from the mouth of heU, 
 All that was left of them ; 
 
 Left of six hundred. 
 
 When can their glory fade f 
 Oh, the wild charge they made 1 
 
 All the world wonder'd. 
 Bonor the charge they made 1 
 Honor the Light Brigade, 
 
 Noble six hundred ! 
 
 — Temnyson. 
 
 APOSTROPHE TO COLD WATER. 
 
 [Paul Denton, a Methodist preaolier In Texas, adyertised a barbecne, 
 with better liquor tban is usually furnished. When the people were as- 
 Bembled, a desperado in the crowd walked up to him, and cried out: " Mr. 
 Denton, your reverence has lied. You promised not only a good barbecue, 
 but better liquor. Where 's the liquor t " 
 
 "ThereI" answered the preacher, in tones of thunder, pointing his 
 motionless finger at a spring gushing up in two strong coIuninB, with a 
 sound like a shout of joy, from the bosom of the earth.] 
 
 " There ! " he repeated, with a look terrible as 
 lightning, while his enemy actually trembled at his 
 
THE SCIENOE OF UIIERANOE. 95 
 
 feet ; " there is the liquor which God, the Eternal, 
 brews for all his children. Not in the simmering 
 still, over smoky fires, choked with poisonous gases, 
 surrounded with the stench of sickening odors and 
 corruptions, doth your Father in heaven prepare the 
 precious essence of life — pure, cold water ; but in the 
 green glade and grassy dell, where the red deer 
 wanders, and the child loves to play, there God brews 
 it ; and down, low down in the deepest valleys, where 
 the fountain murmurs and the rills sing ; and high 
 upon the mountain tops, where the naked granite 
 glitters like gold in the sun, where the storm-cloud 
 broods and the thunder-storms crash ; and far out on 
 the wide, wild sea, where the hurricane howls music, 
 and the big wave rolls the chorus, sweeping the 
 march of God — there He brews it, that beverage of 
 life — health-giving water. 
 
 " And everywhere it is a thing of life and beauty — 
 gleaming in the dew-drop ; singing in the summer 
 rain ; shining in the ice-gem, till the trees all seem 
 turned to living jewels ; spreading a golden veil over 
 the setting sun, or a white gauze around the mid- 
 night moon ; sporting in the glacier ; folding its 
 bright snow-curtain softly about the wintry world ; 
 and weaving the many-colored bow, that seraph's 
 zone of the siren — whose warp is the rain-drops of 
 earth, whose woof is the sunbeam of heaven, all 
 checked over with celestial flowers, by the mystic 
 hand of refraction. 
 
 "Still always it is beautiful — that blessed life- 
 water ! No poisonous bubbles are on its brink ; its 
 foam brings not madness and murder; no blood stains 
 its liquid glass ; pale widows and starving orphans 
 weep not burning tears in its depths ; no drunkard's 
 shrinking ghost, from the grave, curses it in the 
 worlds of eternal despair ! Speak out, my friends : 
 would you exchange it for the demon's drink, alco- 
 hol?" A shout like the roar of a tempest, answered, 
 " No 1 " 
 
 John B. Gough. 
 
96 THE SCIENCE OF UTTEBANCE. 
 
 SUPERFICIAL LEARNING. 
 
 "Well!" exclaimed a young lady, just returned 
 from school, "my education is at last finished ; in- 
 deed, it would be strange, if, "after five years' hard 
 application, anything were left incomplete. Happily, 
 it is all over now, and I have nothing to do but exer- 
 cise my various accomplishments. 
 
 " Let me see ! — as to French, I am mistress of 
 that, and speak it, if possible, with more fluency than 
 English. Italian I can read with ease, and pronounce 
 very well, as well, at least, and better than any of my 
 friends ; and that is all one need wish for in Italian ; 
 Music I have learned until I am perfectly sick of it. 
 But, now that we have a grand piano, it will be de- 
 lightful to play when we have company. 
 
 "And then there are my Italian songs, which 
 everybody allows I sing with taste, and as it is what 
 so few people can pretend to, I am particularly glad 
 that I can. My drawings are universally admired, 
 especially the shells and flowers, which are beautiful, 
 certainly ; besides this, I have a decided taste in all 
 kinds of fancy ornaments. And then, my dancing 
 and waltzing, in which our master himself owned 
 that he could take me no farther ; — just the figure 
 for it, certainly ; it would be unpardonable if I did 
 not excel. 
 
 "As to common things, geography, and history, 
 and poetry, and philosophy, thank my stars, I have 
 got through them all, so that I may consider myself 
 not only perfectly accomplished, but also thoroughly 
 well informed. 
 
 " Well, the only wonder is that one head can con- 
 tain it all ! " — Jane Taylor. 
 
THE SCIENCE OF UTTERANCE. 97 
 
 USTDUSTRT AND ELOQUENCE. 
 
 In the ancient republics of Greece and Eome, 
 oratory was a necessary branch of the finished edu- 
 cation. A much smaller proportion of the citizens 
 were educated than among us ; but of these a much 
 larger number became orators. No man could hope 
 for distinction or influence, and yet slight this art. 
 The commanders of their armies were orators as well 
 as soldiers, and ruled as well by their rhetorical as 
 by their military skill. There was no trusting with 
 them as with us, to a natural facility, or the acquisi- 
 tion of an accidental fluency by occasional practice. 
 
 They served an apprenticeship to the art. They 
 passed through a regular course of instruction iu 
 schools. They submitted to long and laborious dis- 
 cipline. They exercised themselves frequently, both 
 before equals and in the presence of teachers, who 
 criticised, reproved, rebuked, excited emulation, and 
 left nothing undone which art and perseverance 
 could accomplish. 
 
 The greatest orators of antiquity, so far from 
 being favored by natural tendencies, except, indeed, 
 in their high intellectual endowments, had to struggle 
 against natural obstacles; and, instead of growing 
 up apontaneovsly to their unrivaled eminence, they 
 forced themselves forward by the most discouraging, 
 artificial process. 
 
 Demosthenes combated an impediment in speech 
 and an ungainliness of gesture, which, at first, drove 
 him fipom the forum in disgrace. Cicero failed, at 
 first, through weakness of lungs and an excessive 
 
98 THE SCIENCE OF UTTERANCE. 
 
 vehemence of manner, which wearied the hearers 
 and defeated his own purpose. These defects were 
 conquered by study and discipline. He exiled him- 
 self from home, and, during his absence in various 
 lands, passed not a day without a rhetorical exercise, 
 seeking the masters who were most severe in criti- 
 cism, as the surest means of leading him to the per- 
 fection at which he aimed. 
 
 Such, too, was the education of their other great 
 men. They were all, according to their ability and 
 station, orators ; orators, not by nature or accident, 
 but by education, formed in a strict process of rhe- 
 torical training. ^ 
 
 The inference to be drawn from these observa- 
 tions is, that if so many of those who received an 
 accomplished education, became accomplished ora- 
 tors, because to become so was one purpose of their 
 study ; then, it is in the power of a much larger pro- 
 portion among us to form ourselves into creditable 
 and accurate speakers. The inference should not be 
 denied until proved false by experiment. 
 
 Let this art be made an object of attention ; 
 let young men train themselves to it /aithfulh/ and 
 long ; and if any of competent talents and tolerable 
 science be found, at last, incapable of expressing 
 themselves in a continued and connected discourse, 
 so as to answer the ends of public speaking, then, and 
 not tin then, let it be said, that a peculiar talent, or 
 natural aptitude, is requisite, the want of which must 
 render effort vain : then, and not till then, let us ac- 
 quiesce in this indolent and timorous notion, which 
 contradicts the whole testimony of antiquity and all 
 the experience of the world. — Wirt. 
 
THE SCIENCE OF tTTTERANOE. 99 
 
 THE BUENING SHIP. 
 
 The storm o'er the ocean flew furious and fast, 
 And the waves rose in foam at the voice of the blast. 
 And heavily labored the gale-beaten ship, 
 Like a stout-hearted swimmer, the spray at his lip ; 
 And dark was the sky o'er the mariner's path, 
 Save when the wild lightning illumined in wrath. 
 
 A young mother knelt in the cabin below. 
 And pressing her babe to her bosom of snow. 
 She prayed to her God, 'mid the hurricane wild, 
 " O Father, have mercy, look down on my child 1 " 
 It passed, — the fierce whirlwind careered on its way, 
 And the ship like an arrow divided the spray ; 
 Her sails glimmered white in the beams of the moon. 
 And the wind up aloft seemed to whistle a tune, — to 
 whistle a tune. 
 
 There was joy in the ship as she furrowed the foam. 
 For fond hearts within her were dreaming of home. 
 The young mother pressed her fond babe to her 
 
 breast, 
 And the husband sat cheerily down by her side, 
 And looked with delight on the face of his bride, 
 "Oh, happy," said he, "when our roaming is o'er, 
 We '11 dwell in our cottage that stands by the shore. 
 Already in fancy its roof I descry. 
 And the smoke of its hearth curling up to the sky; 
 Its garden so green, and its vine-covered wall ; 
 The kind friends awaiting to welcome us all. 
 And the children that sport by the old oaken tree." 
 Ah gently the ship glided over the sea ! 
 Hark ! what was that? Hark I Hark to the shout 1 
 
100 THE SCIENCE OF UTTERANCE. 
 
 "Fire!" Then a tramp and a rout, and an uproar 
 
 of voices uprose on the air ; — 
 And the mother knelt down, and the half-spoken 
 
 prayer 
 That she offered to God in her agony wild. 
 Was, "Father, have mercy, look down on my child !" 
 She flew to her husband, she clung to his side, 
 Oh ! there was her refuge whate'er might betide. 
 "Fire!" "Fire!" It was raging above and below ; — 
 And the cheeks -of the sailors grew pale at the sight, 
 And their eyes glistened wild in the glare of the light. 
 'Twas vain, o'er the ravage the waters to drip ; 
 The pitiless flame was the lord of the ship. 
 And the smoke in thick wreaths mounted higher and 
 
 higher. 
 "O God I it is fearful to perish by fire." 
 Alone with destruction, alone on the sea, 
 " Great Father of mercy, our hope is in thee." 
 
 Sad at heart, and resigned, yet undaunted and brave, 
 They lowered the boat, a mere speck on the wave. 
 First entered the mother, enfolding her child : 
 It knew she caressed it, looked upward and smiled. 
 Cold, cold was the night as they drifted away. 
 And mistily dawned o'er the pathway the day : — 
 And they prayed for the light, and at noontide about, 
 The sun o'er the waters shone joyously out. 
 
 "Ho! a sail!" "Ho! a sail!" cried the man at the 
 
 lea, 
 "Ho! a sail!" and they turned their glad eyes o'er 
 
 the sea. 
 " They see us, they see us, the signal is waved I 
 They bear down upon us, they bear down upon us : 
 Huzza ! we are saved." 
 
THE SOIENOB OP UTTBRANOB. 101 
 
 THE BELLS. 
 
 SLBIGH BBLLS. 
 
 Hear the sledges with their bells, 
 Siher hells ! 
 What a world of merriment their melody foretefe / 
 How they tinkle, tmlele, imMe, 
 
 In the icy air of night, 
 While the stars that ovevsprinkle, 
 All the heavens seem to twinkle 
 
 With a crystalfee delight; 
 Keeping time, time, time, 
 In a sort of Eunic rhyms, 
 To the tintinnabulation that so musically we^s 
 From the heUs, hells, heUs, 
 Bells, bells, bells. 
 From the jingling and the tinkling of the bells. 
 
 WEDDING BELLS. 
 
 Hear the wedding bells — 
 Golden hells! 
 What a world of happiness their harmony /orsfeKs/ 
 Through the balmy air of night 
 How they ring out their delight 1 
 From the molten golden notes, 
 
 And all in tune. 
 What a liquid ditty floats, 
 To the turtle dove that listens, when she gloats 
 On the moon / 
 Oh, from out the sounding ceUs 
 What a gush of euphony voluminously weUs I 
 How it swells! 
 How it dwells — 
 
102 THE SOIENOB OF UTTERANCE. 
 
 On the future ! How it i 
 Of the rapture that impels 
 To the swinging and the ringing 
 Of the bells, bells, bells, 
 
 Of the BELLS, BELLS, BELLS, BELLS, 
 EeLLS, BELLS, BELLS ! 
 
 To the rhyming and the chimiiig of the bells. 
 
 FIBE BELLS. 
 
 Hear the loud alarum bells — 
 Brazen bells. 
 What a tah of terror now their turbuleney tells I 
 In the startled ear of night, 
 How they scream, out their affright 1 
 Too much horrified to speak. 
 They can only shriek, shriek 
 Out of tune. 
 In a clamorous appealing to the mercy of the FiaE ! 
 In a mad expostulation with the deaf and frantic^e, 
 Leaping, higher, high&r, higher 
 With a desperate desire; 
 And a resolute endeavour. 
 Now, now to sit or never 
 By the side of the pale-faced moon 1 
 Oh, the bells, hells, bells, 
 What a tah their terror telh 
 Of despavrl 
 How they clang and clash and roae, 
 What a horror they outpoiw 
 On the bosom of the palpitating air 1 
 Tet the ear it fiilly knows 
 By the twa/nging 
 And the clanging. 
 
THE SCIENCE OF UTTBRANCB. 103 
 
 How the danger sinks and swells, 
 By the smhmg or the sweUmg or the anoeb of the 
 hells; 
 Oiih& hells— 
 Of the hells, hells, hells, beHs, 
 Bells, bells, bells, 
 In the clamor and the elcmgor of the bells I 
 
 FUNERAL bells. 
 
 Hear the tolling of the bells, 
 Iron hells. 
 What a world of solemn thought their monody oom- 
 pels / 
 In the silence of the night ; 
 How we shiver with aifright, 
 At the melancholy menace of their tone/ 
 For every sound that floats 
 From the rust within their throats 
 
 Is a groan. 
 And the people — ah, the people — 
 They dwell up in the steeple, 
 
 All alone I 
 And who toUing, tolling, tolling 
 
 In that m/uffled monotone. 
 Feel a glory in so rolling 
 
 On the human heart a stone. 
 They are neither man nor woman — 
 They are neither brute nor human — 
 
 They are ghouls. 
 And their king it is who tolls, 
 And he rolls, rolls, rolls, rolls, 
 
 A pcean from the bells I 
 And his merry bosom swells 
 
104 THE SCIENCE OF UTTERANCE. 
 
 With the pman of the helh t 
 And he dances and he ydls; 
 Keeping Ume, time, time, 
 In a sort of Eunic rhyme, 
 
 To the posan of the beUa — 
 Of the beUs; 
 Keeping time, time, timie, 
 In a sort of Runic rhyme, 
 
 To the throbbing of the bells. 
 Of the bells, bells, bells, 
 
 To the sobbing of the bells, 
 Keeping tim^, time, time. 
 
 As he knells, laveUs, hneUs, 
 In a happy Eunic rhyme. 
 
 To the rolling of the bells — 
 Of the bells, bells, bells — 
 
 To the tolling of the bells, 
 Of the bells, bells, bells, bells — 
 
 Bells, bells, bells, 
 To the moaning and the groaning of the bells. 
 
 — Edgar A. Pot. 
 
 PHYSICAL- GEOGRAPHY AND HISTORY. 
 
 Physical or Natural Geography is a very compre- 
 hensive science ; it includes a knowledge of the ma- 
 terials of which the earth is composed. This knowl- 
 edge embraces the science of Geology, which names 
 and arranges the rocks and other materials which 
 compose the earth ; and of Chemistry, which teaches 
 the constituent elements of these substances. 
 
THE SCIENCE OF UTTERANCE. 105 
 
 Thus you see that sciences which may appear dis- 
 tinct have an intimate connection with each other, 
 since geology and chemistry are necessary to a com- 
 plete knowledge of geography. Physical geography 
 also comprehends a knowledge of those substances 
 which grow out of the earth, and this knowledge is 
 called Botany. 
 
 We will suppose ourselves to be seated in a bal- 
 loon, sufficiently elevated above the surface of the 
 earth to be able to distinguish its general figure and 
 surface. Let us look first at its figure. We behold, 
 suspended, as it would seem, in empty space, though 
 in reality surrounded by the material substance air, a 
 large ball, not exactly round, but a little flattened at 
 each end or pole. 
 
 This ball presents an uneven surface ; while it is 
 turning around from west to east, let us examine the 
 various objects which appear. For this we must 
 approach nearer. Here we see a long strip of land 
 extending almost from one pole to the other ; nearly 
 in the center it seems penetrated by an arm of the 
 ocean ; this must be the great American continent, 
 separated by the Gulf of Mexico into a northern and 
 southern part. 
 
 We will suppose that our balloon is somewhat 
 lowered, and directed over the northern part of this 
 great continent ; and what do we now see ? On two 
 sides are vast oceans, washing its eastern and western 
 coasts, and on the north an ocean of ice separates it 
 from the north pole. Do you observe that chain of 
 lakes ? These are called the Great Lakes, being the 
 largest in the world. 
 
106 THE SCIENCE OF UTTERANCE. 
 
 Let US approach nearer. Do you hear a sound 
 like the rush of mighty waters ? It is the thundering 
 Niagara, which had poured forth its mass cf waters 
 long before man had heard the roar of its cataract. 
 But what becomes of this vast collection of water ? 
 It hurries onward, forming mighty rivers and lakes, 
 until it becomes lost in the grea.t ocean which you 
 see on the east. 
 
 But we must not, in the sublimity of this scene, 
 forget that we have other observations to make. Let 
 us direct our course toward the middle of this country, 
 which we call North America. There, from the 
 north, flows a majestic river, receiving in its course 
 many noble streams ; one, rapid and turbulent, bring- 
 ing along mud and roots and trunks of trees torn up 
 in its fury, comes foaming from the west, another, 
 scarcely less rapid in its course, comes from the east ; 
 the parent river, embracing them both with many 
 other tributary streams, bears them on to the southern 
 gulf. 
 
 You see here an extensive country, through which 
 the rivers descend from the north, from the east and 
 west ; this is called a basin, and many delightful 
 valleys and plains does it contain ; its sides on the 
 west and east are the Rocky Mountains, and the 
 Apalachian on the north, a high ridge which divides 
 the waters that flow toward the northern ocean from 
 those which run toward the southern gulf. 
 
 We will now go eastward, and pass that great 
 chain of mountains which may well be called the 
 back bone of our country. We are now in its eastern 
 side. Look, and you will see many rivers flowing 
 toward the eastern ocean. 
 
THE BCrBNCE OF TJTTEEANCE. 107 
 
 Do you observe the northeastern part of the sec- 
 tion of country we are now viewing ? Tou may there 
 see mountains with snow-covered tops ; and farther 
 west another chain, whose summits and sides are 
 always verdant ; between these mountains, pursuing 
 a southern course, a river is seen whose progress at 
 first seems hurried, but by degrees its youthful im- 
 petuosity subsides, and, with calm and placid motion, 
 it bears itself on to an arm of the ocean, running in 
 from the east, and forming the southern boundary to 
 a lovely country. 
 
 The valley of this river is adorned with the orna- 
 ments of art, and the richest gifts of nature. This 
 valley, and an extensive territory on the east and 
 west of it are called New England, or the country of 
 the pilgrims. History will tell you why these names 
 are given. 
 
 But our aerial journey is becoming too long ; we 
 must retrace our way from the happy valley of the 
 Connecticut. Let us go westward, and descend near 
 to the earth — here we see our own Hudson, carrying 
 on its bosom innumerable little objects, passing and 
 repassing in rapid motion, as if actuated by a spirit 
 of intelligence ; but, although not gifted with intelli- 
 gence themselves, they are directed in their course by 
 intelligent minds, and filled with rational beings, in- 
 tent on business or pleasure. These steamboats ex- 
 hibit one of the proudest victories which mind has 
 ever achieved over matter, two destructive elements 
 being made subservient to man's convenience, and 
 obedient to his will. 
 
108 THE SCIENCE OP UTTERANCE. 
 
 We have now arrived at a place where the Hud- 
 son river ceases to be navigable ; and here, in a little 
 flourishing city on its eastern bank we will alight 
 from our imaginary balloon, and close our voyage of 
 discovery. 
 
 Such are some of the observations of physical 
 geography ; in order to understand it, you must in 
 imagination combine at one view the great features 
 of nature — oceans, lakes and rivers, continents and 
 islands, table-lands, basins, plains, valleys and deserts; 
 these are all the subjects of this science. 
 
 History and Physical Geography are very closely 
 connected. Yet how little is known in connection 
 with history of the physical features of the globe. 
 There are histories without number, but it is only 
 by a careful selection and perusal of the best authors, 
 that much advantage can be derived from them. In 
 early youth, history interests the mind chiefly on 
 account of the pleasure derived from narrative. As 
 the pupil advances in life, history ought to be 
 regarded under a new aspect, and studied both for 
 the sake of gaining information, and forming the 
 mind to habits of discrimination and reflection. 
 
 One who reads history merely for amusement, or 
 who loads the memory with facts, without regard to 
 their importance, or examination of their causes, 
 may read much, and yet neither know men, manners, 
 laws, arts and sciences, neither the past oi; the 
 present world, nor tlie relations which they bear to 
 each other. 
 
 A modern French writer on education advises 
 the student in history to make use of books of 
 extracts, in which facts and principles may be noted 
 
THE SCIENCE OF UTTERANCE. 109 
 
 in a definite and Bystematic order. By this means, 
 the student will, in process of time, possess a collec- 
 tion of practical truths, and of illustrations of 
 principle, arranged in order, and furnishing instruc- 
 tion at once solid, diversified and complete. — Mrs. 
 Phelps. 
 
 CLAEBNCE'S DEBAM. 
 
 Claebnce. — My dream was lengthen'd after life ; 
 Oh, then began the tempest to my soul I 
 I passed, methought, the melancholy flood 
 With that grwi ferryman, which poets write of, 
 Unto the kingdom of perpetual night. 
 The first that there did greet my stranger soul 
 "Was my great father-in-law, renowned Wa/rwick, 
 Who cried, — " What scourge for perjuet 
 Can this dark monarchy afford /a&e Clarence?" 
 And so he vanished ; then came wandering by 
 A shadow like an angel, with bright hair 
 Dabbled in blood ; and he shriek'd out aloud, 
 
 "ClAEENOE is COME — FALSE, FLEETING, PERJUEED 
 
 Claeence, 
 That stabb'd me, in the field by Tewkesbury. 
 Seize on him, Fv/ries ; take him into tormevits I " 
 With that, methought a legion oi foul fiends 
 Bnviron'd me, and Iiowled in mine ears 
 Such hideous cries, that with the very noise 
 I trembling wak'd, and for a season after 
 Could not believe but that I was in hell ! 
 Such terrible impression made my dream. 
 Oh, Brackenbury, I have done those things 
 That now give evidence against the sofiil. 
 
110 THE SCIENCE OF UTTERANCE. 
 
 For Hdward's sake ; and see how he requites me I 
 
 Oh, God if my deep prayers cannot a/ffpeaxe Thee, 
 
 Bat Thou wilt be avenged, on my misdeedSf 
 
 Yet execute Thy wrath on me alone ; 
 
 Oh, spa^e my guiltless wife and my poor children I 
 
 I pray thee, gentle keeper, stay by me ; 
 
 My soul is heam/, and I fain woidd sleep. 
 
 •6. 
 
 THE CHAEOOAL MAIST. 
 
 [ Convere«tional, with calling voice varied in adaptation to the senae 
 -lond or low, near or distant, as reqnlred.] 
 
 Though rudely blows the wintry blast, 
 And sifting snows fall white and fast, 
 Mark Haley drives along the street, 
 Perched high upon his wagon seat ; 
 His sombre face the storm defies. 
 And thus from morn tUl eve he cries — 
 
 " Charco' ! charco' I " 
 While echo faint and far replies — 
 
 "Hark, O! hark, 0!" 
 "Charco' l"—« Hark, O !"— Such cheery sounds, 
 Attend him on his daily rounds. 
 
 The dust begrimes his ancient hat ; 
 
 His coat is darker far than that ; 
 
 'Tis odd to see his sooty form 
 
 All speckled with the feathery storm, 
 
 Yet in his honest bosom lies 
 
 No spot, nor speck — ^though still he cries, 
 
 "Charco' I charco' 1" 
 And many a roguish lad replies — 
 
 "Ark, hoi ark, ho!" 
 " Charco' ! " — " Ark, ho I " — Such various soundg 
 Announce Mark Haley's morning rounds. 
 
THE SCIENCE OT UTTERANCE. 11] 
 
 Thus all the cold and wintry day 
 He labors much for little pay, 
 Yet feels no less of happiness 
 Than many a richer man, I guess. 
 When through the shades of eve he spies 
 The light of his own home, and cries — 
 
 "Charco'l charco'l" 
 And Martha from the door replies — 
 
 "Mark, ho! Mark, ho!" 
 " Charco ! " — "Mark, ho ! " — Such joy abounds 
 When he has closed his daily rounds. 
 
 The hearth is warm, the fire is bright ; 
 
 And while his hand, washed clean and white, 
 
 Holds Martha's tender hand once more, 
 
 His glowing face bends fondly o'er 
 
 The crib wherein his darling lies, 
 
 And in a coaxing tone he cries, 
 
 "Charco'l charco'l" 
 And baby with a laugh replies — 
 
 "Ah, go I ah, go!" 
 "Charco' I"— "Ah, go ("—while at the sounds 
 The mother's heart with gladness bounds. 
 
 Then honored be the charcoal man, 
 
 Though dusky as an African. 
 
 'T is not for you that chance to be 
 
 A little better clad than he. 
 
 His honest manhood to despise. 
 
 Although from mom till eve he cries — 
 
 "Charco'l charco'l" 
 While mocking echo still replies — 
 
 "Hark, 01 bark, 01" 
 « Charco' I " — " Hark, 1 " — ^Long may the sounds 
 Proclaim Mark Haley's daily rounds I 
 
 — J. T. Trowbridge, 
 
112 THE SCIENCE OF UTTERANCE. 
 
 THE BELLS OP SHANDON. 
 
 [The clinrclibf Sliandon is built on tlie ruins of Shandon Castle, and 
 is a prominent object to the traveler as be approaches the city of Cork 
 from any direction. Father Prout, or the Rev. Francis Mahoney, which 
 was his true name, was a native of Cork.] 
 
 With deep aifection and recollection, 
 
 I often think of those Shandon bells. 
 
 Whose sounds so wild would, in days of childhood. 
 
 Fling round my cradle their magic spell. 
 
 On this I ponder where'er I wander, 
 
 And thus grow fonder, sweet Cork, of thee. 
 
 With thy bells of Shandon 
 
 That sound so grand on 
 The pleasant waters of the river Lee. 
 
 I've heard bell's tolling "old Adrian's Mole in," 
 
 Their thunder rolling from the Yatican, 
 
 And cymbals glorious, swinging uproarious 
 
 In the gorgeous turrets of Eotre Dame : 
 
 But thy sound was sweeter than the dome of Peter 
 
 Flings o'er the Tiber, pealing solemnly. 
 
 O ! the bells of Shandon 
 
 Sound far more grand on 
 The pleasant waters of the river Lee. 
 
 There 's a bell in Moscow, while on tower and kiosko 
 
 In St. Sophia the Turkman gets. 
 
 And loud in air calls men to prayer 
 
 From the tapering summit of tall minarets. 
 
 Such empty phantoms, I freely grant them ; 
 
 But there's an anthem more dear to me, — 
 
 'Tis the bells of Shandon, 
 
 That sound so grand on 
 The pleasant waters of the river Lee. 
 
 — Father Prout^ 
 
THE SCIENCE OP UTTERANCE. 113 
 
 THE CATAEACT OF LODOEB. 
 
 [Bapld Movement. See also page 88.] 
 
 How does the water 
 Come down at Lodore? 
 
 From its sources which well 
 In the tarn on the fell ; 
 
 From its fountains 
 
 In the mountains, 
 Its rills and its gills ; 
 
 Through moss and through brake 
 It runs and it creeps, 
 For a while, till it sleeps 
 
 In its own little lake. 
 And thence at departing, 
 Awakening and starting, 
 It runs through the reeds, 
 And away it proceeds, 
 Through meadow and glade, 
 In sun and in shade. 
 And through the wood-shelter. 
 
 Among crags in its flurry, 
 Helter-skelter, 
 
 Hurry-skurry. 
 
 Here it comes sparkling, 
 And there it lies darkling ; 
 Now smoking and fi-othing, 
 Its tumult and wrath in. 
 Till in this rapid race, 
 
 On which it is bent. 
 It reaches the place 
 
 Of its steep descent. 
 8 
 
114 THE SOIENOE OF 0TTERANCB. 
 
 The cataract strong 
 Then plunges along, 
 Striking and raging, 
 As if" a war waging 
 Its caverns and rocks among ; 
 Spouting and frisking, 
 Turning and twisting, 
 Around and around 
 With endless rebound : 
 Smiting and fighting, 
 A sight to delight in. 
 Confounding, astounding, 
 Dizzying and deafening the ear with its sound. 
 
 Retreating and beating and meeting and sheeting, 
 Delaying and straying and playing and spraying, 
 Advancing and prancing and glancing and dancing, 
 And gleaming and streaming and steaming and 
 
 beaming. 
 And dashing and flashing and splashing and clashing. 
 And so never ending, but always descending. 
 Sounds and motions forever and ever are blending. 
 All at once and all o'er, with a mighty uproar : 
 And this way, the water comes down at Lodore. 
 
 NOBODY'S CHILD. 
 
 [This Bhonld l)e rendered In the tender, pathetic voice of a child, 
 «nd, when bo given, it is ezqalsitely beautiful. The sad, teaching voice 
 Bhonld kindle with expectation at the close.] 
 
 Alone in the dreary, pitiless street. 
 With my torn old dress, and bare cold feet. 
 All day have I wandered to and fro, 
 Hungry and shivering, and no where to go ; 
 
THE SCIENCE OP UTTERANOB. 115 
 
 The night's coming on in darkness and dread, 
 And the chill sleet beating upon my bare head. 
 Oh ! why does the wind blow upon me so wild? 
 Is it because 1 am nobody's child? 
 
 Just over the way there's a flood of light, 
 
 And warmth, and beauty, and all things bright ; 
 
 Beautiful children, in robes so fair, 
 
 Are caroling songs in their rapture there. 
 
 1 wonder if they, in their blissful glee, 
 
 Would pity a poor little beggar like me. 
 
 Wandering alone in the merciless street. 
 
 Naked and shivering, and nothing to eat? 
 
 Oh I what shall I do when the night comes down 
 
 In its terrible blackness all over the town? 
 
 Shall I lay me down 'neath the angry sky, 
 
 On the cold hard pavement, alone to die. 
 
 When the beautiful children their prayers have said, 
 
 And their mammas have tucked them up snugly in 
 
 bed? 
 For no dear mother on me ever smiled. 
 Why is it, I wonder, I'm nobody's child? 
 
 JSo father, no mother, no sister, not one 
 In all the world loves me, e'en the little dogs run 
 When I wander too near them ; 'tis wondrous to see 
 How everything shrinks from a beggar like me 1 
 Perhaps 'tis a dream ; but sometimes, when I lie 
 Gazing far up in the dark blue sky, 
 Watching for hours some large bright star, 
 I fancy the beautiful gates are ajar. 
 
116 THE SCIENCE Off UTTERANCE. 
 
 And a host of white-robed, nameless things, 
 
 Come fluttering o'er me on gilded wings ; 
 
 A hand that is strangely soft and fair 
 
 Caresses gently my tangled hair, 
 
 And a voice like the carol of some wild bird — 
 
 The sweetest voice that was ever heard — 
 
 Calls me many a dear, pet name. 
 
 Till my heart and spirit are all aflame. 
 
 They tell me of such unbounded love, 
 And bid me come up to their home above ; 
 And then with such pitiftd, sad surprise. 
 They look at me with their sweet tender eyes, 
 And it seems to me, out of the dreary night 
 1 am going up to that world of light ; 
 And away from the hunger and storm so wild ; 
 1 am sure I shall then be somebody's child. 
 
 —Phila E. Com. 
 
 ^^ 
 
APPENDIX. 
 
 WORDS OFTEN MISPRONOUNCED. 
 
 Aaron, dr'un. 
 abdomen, ah-dc/men. 
 abject, aVject. 
 absolutory, aisdl'u-tory. 
 academian, de-a-de'mi-an. 
 acclimate, ac-cli'mdte. 
 accoutre, ac-koo'ter. 
 acetate, as'e-tate, 
 acorn, a'cSm. 
 acoustics, a-kow'sttks. 
 Adagio, a-dd'jo. 
 adamantian, ad-a-man-te' an. 
 adipose, ad'i-pose. 
 Adonis, a-do'nis. 
 advertisement, ad-ver' Hs-ment. 
 ^neid, e-ne'id. 
 aerate, a'er-ate. 
 Eerie, e're or aire. 
 aeronaut, d' -er-onaut. 
 aged, d'ged, 
 alcoran, aV co-ran. 
 alias, d'le-as. 
 allegro, al-U'-gro. 
 allopathy, al-lop' a-tky. 
 ally, al-iy. 
 almond, d'mond. 
 alpaca, al-pac'a. 
 altercation, dl-ier-ca-Hon. 
 ambergris, am'ber-grees. 
 
 amenable, a-mi'na-ble 
 amour, a-moor' , 
 anchovy, an-cho'vy. 
 antepenult, an-te-pe-nuW . 
 antipodes, an-tip' o-dez. 
 Aphrodite, af-ro-di'te. 
 apodosis, a-pod'o-sis. 
 apparatus, ap-pa-rd'tus. 
 apricot, d'pri-cot. 
 apropos, d'pro'po'. 
 aquiline, dUwe-lln or -line. 
 Arab, dr'ab. 
 archangel, ark-an'jel. 
 arctic, ark' tic. 
 area, a're-a. 
 argentine, ar'jen-tlne. 
 Ariadne, d-ri-ad'ne, 
 Arion, a-ri'on. 
 Archimedes, ar-ke-me' diz. 
 Arkansas, dr-kan'sas. 
 arquebuse, ar' kwe-b&s. 
 Asia, d'-she-a. 
 aspirant, as-pir' ant, 
 assets, as'sets. 
 ate, dte. 
 
 attache, at'td'shd. 
 Aubert, o'bdr' . 
 audacious, au-dd'cious, 
 aureola, au-ri'o-la. 
 
WORDS OFTEN MISPRONOUNCED. 
 
 au revoir, d'ruvivar' . 
 ay or aye, a. 
 aye (meaning yes), i. 
 attacked, at-takt'. 
 aunt, ant. 
 
 bade, bad. 
 bagatelle, bag-a-teV . 
 badinage, bad'in-dzh. 
 Balmoral, bal-mdr'al 
 Balzac, b&Tzac' . 
 Barrabas, ba-rabfbas. 
 bas-bleu, ba'blUh. 
 bass relief, bass' relief. 
 bath, bath. 
 Beatrice Cenci, ba-d-tref cha 
 
 chen'che. 
 beau monde, bo'-mond' 
 Beelzebub, be-el'ze-bub. 
 Beethoven, ba'to-fen. 
 bel-esprit, beV-as'prd. 
 bellows, bel'lus. 
 beneath, be-neath. 
 B Granger, ba'rdng'zha' 
 bivouac, biv'wdk. 
 blackguard, blag'gard, 
 blatant, bld'tant. 
 bias/, bla'zd' . 
 Boccaccio, bo-kd'cho. 
 bombastic, bum-bds'tic. 
 Boileau, bwd'lo. 
 Boleyn, boil'in. 
 Bolingbroke, bdV ing-brook, 
 Bonnat, bun'nd'. 
 Borghese, bSr-gd'zd. 
 bouquet, boif-kd' . 
 Bramin, brd'min. 
 bravo, bravo. 
 
 brigand, brig' and. 
 brigantine, brig'-an-tine, 
 bromine, bro'mln. 
 bromide, brolmid. 
 bronchitis, bron-kl'tis. 
 Brougham, brob'am. 
 Buddha, bobd'a. 
 
 caldron, cal'dron. 
 calf, calf. 
 
 calligraphy, cal-lig'ra-phy. 
 calliope, cal-li'ofe. 
 camelopard, ca-mel' o-pard. 
 Canaanite, cd'nan-lte. 
 canine, ca-nlne' . 
 caoutchouc, koo'chook, 
 carbine, cdr'blne. 
 caret, cd'ret. 
 careme, ka'rdm. 
 caricature, cdr'i-cat'ure, 
 carmine, car'mlne. 
 carte-de-visite, kart-de-vi zet', 
 carte blanche, kart bldngsh, 
 cartridge, cdr'tridge. 
 catechumen, kdt-e-ku' men. 
 Catiline, kat'i-line. 
 caviar, ka've'dr' . 
 Cayenne, ka-en' . 
 Cecil, ses'il. 
 cemetery, sim'-e-tery. 
 cerement, sere'ment, 
 chalcedonic, kal-se-dSn'ic. 
 Cham, kdm. 
 chaos, ka'Hs. 
 Cherubini, kd-roo-be'ne. 
 chicanery, she-cd'-ner-y. 
 chiropodist, ki-rop' o-dist, 
 chloride, kUrld. 
 
WORDS OFTEN MISPRONOUNCED 
 
 Chopin, shofpang' . 
 chorist, kofrist. 
 cicatrice, sik'a-tris. 
 Cincinnati, sln-sin-nd-ti. 
 citrate, cit'rate. 
 clandestine, clan-des'tine. 
 coadjutor, co-ad-ju' tor. 
 cockatrice, cock'a-trice. 
 coffee, kef'fe. 
 cognac, kon'ydk, 
 Colbert, kiil'bdr. 
 combatant, com! ba-tant. 
 combativeness, com' ba-tive-ness 
 comparable, c6m'para-bie. 
 comparative, com-par'a-tive. 
 comptroller, con-troi'er. 
 conch, kdngk. 
 conduit, kon'dit. 
 confidant, con' fi-dant' . 
 connoisseur, con-nis-sur' . 
 contumely, con'tu-me-ly. 
 conversant, con'ver-sant. 
 coral, cdr'al. 
 Corot, ko'ro'. 
 cortege, kSr-tazh, 
 corvette, kSr'vet'. 
 coterie, ko'te-re'. 
 eoupi, koo'pa'. 
 courier, koo're-er. 
 Courbet, koor'ba! . 
 courteous, kur'te-us. 
 courtier, kort'yer. 
 Creek, crTek. 
 crematory, crem' a-to-fy. 
 cuirass, kw^ras', 
 cuisine, kwe'zin. 
 cupola, cu'pa-la. 
 Curacoa, koo-ra-so' . 
 
 cynosure, sl'no-shur 
 Czerny, chdr'ne. 
 
 debris, da'bref 
 debut, da'bu' . 
 debutant, da! bu! tong' . 
 decade, dek'ade 
 declivous, de-cli'vous. 
 decorous, de-co'rous, 
 dedecorous, de-dec' o-rus, 
 defalcate, de-fal'cate. 
 deficit, def'i-cit. 
 degage, dd'ga'zhd' . 
 deglutition, deg-lu-tish'un. 
 degout, dd'goo'. 
 Delaroche, de'la'riish. 
 demoniacal, dem-o-ni' a-cal. 
 demonstratWe, de-mUn'stm-tlve. 
 d/nouement, dd'no'mong. 
 dernier, ddm'ya' . 
 Descartes, dd'kdrt! . 
 dishabille, dis-a-bW. 
 Desgoffe, da'gHf. 
 despicable, des' -pic-a-ble, 
 detour, dd'toor'. 
 de trop, da'-tro', 
 devoir, d&r-wdr' . 
 diaresis, di'er'e-sis. 
 diamond, di'a-mond. 
 Diana, Di-dn'a. 
 dinarchy, din'ar-ky. 
 dishevelled, de'shev'-ld. 
 disputable, dis'pu-td-ble. 
 disputant, dis'pu-tdnt. 
 Disraeli, diz-ra'el-e. 
 distich, dis'tik. 
 distingue, dis'lang 'ga', 
 divan, di-van'. 
 
WORDS OFTEN MISPRONOUNCED. 
 
 docile, ddsfil. 
 dolce, dol'cha. 
 dotnine, ddm'i-ne. 
 donative, don'a-tive. 
 Doric, ddr'ic. 
 dromedary, drum'e-da-ry. 
 drought, drowt. 
 dynasty, dl'nas-ty. 
 
 eclat, a'kla! . 
 
 edile, edlle. 
 
 e'en, en. 
 
 egregious, e-gre'j&s. 
 
 elephantine, el-e-fan' tin. 
 
 elite, a'let. 
 
 enervate, e-ner'vate. 
 
 English, ing'glish. 
 
 ennui, dn'we'. 
 
 ensemble, ong' song' bl. 
 
 entree, ong'tra! . 
 
 enunciate, e-nun-she-dt. 
 
 envelope, en-ve-lope. 
 
 Epicurean, ep-i-cu-re' an. 
 
 epoch, ep'ok. 
 
 err, er. 
 
 erysipelas, ir-e-sip' e-las . 
 
 espionage, es'pe-o-ndzh' . 
 
 etui, d'twe' . 
 
 itagire, a'ta'zhdr. 
 
 exile, eks'ile. 
 
 exorable, ex'o-ra-ble. 
 
 expose, ekslpo'zd' . 
 
 exquisite, iksf quiz-it. 
 
 extempore, eks-tem'po-re. 
 
 extraordinary, ex-trSr' di-na-ry. 
 
 eyre, &r. 
 
 facade, fa' sad. 
 
 facile, fds'il. 
 fac-simile, fdc-sim-i-le. 
 falcon, faii/kn. 
 faro, fdr'o. 
 faubourg, fo'burg. 
 faucet, faw-set. 
 Faure, for. 
 feoff, flf. 
 finale, fl-nd'le. 
 finance, fi-nance'. 
 financier, fin-an-ser' . 
 finesse, fe'nesf . 
 fiord, fe-6rd'. 
 flaccid, flail! -sid. 
 florist, flo-'rist. 
 forge, forge. 
 fortnight, fdrt'nite. 
 Friere, fidre. 
 Freycinet, frd'se'nd, 
 franchise, fran'chiz. 
 Froude, frood. 
 
 Gaelic, gd'lik. 
 gallows, gal'lus. 
 Ganz, gdnts. 
 gaol, jail. 
 gape, gap or gap. 
 Garibaldi, gar-e-bdFdi. 
 Gerome, zhd'rom' . 
 ghoul, gobl. 
 giaour, jowr. 
 Gil Bias, hel bids. 
 glacier, glas'e-er. 
 gondola, gon' do-la. 
 Gounod, goo'no' . 
 Graefe, grd'fe. 
 granary, grdn'a-ry. 
 grimace, gri-mace' . 
 
WORDS OFTEN MISPRONOUNCED. 
 
 griniy. grimy. 
 groat, graut, 
 guano, gwS'no. 
 guilotine, gil-lo-ten' . 
 guipure, ge'pur' , 
 Guizot, ge'zo'. 
 Gumbert, goom'bert. 
 gyve, jlv. 
 
 Hseckel, hecUel, 
 halibut, hdl'e-b&t. 
 harem, ha'rem. 
 haricot, a-refko' , 
 House, how'ze. 
 Hebe, he'be. 
 height, hit. 
 Heine, hl'ne. 
 heinous, hd'nus. 
 Hemans, hlm'anz. 
 heraldic, he-raVdic, 
 heroine, her'o-ln. 
 Heyse, hi'ze. 
 hollyhock, hol'ly-hOck. 
 horizon, ho-ri'zon. 
 hydropathy, hy-drop'a-thy. 
 hygiene, hygl-ene. 
 hyperbole, hy-per'bo-le. 
 
 impiously, im'pi-ous-ly. 
 incognito, in-cog'ni-to. 
 incomparable, in-com'pa-ra-ble. 
 indecorous, in-de-cc/rus. 
 indicatory, in'di-ca-to-ry. 
 indisputable, in-dis'pu-ta-ble. 
 industry, in'dus-try. 
 Ingelow, in'je-lo. 
 inquiry, in-qui'ry. 
 interesting, in' ter-est-ing. 
 
 irascible, i-rds'cl-bje. 
 
 Iowa, i'owa. 
 
 irrefragable, ir-ref'ra-ga-ble. 
 
 irremediable, ir-re-mefdi-a-ble. 
 
 isolate, is'o-laie. 
 
 Italian, i-tal'-yan. 
 
 Ixion, iks-i'on. 
 
 jaundice, jdn'dis. 
 jugular, ju'gu-lar. 
 juvenile, ju've-nll. 
 Kahn, kawn or k&n. 
 kiln, m. 
 
 laconism, lak'o-nism. 
 lamentable, lam'ent-a-ble. 
 Lange, lUng'e. 
 lang syne, lang sin, not zin. 
 Laocoon, la-Sc'o-on, 
 laugh, Idf. 
 Leipsic, llp'sik. 
 leisure, le'zhur. 
 lenient, ll'ni-ent. 
 lenitive, len'i-tive. 
 Leroux, le-ivo'. 
 lethargic, le-thdr'gic, 
 lever, li'ver. 
 litigious, le-tifus. 
 louis d'or, locfe dSr. 
 lyceum, li-ce'iim. 
 Lyonnaise, le'un'ndz', 
 
 Machiavelian, mak-e-a-vel' yan, 
 magi, ma'ji. 
 
 maintenance, mdn'ten-ance. 
 mall, mdl. 
 manes, ma'nez. 
 maniacal, ma-nV ac-al. 
 
WORDS OFTEN MISPRONOUNCED. 
 
 mansard roof, man' sard. 
 maritime, mar' -i-tim. 
 mayonnaise, md'yon'az, 
 mechanist, mek'an-ist, 
 medicinal, me-dic' i-nal. 
 meerschaum, mar' shawm. 
 Meissonier, ma'son'ya' . 
 Melpomene, mel-pom' e-ne. 
 memoir, mem'wof. 
 menagery, me-nazh' e-re. 
 meningitis, men-in-ji'tis. 
 mercantile, mer' can-til, 
 Milan, ml' Ian. 
 Millet, mel'la'. 
 mirage, me'razk'. 
 mischievous, mis'che-vus, 
 misconstrue, mis-con' strVo, 
 misogyny, me-soj'e-ne. 
 Molihre, m&l'ydr' - 
 Monaco, mon'-a-co. 
 monsieur, mus 'y-dr' , 
 morale, mo'ral'. 
 morceau, mSr^sd'. 
 museum, mu-z^um. 
 myrmidon, mAr' me-dSn, 
 
 naive, na'ei/. 
 nape, naf. 
 national, ndsh'un-al. 
 nauseous, ndw'skus, 
 neglig/, na'gle'zhd'. 
 Nemesis, nem'e-sls. 
 nomad, ndm'ad, 
 Notre Dame, tio'tre ddm. 
 nuptial, nup'shal. 
 
 obligatory, ob' li-ga-tory, 
 occult, oc-cult' . 
 
 octuple, oc'tu-ple. 
 ogled, cfgld. 
 onyx, o'nyx. 
 orgies, or'jiz. 
 Orion, o-rl'un. 
 orison, or'e-zun. 
 orotund, o'ro-tund. 
 orthoepist, or' -tho-e-pist. 
 otium, o'she-um. 
 overtures, o'ver-tures. 
 
 pageant, paj'ent. 
 Palestine, pal'es-tlne. 
 parabola, pa-ra' bo-la. 
 pathos, pd-thos. 
 patriot, pa'tri-ot. 
 patronage, pat'ron-age, 
 patroness, pd-tron-ess. 
 patronize, pat'ron-ize. 
 pedestal, ped'es-tal. 
 Pegasus, peg'a-sas. 
 Penelope, pe-neVo-pe. 
 peony, pe'-o-ny. 
 Petruchio, pe-tro(f ke-o. 
 pharmaceutic, far-ma-su' tik. 
 phonics, fdn'iks. 
 pianoforte, pe-d' no-for' ta. 
 piquant, pik'ant. 
 placard, pla-cdrd' . 
 plateau, pla'to. 
 plebeian, ple-be'yan. 
 poignant, poi'nant. 
 polonaise, pdl'o-ndz. 
 Pompeii, pom-pd'ye. 
 porcelain, pSr'ce-itn. 
 prebend, preb'end. 
 precedence, pre-se' dence. 
 precedent (adj.), president. 
 
WORDS OFTEN MISPRONOUNCED. 
 
 precedent (noun), frls' -e-dent, 
 prelude (noun), prll'-ude. 
 premier, prlm'ya. 
 prestige, pras'tezh' . 
 pronanciation, pro-nun-s/ie-a'sAun. 
 prosaic, pro-za'ic. 
 protasis, prdt'a-sis. 
 protege, pr(J tal zha! . 
 pro tempore, tem'po-re. 
 protestation, prdt' es-ta-tion. 
 pseudo, sil'dd. 
 Psyche, si'ke. 
 Ptolemaic, tel-e-ma'ic. 
 puerile, pu'er-ll. 
 pyramidal, pe-r&m' i-dal. 
 pyrites, pe-ri'tez. 
 
 quadrille, ka-driV , 
 qui vive, ke vev. 
 quoit, kwoit. 
 
 raspberry, rdz'ber-re. 
 ration, ra'shun, 
 rational, msh'un-al, 
 recess, re-cess". 
 receptivity, rec'ep-tii/i-ty. 
 reciprocity, rec-i-proc'i-ty. 
 reconnoissance, re-kdn' ni' sdnce, 
 refutable, re-fu'ta-ble, 
 regime, ra'zhim. 
 remediable, re-me'di-a-ble, 
 renaissance, re-na! slings, 
 rendezvous, rong'-da'voo. 
 research, re-search' . 
 restaurant, res'to-rant. 
 Roland, Sd'land. 
 
 Schnrz (Carl), shoorts. 
 
 statue, sd-'dngssl. 
 Sedan, se-dan'. 
 seine, sen. 
 Seine, sin. 
 Serapis, se-ra'pis. 
 sesame, ses'a-me. 
 sheik, shik. 
 shew, sho. 
 shewn, shon. 
 silhouette, se'loc/lt'. 
 sinecure, si'ne-cur, 
 
 sine die, si'ne di'e, 
 
 sirup, sir' -up. 
 
 slabber, slab'ber. 
 
 sleek, sleek. 
 
 sobriquet, so'bre'ka. 
 
 soiree, swd'ra' . 
 
 solecism, sdl'e-cism. 
 
 souvenir, sobv'ner. 
 
 spermaceti, sper-ma-ce' ti' . 
 
 spinach, spin' -age. 
 
 steadfastly, stid'fast-le. 
 
 suite, swet. 
 
 sulphuric, sul-fu'ric. 
 
 Suppe, sob'pe. 
 
 supple, sup'pl. 
 
 syllabic, sil'lab'ic. 
 
 tapestry, tdp'es-tre. 
 tapis, td'pe! . 
 tartaric, tar-tdr'ic. 
 Telemachus, te-lem'a-kus. 
 Terpsichore, ieip-sikf o-re. 
 tete-ii-tete, tdte'a-tat. 
 Thiers, te-dr' , 
 tiny, tl'ny. 
 tout-h-fait, too'ta'-fd. 
 transition, tran-sizh'un. 
 
WORDS OFTEN MISPRONOUNCED. 
 
 troche, tro'ke. 
 trousseau, troVsS'. 
 Tuileries, twe-k-re'. 
 
 Vibert, Ve'bar'. 
 Virchow, fir'ko. 
 viscount, m'count. 
 
 vagary, va-ga'ry. 
 valet, vdl'-a'. 
 vehemence, ve'he-mence. 
 Venezuela, ven-e-ztie' lot 
 
 ycleped, e-klept' . 
 Zamacois, thd-md-kJis, 
 Zeus, ne-iis. 
 
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