T(\) 
 
 A// 
 
HI3d 
 
MANUAL OF READING. 
 
 BY J. W. HUMPHREY, 
 
 Author of Review Diagrams of U. S. History, Civil 
 
 Government, Geography, Reading. Arithmetic, 
 
 Physiology and Penmanship. 
 
 PN 4130 
 ,H8 
 Copy 1 
 
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\ 
 
 \ 
 
 \ 
 
 
 \ 
 
MANUAL 
 
 OF 
 
 READING 
 
 FOR USE IN 
 
 NORMAL CLASSES 
 
 AND 
 
 Graded and Common Schools, 
 
 i/ 
 
 BY J. W. HUMPHREY, 
 
 Author of Review Diagrams of U. S. History, 
 
 Civil Government, Geography, Reading, 
 
 Arithmetic, Physiology, and 
 
 Penmanship. 
 
 WAYLAND, MICH : 
 
 PUBLISHED BY THE AUTHOR. 
 
 1885. 
 
 ///%# 3* 
 
 
 

 COPYRIGHED, 1885, 
 
 BY 
 
 JAMES W. HUMPHREY. 
 
 D. C. HENDERSON & CO., 
 
 PBINTERS, 
 
 ALLEGAN, MICHIGAN. 
 
 BOUND AT ALLEGAN BINDERY. 
 
PREFACE. 
 
 We issue this little Manual of Reading in order to 
 supply those desiring to review with exercises sufficiently 
 complete for a thorough drill in all the elements of the 
 art, and at a price within the reach of all. 
 
 By general consent no subject taught in our schools 
 is more important and none in which the instruction is 
 more vague and unprofitable. 
 
 In other branches of study the teacher points the way 
 without hesitation ; the rule to be followed is plainly 
 marked out, but in reading, too often, the pupil is left 
 without a guide, to read as he talks, and to grope his 
 way in the dark with uncertainty. If teacher and pupil 
 shall find something here to awaken a greater interest in 
 this much neglected study and at the same time offer 
 means for its thorough review, we shall feel fully repaid 
 for its preparation. 
 
 We gratefully acknowledge our indebtedness to 
 Messrs. Houghton, Mifflin & Co., of Boston, for permis- 
 sion to use selections from their copyrighted- works. 
 
 To the leading educational publishing houses for the 
 aid received from their series of readers, which we often 
 consulted, to our educational journals for selections, and 
 to many of our fellow teachers for valuable suggestions, 
 the thanks of the author are due. 
 
LESSON I 
 
 READING. 
 
 i. Reading is the perusal or the oral expression of 
 written or printed composition. 
 
 2. The two objects of reading are (i) to gain and 
 (2) to impart knowledge. 
 
 3. The proper expression of thought in reading re- 
 quires (1) that the reader shall have a clear concept of 
 the meaning to be conveyed by the author, and (2) that 
 he shall be able to impart that meaning to others. 
 
 4. Good reading requires that the reader shall have 
 (1) a correct idea of the pronunciation and meaning of 
 words ; (2) that he shall understand the meaning of the 
 author ; (3) that he shall know what expression is re- 
 quired, and (4) that he shall be able to deliver the senti- 
 ment correctly, 
 
 5. A knowledge of orthoepy, expression and gesture 
 are essential in reading. 
 
 6. Orthoepy or correct pronmiciation is the proper 
 utterance of words. 
 
 7. Expression is the conveyance of thought by the 
 modulated voice. 
 
 8. Gesture is action or attitude used to express 
 or enforce sentiment or emotion. 
 
MANUAL OF READING. 
 
 QUESTIONS. 
 
 What is reading ? 
 
 What are the objects of reading ? 
 
 What is necessary to proper expression in reading ? 
 
 What does good reading require ? 
 
 What is essential in reading ? 
 
 What is orthoepy ? 
 
 What is expression ? 
 
 What is gesture ? 
 
 LESSON II. 
 
 ORTHOEPY. 
 
 1. Orthoepy includes articulation, syllabication and 
 accent. 
 
 2. Articulation is the utterance of the elementary 
 sounds separately or combined. 
 
 3. To acquire a correct articulation it is necessary 
 (1) to have an accurate knowledge of the elementary 
 sounds ; (2) to know the appropriate places for these 
 sounds in words, and (3) to apply this knowledge con- 
 stantly in reading and conversation. 
 
 4. Each elementary sound, syllable and word should 
 be uttered distinctly. 
 
 5. The organs of speech are the lips, teeth, tongue 
 and palate. 
 
 6. The voice is produced by the passage of air 
 through the Larynx. 
 
 7. The elementary sounds are divided into vocals, 
 sub-vocals and aspirates. 
 
 8. Vocals are those tones of voice which are un- 
 obstructed by the organs of speech. 
 
MANUAL OF READING. 
 
 9. Sub-vocals are those tones of voice which are 
 modulated by the organs of speech. 
 
 10. Aspirates are those elementary sounds which 
 are produced by the breath alone. 
 
 11. The principal errors in Articulation to be avoid- 
 ed are (1) the addition of one or more elementary 
 sounds ; as elum for elm. (2) The omission of one or 
 more elementary sounds ; as trav'ler for traveler, and (3) 
 the using of one elementary sound for another ; as set 
 for sit. 
 
 QUESTIONS. 
 I. What does orthoepy include ? 
 
 2 
 3 
 4 
 
 word 
 
 5 
 6 
 
 7 
 8 
 
 9 
 10 
 n 
 
 What is articulation ? 
 How is a correct articulation acquired ? 
 How should each elementary sound, syllable and 
 be uttered ? 
 
 Name the organs of speech. 
 
 How is the voice produced ? 
 
 How are the elementary sounds divided ? 
 
 What are vocals ? 
 
 What are sub-vocals ? 
 
 What are aspirates ? 
 
 Name the principal errors in articulation. 
 
 Practice on the following selections in articulation : 
 
 1. The bold, blustering boys broke bolts and bars. 
 
 2. I will instruct thee and teach thee in the way 
 which thou shouldst go. 
 
 3. She shuns sunshine ; do you shun sunshine ? 
 
 4. The battle is not to the strong alone ; it is to 
 the vigilant, the active, the brave. 
 
8 MANUAL OF READING. 
 
 5. Whispers of revenge passed silently around among 
 the troops. 
 
 6. Masses of immense magnitude move majestically 
 through the vast empire of the solar system. 
 
 7. He adds thirds, fourths, fifths, sixths and sevenths 
 rapidly. 
 
 8. While he delights in enterprise and action, and 
 the stronger energies of the soul, she is led to engage in 
 calmer pursuits, and seek for gentler employment. 
 
 9. Take the wings 
 
 Of the morning, and the Barcan desert pierce ; 
 Or lose thyself in the continuous woods 
 Where rolls the Oregon, and hears no sound, 
 Save his own dashing ; yet the dead are there ; 
 And millions in those solitudes, since first 
 The flight of years began, have laid them down 
 In their last sleep. 
 
 10. While that venerated instrument shall continue 
 to exist ; while its sacred spirit shall dwell with the 
 people of this nation, or the free institutions that have 
 grown out of it, be preserved and respected ; our child- 
 ren and our children's children, to the latest generation, 
 will bless the names of these illustrious benefactors, and 
 cherish their memory with reverential respect. 
 
 11. Could the genius of our country reveal to our 
 astonished view the future glories which await the pro- 
 gress of confederated America ; could he show us the 
 countless millions who will swarm in the wide-spread 
 valleys of the west, tasting of happiness and sharing the 
 blessings of equal laws ; could he unroll the pages of her 
 history, and permit us to see the fierce struggles of her 
 factions, the rapid mutations of her empire, the bloody 
 fields of her triumphs and her disasters ; could he crowd 
 these awful visions upon our souls ; we should see that all 
 
MANUAL OF READING. 
 
 the prosperity that awaits us depends on the supremacy 
 of mind, on the cultivation of intellect, on the diffusion 
 of knowledge and the arts. 
 12. — 
 To him, who in the love of nature holds 
 Communion with her visible forms, she speaks 
 A various language ; for his gayer hours 
 She has a voice of gladness, and a smile 
 And eloquence of beauty ; and she glides 
 Into his darker musings, with a mild 
 And gentle sympathy, that steals away 
 Their sharpness, ere he is aware. 
 
 LESSON III. 
 
 SYLLABICATION. 
 
 1. Syllabication is the process of dividing words into 
 syllables. 
 
 2. A syllable is one or more elementary sounds 
 uttered in unison. 
 
 3. A word of one syllable is called a monosyllable. 
 
 4. A word of two syllables is called a dissyllable. 
 
 5. A word of three syllables is called a trisyllable. 
 
 6. A word of four or more syllables is called a poly- 
 syllable. 
 
 7. The last syllable of a word is called the ultimate. 
 
 8. The last syllable of a word but one is called the 
 penult. 
 
 9. The last syllable of a word but two is called the 
 antepenult. 
 
 10. The last syllable of a word but three is called 
 the preantepenult. 
 
10 MANUAL OF READING. 
 
 ii. Words have as many syllables as they contain 
 vowel sounds. 
 
 12. The consonants of a word belong to some vowel 
 and are antecedent to it when they go before it, and 
 consequent when they follow it. 
 
 13. A syllable should never be divided at the end 
 of a line. 
 
 14. " Constant use of the dictionary should be made 
 in the study of syllabication. 
 
 QUESTIONS. 
 
 1. What is syllabication ? 
 
 2. What is a syllable ? 
 
 3. What is a monosyllable ? 
 
 4. What is a dissyllable ? 
 
 5. What is a trisyllable ? 
 
 6. What is a polysyllable ? 
 
 7. What is the ultimate ? 
 
 8. What is the penult ? 
 
 9. What is the antepenult ? 
 
 10. What is the preantepenult ? 
 
 11. How many syllables have words ? 
 
 12. To what does a consonant belong? 
 
 13. How should a word be divided at the end of 
 line ? 
 
 14. How should the dictionary be used ? 
 
 Syllabicate the following words giving the number 
 and the names of the syllables : violate, possibility, im- 
 pertinent, affinity, conversant, series, dauntless, multi- 
 tudinous, realm, truthfulness, suppressed, revel, given, 
 cession, canvass, excellence, military, furlough, aggrieve, 
 
MANUAL OF READING. 
 
 brevier, chrysalis, basilisk, caterpiller, permeate, para- 
 chute, martyr, orchestra, qualm, usurp, utilize, cleanli- 
 ness, superfluous, stupendous, velveteen, criticism, en- 
 velope, lattice, vacillate, paucity, oscillate, scintillate, 
 tenacity. 
 
 LESSON IV. 
 
 ACCENT. 
 
 i. Accent is a more forcible stress of voice upon one 
 syllable of a word than upon another. 
 
 2. The primary accent is the more forcible stress 
 of voice. 
 
 3. The secondary accent is the less forcible stress 
 of voice. 
 
 4. Unaccented syllables should be uttered distinctly. 
 
 5. Dissyllables admit of no general rule of accentua- 
 tion. 
 
 6. Trisyllables and polysyllables, derived from dis- 
 syllables, usually retain the accent of their primitives. 
 
 7. Participles retain the accent of their verbs. 
 
 8. Words from the Greek or Latin retain the accent 
 of the original. 
 
 9. Words having the same orthography are usually 
 distinguished by a difference in accent. 
 
 10. Accent is often transferred from one syllable to 
 another to express opposition of meaning. 
 
 11. The primary accent is indicated by the acute, and 
 the secondary by the grave. 
 
 NOTE. — In Webster's dictionary the principal accent 
 is indicated by a heavy mark, and the secondary accent 
 by a lighter mark; these marks also indicate the division 
 of words into syllables. 
 
12 MANUAL OF READING. 
 
 QUESTIONS. 
 
 1. What is accent ? 
 
 2. What is the primary accent ? 
 
 3. What is the secondary accent ? 
 
 4. What is said of unaccented syllables ? 
 
 5. What is said of the accentuation of dissyllables ? 
 
 6. How are trisyllables and polysyllables accented ? 
 
 7. How are participles accented ? 
 
 8. What is said of the accentuation of Greek and 
 Latin words ? 
 
 9. How are words of the same orthography ac- 
 cented ? 
 
 10. What is said of the change of accent ? 
 • 11. How is accent indicated ? 
 
 Accentuate and mark diacritically the following 
 words : Commercial, christian, avaricious, aversion, per- 
 fume, impropriety, converse, conflict, economy, narrative, 
 relinquish, convalescent, orthoepy, aqueous, recipient, 
 exorbitant, descendant, quinine, oasis, dessert, elicit, 
 facility, mercenary, stereotype, stigmatize, supervise, sys- 
 tematize, advertise, civilize, aggrandize, patronize, secre- 
 cy, controversy, heroism, finance, horizon, hygiene. 
 
 To THE TEACHER.— Take selections from the read- 
 ing lessons as additional exercises upon syllabication and. 
 accentuation. 
 
 LESSON V. 
 
 EXPRESSION. 
 
 I. Expression includes modulation, emphasis, per- 
 sonation, pauses, slur and monotone. 
 
MANUAL OF READING. 1 3 
 
 MODULATION. 
 
 2. Modulation is the variation of voice heard in read- 
 ing and speaking, and includes pitch, rate, quality, quan- 
 tity, stress and inflection. 
 
 3. Pitch or key has reference to the elevation of 
 the voice, as heard in reading and speaking. 
 
 4. The divisions of pitch are (1) common or natural, 
 (2) low, and (3) high. 
 
 NOTE. — Strictly speaking the divisions of pitch are 
 unlimited, there being as many as the compass of the 
 voice will admit. 
 
 5. Common or natural pitch is the tone of voice 
 used in conversation, ordinary description and narration. 
 
 6. Low pitch is any tone of voice lower than 
 the common and is used in expressions of sorrow, 
 devotion, awe, despair, and in all solemn or deep emo- 
 tions. 
 
 7. High pitch is any tone of voice higher than the 
 common, and is used in expressions of excessive joy 
 or grief, sudden fear, and in commanding or calling. 
 
 QUESTIONS. 
 
 What does expression include ? 
 
 Define modulation. 
 
 What is pitch ? 
 
 Name the divisions of pitch. 
 
 What is common or natural pitch ? 
 
 What is low pitch ? 
 
 What is high .pitch ? 
 
MANUAL OF READING. 
 
 EXERCISES ON PITCH. 
 
 Read each of the following sentences on as low a key 
 as possible with distictness of articulation then repeat 
 it successively, gradually elevating the voice until its full 
 compass has been reached, then reverse the process grad- 
 ually lowering the voice until articulation is indistinct. 
 The student will find this a valuable exercise to strengthen 
 the voice, improve its quality and bring it under perfect 
 control. 
 
 1. Give to the winds thy fears. 
 
 2. Learn to labor and to wait. — Longfellow. 
 
 3. Men are led by trifles. — Napoleon. 
 
 4. Hurrah ! for the red, white and blue. 
 
 5. Millions for defense but not one cent for tribute. 
 — Pinckney. 
 
 6. The young are slaves to novelty; the old to custom. 
 
 7. 'Tis midnight's holy hour, and silence now 
 Is brooding, like a gentle spirit, o'er 
 
 The still and pulseless world. 
 
 8. Clarence is come — false, fleeting, perjured Clar- 
 ence. Seize on him, ye furies, take him to your torments. 
 
 NOTE.— Judgment and taste, founded on sentiment 
 and circumstances, must determine the degree of pitch to 
 be used. 
 
 LESSON VI. 
 MODULATION, Continued. 
 1. Rate has reference to the time of utterance in 
 reading and speaking. 
 
MANUAL OF READING. 1 5 
 
 2. The divisions of rate are (i) slow, (2) medium, 
 and (3) rapid. 
 
 3. Slozu rate is that used in expressions of solem- 
 nity, devotion, horror, pathos, and unanimated thought. 
 
 4. Medium rate is that used in common conversa- 
 tion, narration or description. 
 
 5. Rapid rate is that used in expressions of joy, 
 anger, excitement and haste. 
 
 QUESTIONS. 
 
 1 . What is rate ? 
 
 2. Name the divisions of rate. 
 
 3. What is slow rate ? 
 
 4. What is medium rate ? 
 
 5. What is rapid rate ? 
 
 EXERCISES ON RATE. 
 
 Read each of the following sentences as slowly as pos- 
 sible without drawling, then repeat it successively, grad- 
 ually increasing the rate until articulation is indistinct, 
 then reverse the process repeating it slower at each read- 
 ing. This exercise will enable the student to increase or 
 diminish the rate at pleasure, which is a very important 
 element in reading or speaking. 
 
 1. The study of natural history expands and elevates 
 the mind. 
 
 2. Every human being has the idea of duty; and to 
 unfold this idea, is the end for which life was given him. 
 
 3. One may be wise, though he be poor. 
 
 4. Then there was mounting in hot haste ; the steed, 
 The mustering squadron, and the clattering car 
 Went pouring forward with impetuous speed, 
 And swiftly forming in the ranks of war. 
 
1 6 MANUAL OF READING. 
 
 5. O, that I had the wings of a dove, that I might 
 fly away and be at rest ! 
 
 NOTE.— Rate must vary with the nature of the thought 
 to be expressed. It should neither be too slow nor too 
 fast, but the latter is the greater fault and more liable to be 
 made. Mandeville says "Of good elocution, distinct artic- 
 ulation is a fundamental requisite ; and this, in connec- 
 tion with rapid delivery is very rare. The slow speaker 
 may articulate badly; but it has seldom been my good 
 fortune to hear a rapid speaker who articulated well. A 
 slow delivery in general, is, I conceive, absolutely neces- 
 sary to enable a reader or speaker to comply with the 
 demands of sentiment and emotion." 
 
 LESSON VII. 
 
 MODULATION, Continued. 
 
 1. Quality refers to the kind of tone. 
 
 2. There are as many qualities of tone as there are 
 kinds of emotion. Eight classes are given : (1) Pure, 
 (2) aspirated, (3) orotund, (4) guttural, (5) nasal, (6) 
 
 falsetto, (7) pectoral, (8) trembling. 
 
 3. Pure quality is that used in common conversa- 
 tion, narration and description. 
 
 4. Orotund is pure tone deepened and enlarged, 
 and is used in expressions of energy, delight, adoration, 
 and all varieties of sublime emotions. 
 
 5. Guttural \s that in which the voice seems to be 
 produced in the throat, and is used in expressions of 
 hatred, loathing and ill-humor. 
 
MANUAL OF READING. 1 7 
 
 6. Aspirated is the whisper, or the whisper partly 
 vocalized, and is used in expressions of fear, horror, ter- 
 ror, secrecy and revenge. 
 
 7. Nasal is that in which the voice seems to pass 
 through the nose. 
 
 8. Falsetto is any tone above the natural compass 
 of the voice. 
 
 9. Pectoral is any tone below the natural compass 
 of the voice. 
 
 10. Trembling tone is that used in excessive grief 
 or pity or to represent enfeebled age. 
 
 QUESTIONS. 
 
 Define quality. 
 How is quality divided ? 
 What is pure tone ? 
 What is aspirated tone ? 
 What is orotund tone ? 
 W r hat is falsetto tone ? 
 What is guttural tone ? 
 What is nasal tone ? 
 What is pectoral tone ? 
 What is trembling tone ? 
 
 Note.— Sounds may differ as essentially in quality 
 as in pitch. The organ and violin may accord in pitch 
 yet it is easy to discover the difference in the quality of 
 the tone. Though some voices are more melodious than 
 others, yet all may be improved by proper discipline. 
 
1 8 MANUAL OF READING. 
 
 EXERCISES IN QUALITY. 
 
 Pure Tone. NIGHT. 
 
 How beautiful is night ? 
 A dewy freshness fills the silent air; 
 No mist obscures, nor cloud, nor speck, nor stain 
 
 Breaks the serene of heaven; 
 In full-orbed glory, yonder moon divine 
 Rolls through the dark-blue depths. 
 
 Beneath her steady ray 
 The desert-circle spreads 
 Like the round ocean girded with the sky. 
 
 How beautiful is night. — Southey 
 
 Aspirated. AMBITION. 
 
 How like a mounting devil in the heart 
 
 Rules the unrein'd ambition ! Let it once 
 
 But play the monarch, and its haughty brow 
 
 Glows with a beauty that bewilders thought 
 
 And unthrones peace forever. Putting on 
 
 The very pomp of Lucifer, it turns 
 
 The heart to ashes, and with not a spring 
 
 Left in the bosom for the spirit's lip, 
 
 We look upon our splendor and forget 
 
 The thirst of which we perish ! — N. P. Willis. 
 
 Orotund. TRUE ELOQUENCE. 
 
 True eloquence does not consist in speech. It can 
 not be brought from afar. Labor and learning may toil 
 for it, but they will toil in vain. Words and phrases may 
 be marshaled in every way, but they can not compass it. 
 It must exist in the man, in the subject, and in the occa- 
 
MANUAL OF READING. 
 
 sion. Affected passion, intense expression, the pomp of 
 declamation, all may aspire after it — they can not reach 
 it. It comes, if it comes at all, like the out-breaking of a 
 fountain from the earth, or the bursting forth of volcanic 
 fires, with spontaneous, original, native force. — Webster. 
 
 Guttural. DEFIANCE. 
 
 I loathe you with my bosom ! I scorn you with mine eyes ! 
 And I'll taunt you with my latest breath, and fight you 
 
 till I die. 
 I ne'er will ask for quarter, and I ne'er will be your slave, 
 But I'll swim the sea of slaughter till I sink beneath the 
 
 wave. — The Seminole * s Reply. 
 
 Nasal. 
 
 The birds can fly, 
 An' why can't I ? 
 Must we give in, 
 Says he, with a grin, 
 That the blue bird an' phoebe 
 Are smarter 'n we be ? 
 Jest fold our hands, an' see the swaller 
 An' blackbird, an' catbird beat us holler ? 
 
 — Trowbridge. 
 
 Falsetto. 
 
 MRS. CAUDLE URGING THE NEED OF SPRING CLOTHING. 
 
 If there's anything in the world I hate, and you know 
 it, it is asking you for money. I am sure, for myself, I'd 
 rather go without a thing a thousand times — and I do, the 
 more shame for you to let me ! 
 
 "What do I want now ?" as if you didn't know ! I'm sure 
 
20 MANUAL OF READING. 
 
 if I'd any money of my own I'd never ask you for a 
 farthing, never ! It's painful to me, gracious knows. 
 
 What do you say ? "If it's painful why so often do it ?" 
 I suppose you call that a joke — one of your club-jokes. 
 As I say, I only wish I'd any money of my own. If there 
 is anything that humbles a poor woman it is coming to a 
 man's pocket for every farthing. It's dreadful ! 
 
 Now Caudle, you hear me, for it isn't often I speak. 
 Pray do you know what month it is ! And did you see 
 how the children looked at church to-day ? — like nobody 
 else's children ! 
 
 "What was the matter with them ?" Oh, Caudle ! how 
 can you ask ? Weren't they all in their thick merinoes 
 and beaver bonnets ? 
 
 What do you say ? "What of it ?" What ! You'll tell 
 me that you didn't see how the Briggs girls in their new 
 chips turned their noses up at 'em ? And you didn't see 
 how the Browns looked at the Smiths, and then at our 
 poor girls, as much as to say, "Poor creatures ! what fig- 
 ures for the first of May." — Jerrold. 
 
 Pectoral. WE WATCHED HER BREATHING. 
 
 We watched her breathing through the night, 
 
 Her breathing soft and low, 
 As in her breast the wave of life 
 
 Kept heaving to and fro. 
 
 So silently we seemed to speak, 
 
 So slowly moved about, 
 As we had lent her half our powers 
 
 To eke her living out. 
 
MANUAL OF READING. 21 
 
 Our very hopes belied our fears, 
 
 Our fears our hopes belied — 
 We thought her dying when she slept, 
 
 And sleeping when she died. 
 
 For when the morn came dim and sad, 
 
 And chill with early showers, 
 Her quiet eyelids closed — she had 
 
 She had another morn than ours. — Hood. 
 
 LESSON VIII. 
 
 MODULATION, Continued. 
 
 i. Quantity or force refers to the volume of sound 
 without change of pitch. 
 
 2. Quantity is divided into (i) subdued, (2) moderate, 
 and (3) Strong. 
 
 3. Subdued quantity is a degree of force less than the 
 common energy of the voice, and is used in expressions 
 of grief, tenderness, caution, admiration, languor and fee- 
 bleness. 
 
 4. Moderate quantity is the degree of force usually em- 
 ployed, and is used in expressions of reverence, devotion, 
 narration, description and conversation. 
 
 5. Strong quantity is a degree of force greater than 
 the common energy of the voice, and is used in express- 
 ions of anger, alarm, calling, courage and oratory. 
 
22 MANUAL OF READING. 
 
 QUESTIONS. 
 
 • I. What is quantity ? 
 
 2. How is quantity divided ? 
 
 3. What is subdued quantity ? 
 
 4. What is moderate quantity ? 
 
 5. What is strong quantity ? 
 
 EXERCISES IN QUANTITY. 
 Subdued quantity. CURFEW. 
 
 Solemnly, mournfully, 
 
 Dealing its dole, 
 The Curfew bell 
 
 Is beginning to toll. 
 
 Cover the embers, 
 
 And put out the light ; 
 
 Toil comes with the morning, 
 And rest with the night. 
 
 Dark grows the windows, 
 And quenched is the fire ; 
 
 Sound fades into silence, — 
 All footsteps retire. 
 
 No voice in the chamber, 
 No sound in the hall ! 
 
 Sleep and oblivion 
 
 Reign over all ! — Longfellow. 
 
 Moderate quantity. LINCOLN'S DEATH. 
 
 The nation rises up at every stage of his coming ; 
 cities and states are as pall-bearers, and the cannon beats 
 
MANUAL OF READING. 23 
 
 the hours in solemn progression ; dead, dead, dead, he 
 yet speaketh. 
 
 Is Washington dead ? Is Hampden dead ? Is David 
 dead ? Is any man that ever was fit to live dead ? * * 
 
 * Disenthralled from the flesh, and risen to the unob- 
 structed sphere where passion never comes, he begins his 
 illimitable work. 
 
 His life is now grafted upon the Infinite, and will be 
 fruitful as no earthly life can be. Pass on. Four years 
 ago, oh Illinois, we took from your midst an untried man 
 from among the people. * * * Behold, we return 
 him to you a mighty conquerer, not thine any more, but 
 the nation's ; not ours, but the world's. Give him place, 
 oh ye prairies ! In the midst of this great continent his 
 dust shall rest, a sacred treasure to myriads who shall 
 pilgrim to that shrine to kindle anew their patriotism. 
 Ye winds, that move over the mighty spaces of the west, 
 chant his requiem ! Ye people, behold the martyr, whose 
 drops of blood, as so many articulate words, plead for 
 fidelity, for law, for liberty. — Beecher. 
 
 Strong quantity. THE LIFE BOAT. 
 
 Quick ! Man the life-boat ! See yon bark 
 
 That drives before the blast ! 
 There's a rock ahead, the fog is dark, 
 And the storm comes thick and fast. 
 Can human power, in such an hour, 
 
 Avert the doom that's o'er her ? 
 Her main-mast's gone, but she still drives on 
 To the fatal reef before her. 
 
 The life-boat ! Man the life-boat. 
 
24 MANUAL OF READING. 
 
 LESSON IX. 
 
 MODULATION, Continued. 
 
 i. Stress has reference to the manner of applying 
 emphasis to one or more words of a sentence. 
 
 2. Stress is divided into (i) initial or radical, (2) 
 final, (3) sustained, (4) mediau or swell, (5) compound, and 
 
 (6) intermittent or tremidous. 
 
 3. Initial or radical stress is that in which the em- 
 phasis falls upon the beginning of a word or phrase, and 
 gradually diminishes. 
 
 4. Final stress is that in which the emphasis is 
 gradually increased. 
 
 5. Sustained stress is that in which the emphasis com- 
 mences, continues and ends with the same force. 
 
 6. Median or swell stress is that in which the empha- 
 sis is applied with the greatest force in the middle of the 
 sound. 
 
 7. Compound stress is that in which the emphasis is 
 applied with the greatest force at the initial and final 
 parts of the sound. 
 
 8. Intermittent or tremidous stress is that in which the 
 emphasis is applied in wave-like impulses. 
 
 QUESTIONS. 
 
 What is stress ? 
 How is stress divided ? 
 Define initial stress. 
 Define final stress. 
 Define sustained stress. 
 What is median stress ? 
 What is compound stress ? 
 Define intermittent stress. 
 
MANUAL OF READING. 2$ 
 
 EXERCISES IN STRESS. 
 
 Initial stress. THE LAW OF THE LORD. 
 
 The law of the Lord is perfect, converting the soul; 
 
 The testimony of the Lord is sure, making wise the simple. 
 
 The statutes of the Lord are right, rejoicing the heart ; 
 
 The commandent of the Lord is pure, enlightening the 
 eyes. 
 
 The fear of the Lord is clean, enduring forever ; 
 
 The judgments of the Lord are true and righteous alto- 
 gether. 
 More to be desired are they than gold, yea, than much 
 
 fine gold ; sweeter also than honey and the honeycomb. 
 
 Moreover by them is thy servant warned ; and in keep- 
 ing of them there is great reward. — Bible. 
 
 Final stress. MOUNTAINS. 
 
 Mountains ! who was your Builder ? Who laid your 
 awful foundations in the central fires, and piled your rocks 
 and snow-capped summits among the clouds ? Who 
 placed you in the gardens of the world, like noble altars 
 on which to offer the sacrificial gifts of many nations ? 
 Who reared your rocky walls in the barren desert, like 
 towering pyramids, like monumental mounds, like giants' 
 graves, like dismantled piles of royal ruins, telling a 
 mournful tale of glory, once bright, but now fled forever, 
 as flee the dreams of a midsummer's night ? Who gave 
 you a home in the islands of the sea — those emeralds that 
 gleam among the waves — those stars of ocean that mock 
 the beauty of the stars of night ? 
 
 Mountains ! I know who built you. It was God ! His 
 name is written on your foreheads. He laid your corner- 
 stones on that glorious morning when the orchestra of 
 
26 MANUAL OF READING. 
 
 heaven sounded the anthem of creation. He clothed 
 your high, imperial forms in royal robes. He gave you a 
 snowy garment, and wove for you a cloudy veil of crim- 
 son and gold. He crowned you with a diadem of icy 
 jewels ; pearls from the arctic seas ; gems from the frozen 
 pole. — Morse. 
 
 Sustained stress. STUDIES. 
 
 Studies serve for delight, for ornament, and for ability. 
 Their chief use for delight is in privateness and retiring ; 
 for ornament, is in discourse ; and for ability, is in the 
 judgment and disposition of business. For expert men 
 can execute, and perhaps, judge of particulars, one by 
 one ; but the general counsels, and the plots and mar- 
 shaling of affairs, come best from those that are learned. 
 — Bacon. 
 
 Median Stress. EXTRACT FROM THE BURIAL OF MOSES. 
 
 By Nebo's lonely mountain, 
 
 On this side Jordan's wave, 
 
 In a vale in the land of Moab, 
 
 There lies a lonely grave ; 
 
 But no man dug that sepulchre, 
 
 And no man saw it e'er, 
 
 For the angels of God upturned the sod 
 
 And laid the dead man there. — Alexander. 
 
 Compound stress. CATALINE'S DEFENSE. 
 
 Banished from Rome} What's banished, but set free 
 From daily contact of the things I loathe ? 
 'Tried and convicted traitor ? Who says this ? 
 Who'll prove it, at his peril, on my head ? 
 Banished ! I thank you for it. It breaks my chain. 
 I held some slack allegiance till this hour ; 
 
MANUAL OF READING. 2J 
 
 But uow my sword's my ow7i. Smile on my Lords ; 
 
 I scorn to count what feelings, withered hopes, 
 
 Strong provocations, 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 you ; here I fling 
 
 Hatred and full defiance in your face. 
 
 Your consul's merciful ! For this all thanks /" — Croly. 
 
 Intermittent stress. FROM BINGEN ON THE RHINE. 
 
 His voice grew faint and hoarser — his grasp was childish 
 
 weak — 
 His eyes put on a dying look — he sighed and ceased to 
 
 speak ; 
 His comrade bent to lift him, but the spark of life had fled — 
 The soldier of the Legion, in a foreign land was dead ! 
 And the soft moon rose up slowly, and calmly she looked 
 
 down 
 On the red sand of the battlefield, with bloody corpses 
 
 strown ; 
 Yea, calmly on that dreadful scene her pale light seemed 
 
 to shine, 
 As it shone on distant Bingen — fair Bingen on the Rhine ! 
 
 — Mrs. Norton. 
 
 LESSON X. 
 MODULATION, Continued. 
 
 r. Inflection is the change of pitch used in reading 
 and speaking. 
 
 2 There are but two inflections, the rising and the 
 falling. For convenience these are divided into simple 
 rising, compound rising, simple falling, and compound 
 falling. 
 
28 MANUAL OF READING. 
 
 3. The simple rising inflection is that in which the. 
 voice glides upward and suggests incomplete sense. 
 
 4. The compound rising inflection is that in which the 
 voice begins with the downward and ends with the up- 
 ward slide. 
 
 5. The simple falling inflection is that in which the 
 voice glides downward and suggests complete sense. 
 
 6. The compound falling inflection is that in which 
 the voice begins with the upward and ends with the 
 downward slide. 
 
 7. Monotone is a sameness of tone or absence of in- 
 flection, and is properly used in sublime or solemn ex- 
 pressions. 
 
 8. Cadence is the fall of the voice at the end of a 
 sentence. 
 
 QUESTIONS. 
 
 What is inflection ? 
 
 How many inflections are there ? 
 
 3. What is the simple rising inflection ? 
 
 4. What is the compound rising inflection ? 
 
 5. What is the simple falling inflection ? 
 
 6. What is the compound falling inflection ? 
 Define monotone. 
 Define cadence. 
 
 RULES FOR THE USE OF INFLECTIONS. 
 
 I. Direct questions usually require the rising inflec- 
 tion, and their answers the falling. 
 
 EXAMPLES. 
 
 1. W 7 ill you accept my offer ? I will. 
 
 2. Is your brother well ? Yes. 
 
 3. Will you leave us ? No. 
 
 Note. — Direct questions repeated with emphasis, or 
 used in earnest appeal, take the falling inflection. 
 
MANUAL OF READING. 20, 
 
 2. Indirect questions and their answers usually re- 
 quire the falling inflection. 
 
 EXAMPLES. 
 
 1. How long must I wait ? Until to-morrow. 
 
 2. How many came with you ? Ten. 
 
 3. Who said, "Millions for defense but not a cent 
 
 for tribute ?" Pinckney. 
 
 Note. — Indirect questions repeated, or used with 
 emphasis take the rising inflection. 
 
 3. Contrasted words or expressions require opposite 
 inflections. 
 
 EXAMPLES. 
 
 i. A wise son maketh a glad father ; but a foolish 
 son is the heaviness of his mother. 
 
 2. Sink or swim, live or die, survive or perish, I 
 give my hand and heart to this vote. 
 
 Note. — Of words contrasted the one which has the 
 greater emphasis takes the falling inflection, and the one 
 which expresses negation the rising inflection. 
 
 4. Expressions of anger, authority, reproach, and all 
 others uttered with emphasis usually require the falling 
 inflection. 
 
 EXAMPLES. 
 
 1. Silence thou slave, thou coward, away from 
 
 my sight. 
 
 2. Charge, Chester, charge ! on Stanley, on ! 
 
 3. Go to the ant, thou sluggard, consider her ways, 
 
 and be wise. 
 
30 MANUAL OF READING. 
 
 5. Expressions of grief, emotion and kindness usually 
 require the rising inflection] 
 
 EXAMPLES. 
 
 1. O my son Absalom ! my son, my son, Absalom ! 
 
 2. He bleeds ! he falls ! his death-bed is the field ! 
 His dirge the trumpet, and his bier the shield ! 
 
 6. The compound inflections are used in expressions 
 of irony, derision, sarcasm and contrast. 
 
 EXAMPLES. 
 
 i. You do not know him, as we do. 
 
 2. He is 2ifine specimen of humanity. 
 
 3. One may be wise, though he be poor. 
 
 LESSON XI. 
 
 EMPHASIS 
 
 1. Emphasis is a special stress of voice on one or 
 more words of a sentence. ^ 
 
 NOTE. — There are three ways of indicating emphasis. 
 (1) by italics, (2) by small CAPITALS, and (3) by large 
 CAPITALS. 
 
 2. Emphasis is divided into (1) absolute, (2) antithetic, 
 or relative, and (3) cumulative. 
 
 3. Absolute emphasis is that which is used upon words 
 not compared with others in the sentence. 
 
 4. Antithetic or relative emphasis is that which is 
 used upon words contrasted with others in the sentence. 
 
 5. Cumulative emphasis is that which is used upon a 
 succession of words. 
 
MANUAL OF READING. 3 I 
 
 QUESTIONS. 
 
 1. What is emphasis ? 
 
 2. How is emphasis divided ? 
 
 3. What is absolute emphasis ? 
 
 4. What is antithetic emphasis ? 
 
 5. What is cumulative emphasis ? 
 
 Note. — Emphasis has the same relation to the words 
 of a sentence that accent has to the syllables of a word. 
 
 "By the proper use of emphasis, we are enabled to im- 
 part animation and interest to conversation and reading. 
 Its importance can not be over estimated, as the meaning 
 of a sentence often depends upon the proper placing of 
 the emphasis. If readers have a desire to produce an 
 impression on hearers, and read what they understand and 
 feel, they will generally place emphasis on the right 
 words." — Watson. 
 
 RULES FOR THE USE OF EMPHASIS. 
 
 1. All words and phrases, to which special attention 
 is directed, are emphasized. 
 
 EXAMPLES. 
 
 1 . Life is real ! Life is earnest ! 
 
 2. The sun rises in the east. 
 
 3. If you are men follow me. 
 
 2. All words and phrases contrasted are emphasized. 
 
 EXAMPLES. 
 
 1. Wit laughs at things ; humor laughs with them. 
 
 2. Clay was the greater orator ; Webster, the greater 
 
 statesman. 
 
 3. Just men only are free ; the rest are slaves. 
 
 3. Important words or phrases repeated, generally 
 require an increase of emphasis. 
 
32 MANUAL OF READING. 
 
 EXAMPLES. 
 
 1. His sorrow, his ANGUISH, his DEATH were 
 
 caused by your carelessness. 
 
 2. I never would lay down my arms — never! 
 
 never ! NEVER ! 
 
 3. "We must fight, sir ; I repeat it, we must FIGHT. 
 
 To THE Teacher. — Use miscellaneous selections to 
 test the pupils' knowledge of the rules of emphasis, having 
 them name the words emphasized, and the kind of em- 
 phasis used. 
 
 LESSON XII. 
 
 PERSONATION, 
 
 i. Personation is the variation of the voice used to 
 represent two or more persons as speaking, and is em- 
 ployed in reading dialogues and selections of a conversa- 
 tional nature. 
 
 EXAMPLES FOR PARCTICE. 
 
 One of the People. — We'll hear the will : read it, Mark 
 Antony. 
 
 All. — The will ! the will ! we will hear Caesar's will. 
 
 Antony. — Have patience, gentle friends, I must not 
 read it. It is not meet you know how Caesar loved 
 
 People. — Read the will ; we will hear it, Antony. 
 Antony. — Will you be patient ? Will you wait awhile ? 
 All. — The will ! the testament ! 
 
 Antony. — You will compel me then to read the will ? 
 Then make a ring about the corpse of Caesar, and let me 
 
MANUAL OF READING. 33 
 
 show you him that made the will. If you have tears, 
 prepare to shed them now. 
 
 First Citizen. — O piteous spectacle ! 
 
 Second Gitizen. — O noble Caesar ! 
 
 Third Citizen. — We will be revenged ! Revenge ! 
 about — seek — burn — fire — kill — slay ! let not a traitor 
 live. 
 
 Antony. — Stay, countrymen. 
 
 First Citizen. — Peace there ; hear the noble Antony. 
 
 Second Citizen. — We'll hear him, we'll follow him, we'll 
 die with him. — Shakespeare. 
 
 To THE TEACHER. — Take additional exercises from 
 Selections in Reading for drill in personation ; it will 
 be found a valuable means of securing control of the voice. 
 Concert exercises in personation will assist in awakening 
 an interest in the work, as well as in disciplining the 
 voices of the class. 
 
 2. Transition is a variation in the manner of delivery, 
 to represent change of sentiment or meaning. 
 
 3. Slur is a smooth gliding movement of the voice 
 heard in reading and speaking, and is used in cases of 
 antithesis, explanation, repetition, and in parenthetical 
 clauses. 
 
 QUESTIONS. 
 
 1. What is personation ? 
 
 2. What is transition ? 
 
 3. What is slur ? 
 
 LESSON XIII. 
 
 PAUSES. 
 I. Pauses are the cessations of voice in reading or 
 speaking, used to add force to the expression, also to mark 
 grammatical construction. 
 
34 MANUAL OF READING. 
 
 2. Punctuation is the art of separating written or 
 printed composition into sentences and parts of sentences 
 by marks or points. "Its primary object is to bring out 
 the writer's meaning, and so far only is it an aid to the 
 reader." — Quackenbos. 
 
 3. Pauses are of two kinds, (1) grammatical and (2) 
 rhetorical. ^ 
 
 4. Grammatical pauses are those used to indicate the 
 nature or meaning of the sentence. 
 
 5. Rhetorical pauses are those used to add force to the 
 expression, where the construction does not admit of a 
 grammatical pause. 
 
 6. The grammatical pauses are comma, (,) semicolon,^ 
 colon, (:) period, (.) interrogation, (?) and exclamation. (!) 
 
 7. The rhetorical pause is usually represented by the 
 dash. (— ) 
 
 QUESTIONS. 
 
 1. What are pauses ? 
 
 2. What is punctuation ? 
 
 3. Pauses are of how many kinds ? Name them. 
 
 4. What are grammatical pauses ? 
 
 5. What are rhetorical pauses ? 
 
 6. Name the grammatical pauses ? 
 
 7. How is the rhetorical pause represented ? 
 
 RULES FOR THE USE OF PAUSES. 
 
 1. Comma : The comma is employed in separating 
 words, phrases and clauses which make imperfect sense, 
 but are closely connected with the rest of the sentence. 
 
 2. Semicolon : The semicolon is employed in sepa- 
 rating the members oi sentences which make perfect 
 sense, and which are united by connectives expressed. 
 
MANUAL OF READING. 35 
 
 3. Colon : The colon is employed in separating the 
 members of sentences which make perfect sense, and 
 which are united by connectives understood. 
 
 4. Period : The period is placed at the end of every 
 declarative and imperative sentence, and after every 
 abbreviated word. 
 
 5. Interrogation : The interrogation point is placed 
 after ever interrogative sentence or clause. 
 
 6. Exclamation : The exclamation point is placed 
 after every exclamatory sentence or clause, and interjec- 
 tion. 
 
 7. Dash : The dash is used before exclamatory words 
 repeated, betore a change in the construction of the sense, 
 after a member abruptly broken off, and after a sentence 
 which ends abruptly. Also to show the omission of let- 
 ters or figures. 
 
 LESSON XIV. 
 
 GESTURE. 
 
 1. Gesture is action or attitude used to express or 
 enforce sentiment and emotion. 
 
 2. Gesture includes (1) attitude, (2) gesticulation, and 
 (3) facial expression. 
 
 3. Attitude is the position of the body when at rest 
 in expressing or enforcing sentiment or emotion. 
 
 4. Gesticulation is the movement of the body, or 
 change of position, in expressing or enforcing sentiment 
 or emotion. 
 
 5. Facial expression is the language of the counte- 
 nance with reference to feeling or emotion. 
 
$6 MANUAL OF READING. 
 
 6. Attitude is usually classified as (i) firm, (2) relax, 
 (3) advancing, and (4) receding. 
 
 7. A firm attitude is when the muscles are firm and 
 rigid, and is suited to expressions of courage, sublimity 
 and pride. 
 
 8. A relax attitude is when the muscles are relax and 
 loose, and is suited to expressions ot fatigue, great fear 
 and unemotional language. 
 
 9. An advancing attitude is when the body is in- 
 clined forward, and is suited to expressions of caution, 
 devotion, welcome, listening, etc. 
 
 10. A receding attitude is when the body is inclined 
 backward, and is suited to expressions of abhorence, defi- 
 ance, disdain, etc. 
 
 QUESTIONS. 
 
 1. What is gesture ? 
 
 2. What does gesture include ? 
 
 3. Define attitude. 
 
 4. What is gesticulation ? 
 
 5. What is facial expression ? 
 
 6. How is attitude classified ? 
 
 7. What is meant by a firm attitude ? 
 
 8. Define relax attitude. 
 
 9. What is an advancing attitude ? 
 10. What is a receding attitude ? 
 
 LESSON XV. 
 
 GESTURE, Continued. 
 
 I. Gesticulation includes movements of the (1) head, 
 (2) upper limbs, and (3) lower limbs. 
 
MANUAL OF READING. 37 
 
 2. The positions of the head are (i) erect, (2) inclined 
 backward, (3) inclined forward, and (4) inclined to one 
 side. 
 
 3. An erect position of the head indicates confidence, 
 firmness, dignity, manliness, honor, courage, etc. 
 
 4. Head inclined backward indicates mirth, pride, etc. 
 
 5. Head inclined forward indicates shame, humility, 
 grief, reflection, etc. 
 
 6. Head inclined to one side indicates carelessness, 
 indifference, feebleness, etc. 
 
 7. The movements of the upper limbs include those 
 of the (1) hands and (2) arms. 
 
 8. The positions of the hand with reference to the 
 palm, are known as (1) prone, (2) supine, (3) vertical, 
 and (4) repelling. With reference to the fingers as (1) 
 natural, (2) vertical, (3) indexical, (4.) clenched, ($) ex- 
 tended, and (6) clasped. 
 
 9. The prone position of the hand is the palm down- 
 ward, and is suited to expressions of secrecy, conceal- 
 ment, etc. 
 
 10. The supine position is the palm upward, and is 
 suited to expressions of information, advice, etc. 
 
 11. The vertical position is the palm perpendicular, 
 and is suited to expressions of solemn obligation, amaze- 
 ment, etc. 
 
 12. The repelling position is the palm outward, and is 
 suited to expressions of repulsion, dislike, etc. 
 
 13. The natural position of the fingers is when they 
 hang loosely, and is suited to ordinary conversation or 
 discourse. 
 
 14. The vertical position is the fingers pointing up- 
 ward, and is suited to appeals to duty, surprise, etc. 
 
 15. The indexical position is the forefinger extended, 
 and is used in pointing. 
 
38 MANUAL OF READING. 
 
 1 6. The clenched position is the hand closed tightly, 
 and is suited to expressions of violence, anger, etc. 
 
 17. The clasped position is the hands united and 
 closed, and is used in earnest entreaty and supplication. 
 
 QUESTIONS. 
 
 1. What does gesticulation include ? 
 
 2. Name the positions of the head. 
 
 3. What does the erect position indicate ? 
 
 4. What does the head inclined backward indicate ? 
 
 5. What does the head inclined forward indicate ? 
 
 6. What does the head inclined to one side indicate ? 
 
 7. What do the movements of the upper limbs in- 
 
 dicate ? 
 
 8. Name the positions of the hand ? 
 
 9. Define the prone position. 
 
 10. Define the supine position. 
 
 11. Define the vertical position. 
 
 12. Define the repelling position. 
 
 13. What is meant by the natural position of the 
 
 fingers ? 
 
 14. What is meantr by the vertical position of the 
 
 fingers ? 
 
 15. What is the indexical position ? 
 
 16. What is the clenched position? 
 
 17. What is the clasped position of the hands ? 
 
 LESSON XVI. 
 GESTURE, Continued. 
 
 1. The positions of the arm are (1) front, (2) lateral, 
 (3) oblique, and (4) backward. 
 
MANUAL OF READING. 39 
 
 2. The front position is the arm directly in front or 
 before the person, and is used in emphatic assertion or 
 direct appeal. 
 
 3. The lateral position is the arm extended to the 
 right or left, and is used in language of a general nature, 
 and appeals to the intellect. 
 
 4. The oblique position is the arm between the front 
 and lateral positions. 
 
 5. The backward or back oblique position is the arm 
 back of the lateral position. 
 
 6. The positions of the lower limbs are (1) advanced, 
 (2) retired, and (3) lateral. 
 
 7. The advanced position is the movement of either 
 foot forward. 
 
 8. The retired position is the movement of either 
 foot backward. — 
 
 9. The lateral position is the movement of either foot 
 to the right or left of first position. 
 
 10. Facial expression is named as (1) natural, (2) 
 smiling, (3) averted, (4) dejected, (5) staring, etc, 
 
 11. The natural expression indicates satisfaction, 
 reverence, etc. 
 
 12. The smiling expression indicates cheerfulness, 
 good will, etc. 
 
 13. The averted expression indicates perplexity, dis- 
 gust, etc. 
 
 14. The dejected expression indicates shame, sorrow, 
 humility, etc. 
 
 15. The staring expression indicates boasting, defi- 
 ance, etc. 
 
 QUESTIONS. 
 
 1. Name the positions of the arms. 
 
 2. What is the front position ? 
 
 3. What is the lateral position ? 
 
4-0 MANUAL OF READING. 
 
 4. What is the oblique position ? 
 
 5. What is the backward position ? 
 
 6. Name the positions of the lower limbs. 
 
 7. What is the advanced position ? 
 
 8. What is the retired position ? 
 
 9. What is the lateral position ? 
 
 10. Name some of the facial expressions. 
 
 11. What does the natural expression of the face 
 
 indicate ? 
 
 12. What does the smiling expression of the face 
 
 indicate ; 
 
 13. What does the averted expression of the face 
 
 indicate ? 
 
 14. What does the dejected expression of the face 
 
 indicate ? 
 
 15. What does the staring expression of the face 
 
 indicate ? 
 
 To the Teacher. — The following excellent advice 
 upon gesture, is from Cole's Institute Reader : 
 
 "Do not attempt too much in gesture, but what you do 
 teach, teach thoroughly. The great object to be aimed 
 at is gracefulness." * * * "The key to a graceful 
 and easy manner is self possession ; you can not more 
 easily cultivate this than by class drills in movements." 
 * * * "Stand in front of the class, speak the words 
 around, beneath, on high ; and on pronouncing each word 
 make the appropriate gesture. Use the hand and arm 
 without pronouncing the words. Teacher count and the 
 class execute the movements together." * * * "The 
 art of graceful gesticulation lies in keeping the muscles 
 moderately relaxed." * * * "As a rule, oratorical 
 gesture should be executed in easy, graceful curves ; in- 
 vectives, in straight lines and angles. The movements 
 of the feet, as well as those of the hands, must be looked 
 
MANUAL OF READING. 41 
 
 after. While too much stepping in declamation is objec- 
 tionable, as giving the appearance of rant, too little, on 
 the other hand, conveys the impression of stiffness." 
 
 The posture should be erect but not stiff. 
 
 "He who in earnest studies o'er his part, 
 
 Will find true nature cling about his heart. 
 
 The modes of grief are not included all 
 
 In the white handkerchief and mournful drawl ; 
 
 A single look more marks the internal woe, 
 
 Than all the windings of the lengthened Oh ! 
 
 Up to the face the quick sensation flies, 
 
 And darts its meaning from the speaking eyes. 
 
 Love, transport, madness, anger, scorn, despair, 
 
 And all the passions, all the soul is there." — Lloyd. 
 
 TO THE TEACHER. 
 
 I. METHODS. 
 
 There are five methods of teaching reading, viz : Al- 
 phabetical, phonic, word, sentence and combined. 
 
 1. The alphabetical method is that in which the 
 names and forms of the letters are first taught, then to 
 arrange them into words and sentences. 
 
 2. The phonic method is that in which the elemen- 
 tary sounds are taught by the analysis of simple words, 
 and the use of diacritical marks. 
 
 3. The word method is that in which the words are 
 first taught to represent ideas, by first presenting objects, 
 pictures, etc., and then the words which name them. 
 
 4. The sentence method is that in which whole 
 sentences are first taught to represent some thought, by 
 first presenting the thought and then the sentence repre- 
 senting it. 
 
42 MANUAL OF READING. 
 
 5. The combined method is that in which simple 
 words are first taught, and then the letters and sounds 
 which compose them. 
 
 II. PRIMARY READING. 
 
 The teacher should have a well defined plan of what 
 is to be accomplished, and a distinct and vivid conception 
 of how to execute that plan in all branches of school 
 work, and especially is this true in teaching reading. 
 The leading objects to be obtained in primary reading 
 are (1) ability to name words at sight, (2) a correct artic- 
 ulation, and (3) ability to read intelligently, and with 
 correct expression. These must be attended to in each 
 lesson if success is desired. 
 
 A few hints to the primary teacher may not be amiss. 
 
 1. Be in earnest. "Earnestness is the charm, the 
 magnetism of the school room." 
 
 2. Have the pupil stand, and stand erect, while read- 
 ing. If the class stand, the reader should advance a step 
 to the front. This requires unwearied patience and per- 
 severing effort. 
 
 3. The book should be held in the left hand, suffi- 
 ciently high to enable the pupil to stand erect, with chin 
 well up. 
 
 4. Avoid assigning too long lessons. 
 
 5. Each syllable and word should be pronounced 
 distinctly. 
 
 6. Secure and hold the attention of the entire class 
 during the recitation. 
 
 7. Ask questions upon the lesson read, to cultivate 
 the memory, and to stimulate inquiry. 
 
 8. Teach your pupils to write script as well as to 
 print. The change from one to the other will add inter- 
 est and pleasure to their work. In each insist upon neat- 
 ness of execution. 
 
 
MANUAL OF READING. 43 
 
 9. Call upon pupils promiscuously. Change the 
 order of conducting a recitation occasionally, having 
 pupils read in concert, read from pause to pause, etc. 
 
 10. Remember that the time of recitation belongs to 
 the class and not to the school. 
 
 III. INTERMEDIATE READING. 
 Many of the hints under primary reading are as ap- 
 plicable here as there, and should be carefully studied. 
 The objects to be attained in intermediate reading, are 
 (1) to assist pupils in enlarging their vocabulary, (2) to 
 teach proper vocal expressions, and (3) to teach how to 
 study. We add a few hints to the intermediate teacher. 
 
 1. Prepare for each recitation by a careful study of 
 the lesson before hearing it recited. 
 
 2. In assigning lessons, point out the special points 
 to be studied — teach how to study. 
 
 3. Require pupils to select lists of words from the 
 reading lesson and to indicate the sounds of the letters by 
 diacritical marks. 
 
 4. Teach pupils how to use the dictionary, and to 
 ascertain the meaning of the words found in each lesson. 
 
 5. Have frequent exercises in writing sentences which 
 shall contain certain words found in each lesson. 
 
 6. In reading verse care should be taken to read with 
 reference to the sense and not to the rhythm. 
 
 7. Allow pupils to make short selections occasionally, 
 from readers or other sources, to awaken an interest in 
 the work. 
 
 8. Give occasional half days to exercises in select 
 readings and declamations. 
 
 9. In teaching gestures, as in all else, let your motto 
 be, not how much, but how well. 
 
 10. Teach *the use of capital letters and marks of 
 punctuation as they occur in the lessons. 
 
 • 33 
 
44 MANUAL OF READING. 
 
 IV. ADVANCED READING. 
 
 The rules already given contain much that is of prac- 
 tical value, and should be carefully studied before taking 
 up the advanced lessons. The objects to be attained in 
 advanced reading, are (i) the pronunciation of new and 
 difficult words, (2) the analysis and study of words, (3) 
 the analysis and critical study of a reading exercise, and 
 (4) the teaching of some fact in elocution. 
 
 We annex a few hints. 
 
 1. Constant use of the dictionary should be made to 
 ascertain the meaning and pronunciation of new and 
 difficult words. Make lists of words frequently mispro- 
 nounced or badly articulated for special drill. 
 
 2. Give much time to practice in articulation, em- 
 phasis, inflection, etc. 
 
 3. Aanalyze words both by syllable and by sound. 
 
 4. Call upon pupils occasionally to read lessons with- 
 out special preparation. 
 
 5. Teach pupils to look off from their books occa- 
 sionally as they read. It will enable them to give better 
 expression to the sentiment, and will be more pleasing to 
 those who listen. 
 
 6. Number your class, and occasionally call by num- 
 ber, having them read until the next number is called. 
 
 7. Divide the class in sections, twos, threes or fours, 
 and have them read by sections. 
 
 8. See that the pupil stands erect, speaks deliber- 
 ately, and articulates distinctly. 
 
SELECTIONS IN READING. 
 
 A STORY OF SCHOOL. 
 
 The red light shone through the open door, 
 
 From round the declining sun ; 
 And fantastic shadows, all about 
 - On the dusty floor were thrown, 
 As the factory clock told the hour of five, 
 . And the school was almost done. 
 
 The mingled hum of the busy town, 
 Rose faint from her lower plain ; 
 
 And we saw the steeple over the trees, 
 With its motionless golden vane ; 
 
 And heard the cattle's musical low, 
 And the rustle of standing grain. 
 
 In the open casement a lingering bee 
 
 Murmured a drowsy tune ; 
 And, from the upland meadows, a song 
 
 In the lull of the afternoon 
 Had come, on the air that wandered by, % 
 
 Ladened with the scents of June. 
 
 Our tasks were finished and lessons said, 
 And we sat all hushed and still, 
 
 Listening to catch the purl of the brook, 
 And the whir of the distant mill, 
 
 And waited the word of dismissal, that yet 
 Waited the master's will. 
 
46 MANUAL OF READING. 
 
 The master was old and his form was bent, 
 
 And scattered and white his hair ; 
 But his heart was young, and there ever dwelt 
 
 A calm and kindly air, 
 Like the halo over a pictured saint, 
 
 On his face, marked deep with care. 
 
 His eyes were closed and his wrinkled hands 
 
 Were folded over his vest, 
 As wearily back in his old arm-chair 
 
 He reclined as if to rest ; 
 And the golden streaming sunlight fell 
 
 On his brow, and down his breast. 
 
 We waited in reverent silence long, 
 
 And silence the master kept ; 
 Though still the accustomed saintly smile 
 
 Over his features crept ; 
 And we thought, worn with the lengthened toil 
 
 Of the summer's day, he slept. 
 
 So we quietly rose and left our seats, 
 
 And outward into the sun, 
 From the gathering shades of the dusty room, 
 
 Stole silently, one by one. 
 For we knew, by the distant striking clock, 
 
 It was time the school was done. 
 
 And left the master, sleeping alone, 
 
 Alone in his high-backed chair, 
 With his eyelids closed, and his withered palms 
 
 Folded as if in prayer ; 
 And the mingled light and smile on his face, 
 
 And we knew not that DEATH was there. 
 
 — William, R. Hart. 
 
MANUAL OF READING. 47 
 
 THE DEATH OF HAMILTON. 
 
 "How are the mighty fallen !" And, regardless as we 
 are of vulgar deaths, shall not the fall of the mighty affect 
 us ? A short time since, and he, who is the occasion of 
 our sorrow, was the ornament of his country. He stood 
 on an eminence, and glory covered him. From that 
 eminence he has fallen ; suddenly, forever, fallen. His 
 intercourse with the living world is now ended, and those 
 who would hereafter find him, must seek him in the grave. 
 There, cold and lifeless, is the heart which just now was 
 the seat of friendship ; there, dim and sightless is the eye, 
 whose radiant and enlivening orb beamed with intelli- 
 gence ; and there, closed forever, are those lips, on whose 
 persuasive accents we have so often, and so lately, hung 
 with transport ! From the darkness which rests upon his 
 tomb, there proceeds, methinks, a light in which it is 
 clearly seen, that those gaudy objects, which men pursue, 
 are only phantoms. In this light how dimly shines the 
 splendor of victory ; how humble appears the majesty ol 
 grandeur ! The bubble, which seemed to have so much 
 solidity, has burst, and we again see, that all below the 
 sun is vanity. 
 
 True, the funeral eulogy has been pronounced, the sad 
 and solemn procession has moved, the badge of mourning 
 has already been decreed, and presently the sculptured 
 marble will lift up its front, proud to perpetuate the 
 name of Hamilton, and rehearse to the passing traveler 
 his virtues ; fjust. tributes of respect, and to the living 
 useful J but to him, mouldering in his narrow and humble 
 habitation, what are they ? How vain ! how unavailing ! 
 
 Approach, and behold, while I lift from his sepulchre 
 its covering ! Ye admirers of his greatness ! Ye emulous 
 
48 MANUAL OF READING. 
 
 of his talents and his fame, approach and behold him now. 
 How pale ! How silent ! No martial bands admire the 
 adroitness of his movements ; no fascinating throng weep, 
 and melt, and tremble at his eloquence ! Amazing 
 change ! A shroud ! A coffin ! A narrow, subterraneous 
 cabin ! — this is all that now remains of Hamilton ! And 
 is this all that remains of Hamilton ? During a life so 
 transitory, what lasting monument, then, can our fondest 
 hopes erect ? 
 
 My brethren ! we stand on the borders of an awful 
 gulf, which is swallowing up all things human ; and is 
 there, amidst this universal wreck, nothing stable, noth- 
 ing abiding, nothing immortal, on which poor, frail, dying 
 man can fasten ? Ask the hero, ask the statesman, whose 
 wisdom you have been accustomed to revere, and he will 
 tell you. He will tell you, did I say ? He has already 
 told you, from his death-bed ; and his illumined spirit 
 still whispers from the heavens, with well-known elo- 
 quence, the solemn admonition : "Mortals hastening to 
 the tomb, and once the companions of my pilgrim- 
 age, take warning and avoid my errors ; cultivate 
 the virtues I have recommended ; choose the Savior I 
 have chosen ; live disinterestedly ; live for immortality ; 
 and would you rescue any thing from final dissolution, lay 
 it up in God." 
 
 THE MOUNTAIN HYMN. 
 
 dread and silent Mount ! I gaze upon thee, 
 Till thou, still present to the bodily sense, 
 
 Didst vanish from my thought, entranced in prayer, 
 
 1 worshiped the Invisible alone. 
 
 Yet like some sweet beguiling melody, 
 
MANUAL OF READING. 49 
 
 So sweet we know not we are listening to it, 
 
 Thou, the meanwhile, wast blending with my thought, 
 
 Yea, with my lite and life's own secret joy ; 
 
 Till the dilating soul, enrapt, transfused, 
 
 Into the mighty vision passing, — there, 
 
 As in her natural form, swelled vast to heaven ! 
 
 Awake, my soul ! not only passive praise 
 Thou owest ; not alone these swelling tears, 
 Mute thanks and secret ecstacy. Awake, 
 Voice of sweet song ! awake, my heart, awake ! 
 Green vales and icy cliffs, all join my hymn. 
 
 Thou first and chief, sole sovereign of the vale ! 
 O ! struggling with the darkness all the night, 
 And visited all night by troops of stars, 
 Or when they climb the sky, or when they sink ! 
 Companion of the morning star at dawn, 
 Thyself earth's rosy star, and of the dawn 
 Co-herald, wake ! O wake ! and utter praise ! 
 Who sank thy sunless pillars deep in earth ? 
 Who filled thy countenance with rosy light ? 
 Who made thee parent of perpetual streams ? 
 
 And you, ye five wild torrents fiercely glad, 
 
 Who called you forth from night and utter death, 
 
 From dark and icy caverns called you forth, 
 
 Down those precipitous, black, jagged rocks, 
 
 Forever shattered, and the same forever ? 
 
 Who gave you your invulnerable life, 
 
 Your strength, your speed, your fury, and your joy, 
 
 Unceasing thunder and eternal foam ? 
 
 And who commanded, and the silence came, 
 
 "Here let the billows stiffen and have rest ?" 
 
50 MANUAL OF READING. 
 
 Ye ice-falls ! ye that from the mountain's brow 
 Adown enormous ravines slope amain — 
 Torrents, methinks, that heard a mighty voice, 
 And stopped at once amid their maddest plunge ! 
 Motionless torrents ! Silent cataracts ! 
 Who made you glorious as the gates of heaven 
 Beneath the keen full moon ? Who bade the sun 
 Clothe you with rainbows ? Who with living flowers 
 Of loveliest blue, spread garlands at your feet ? 
 "GOD !" let the torrents, like a shout of nations, 
 Answer ; and let the ice-plains echo, — "GOD !" 
 "God !" sing ye meadow-streams with gladsome voice ! 
 Ye pine groves, with your soft and soul-like sounds. 
 And they, too, have a voice, yon piles of snow. 
 And in their perilous fall shall thunder, — "GOD !" 
 
 Ye living flowers that skirt the eternal frost ! 
 Ye wild goats sporting round the eagle's nest ! 
 Ye eagles, playmates of the mountain storm ! 
 Ye lightnings, the dread arrows of the clouds ! 
 Ye signs and wonders of the elements ! 
 Utter forth "GOD !" and fill the hills with praise ! 
 
 Thou, too, hoar Mount ! with thy sky-pointing peaks, 
 
 Oft from whose brow the avalanche, unheard, 
 
 Shoots downward, glittering through the pure serene, 
 
 Into the depth of clouds that vail thy breast, 
 
 Thou too, again, stupendous Mountain, thou, 
 
 That as I raise my head, awhile bowed low 
 
 In adoration, upward from thy base, 
 
 Slow traveling with dim eyes suffused with tears, 
 
 Solemnly seemest, like a vapory cloud, 
 
 To rise before me, — rise, O ever rise ! 
 
 Rise, like a cloud of incense, from the earth ! 
 
MANUAL OF READING. 5 1 
 
 Thou kingly spirit, throned among the hills, 
 Thou dread embassador from earth to heaven, 
 Great Hierarch ! tell thou the silent sky, 
 And tell the stars, and tell yon rising sun, 
 "Earth, with her thousand voices, praises God." 
 
 — Coleridge. 
 
 THE SPELLING SCHOOL. 
 
 The child-world, in this quarter, is in an active state 
 of unrest. The school in the Quaker neighborhood has 
 sent a challenge, in due form, to this district, to spell ; so 
 to-night the war of words is to be waged in the white 
 school-house on the hill. There is a great overhauling of 
 old "Elementaries," and turning over of clean collars, 
 preparatory to the grand melee. 
 
 Spelling schools ! Have you forgotten them ? When 
 from all the regions round about, they gathered into the 
 old log school-house, with its huge fireplace that yawned 
 like the main entrance to Avernus. How the sleigh-bells 
 — the old-fashioned bells, big in the middle of the string, 
 and growing "small by degrees and beautifully less" to- 
 ward the broad brass buckle — chimed in every direction 
 long before night, the gathering of the clans. 
 
 There came one school, the Master — give him a capi- 
 tal M, for he is entitled to it — Master and all bundled into 
 one huge, red, double sleigh, strewn with an abundance 
 of straw, and tucked up like a Christmas pie, with a half- 
 score of buffalo robes ; then a half dozen cutters, each 
 with its young man and maiden, then two more ; and 
 then, again, a pair of jumpers, mounting a great out- 
 landish-looking bin, heaped up, pressed down, and run- 
 
52 MANUAL OF READING. 
 
 ning over, with small collections of humanity, picked up 
 en route from a great many homes, and all as' merry as 
 kittens in a basket of wool. 
 
 And the bright eyes, and ripe, red lips, that one caught 
 a glimpse of beneath those pink-lined, quilted hoods, and 
 the silvery laughs that escaped from the woolen mufflers 
 and fur tippets they wore then — who does not remember ? 
 — who can forget them ? 
 
 The school-house destined to be the arena for the con- 
 flict has been swept and garnished ; boughs of evergreen 
 adorn the smoke-stained and battered walls. The little 
 pellets of chewed paper have all been swept down from 
 the ceiling, and two pails of water have been brought from 
 the spring and set on the bench in the entry, with the 
 immemorial tincup — a wise provision, for warm work is 
 that spelling. 
 
 The big boys have fanned and replenished the fire, 
 till the old chimney fairly jars with the roaring flames, 
 and the sparks fly out ot the top like a furnace — the ori- 
 flamme of the battle. The two masters are there ; the 
 two schools are there ; and such a hum, and such a mov- 
 ing to and fro ! 
 
 The oaken ferule comes down upon the desk with em- 
 phasis. What the roll of the drum is to armies, the ruler 
 is to this whispering, laughing young troop. The chal- 
 lenged are ranged on one side of the house ; the challen- 
 gers' on the other. Back seats, middle seats, low front 
 seats, all filled. Some of the fathers and grandfathers, 
 who could, no doubt, upon occasion, "shoulder the crutch 
 and show how fields were won," occupy the bench of 
 honor near the desk. 
 
 Now for the preliminaries : The reputed best speller 
 on each side chooses. "Susan Brown !" Out comes a 
 round-eyed little creature, blushing like a peony. Who'd 
 have thought it ? Such a little thing, and chosen first. 
 
MANUAL OF READING. 53 
 
 "Moses Jones !" Out comes Moses, an awkward fel- 
 low, with a shock of red hair surrounding his broad brow. 
 The girls laugh at him ; but what he doesn't know in the 
 "Elementary" isn't worth knowing. 
 
 "Jane Murray !" Out trips Jane, fluttered as a bride, 
 and takes her place next to the caller. She's a pretty 
 girl, but a sorry speller. Don't you hear the whisper 
 round the house ? "Why, that's John's sweetheart." John 
 is the leader, and a battle lost with Jane by his side would 
 be sweeter than a victory won without her. 
 
 And so they go on "calling names," until five or six 
 champions stand forth ready to do battle, and the contest 
 is fairly begun. Down goes one after another, as words 
 of three syllables are followed by those of four, and these 
 again by words of similar pronunciation and divers signi- 
 fications, until only Moses and Susan remain. 
 
 The spelling book has been exhausted, yet there they 
 stand. Dictionaries are turned over ; memories are ran- 
 sacked for "words of learned length and thundering 
 sound," until, by and by, Moses comes down like a tree, 
 and Susan flutters there still, like a little leaf aloft, that 
 the frosts and fall have forgotten. 
 
 Polysyllables follow polysyllables, and by and by, 
 Susan hesitates just a breath or two, and twenty tongues 
 are working their way through the labyrinth ol letters in 
 a twinkling. Little Susan sinks into a chink left for her 
 on the crowded seat, and there is a lull in the battle. 
 
 Then they all stand in a solid phalanx by schools, and 
 the struggle is to spell each other down ; and down they 
 go like leaves in wintry weather, and the victory is de- 
 clared for our district and the school is dismissed. 
 
 Then comes the hurrying and bundling, the whisper- 
 ing and glancing, the pairing off and the tumbling in. 
 There are hearts that flutter and hearts that ache ; "mit- 
 
54 MANUAL OF READING. 
 
 tens" that are not worn, secret hopes that are not real- 
 ized, and fond looks that are not returned. There is a 
 jingling of bells at the door ; one after another the sleighs 
 dash up, receive their nestling freight, and are gone. 
 
 Our Master covers the fire, and snuffs out the candles 
 — don't you remember how daintily he used to pinch the 
 smoking wicks with forefinger and thumb, and then thrust 
 each hapless luminary head first into the tin socket ?— - 
 and we waited for him. The bells ring faintly in the 
 woods, over the hill in the valley. They are gone. The 
 school-house is dark and tenantless, and we are alone 
 with the night. 
 
 Merry, care-free company ! Some of them are sorrow- 
 ing, some are dead, and all, I fear, are changed. Spell ! 
 Ah ! the "spell" that has come over that crowd of young 
 dreamers — over you, over me — will it ever, ever be 
 dissolved ? In the white radiance of Eternity ! — B. F, 
 Taylor. 
 
 THE CHILDREN. 
 
 When the lessons and tasks are all ended, 
 
 And the school for the day is dismissed, 
 And the little ones gather around me 
 
 To bid me "good night" and be kissed ; 
 Oh, the little white arms that encircle 
 
 My neck in a tender embrace ! 
 Oh, the smiles that are halos of heaven, 
 
 Shedding sunshine and love on my face ! 
 
MANUAL OF READING. 55 
 
 And when they are gone I sit dreaming 
 
 Of my childhood, too lovely to last ; 
 Of love that my heart will remember 
 
 When it wakes to the pulse of the past, 
 Ere the world and its wickedness made me 
 
 A partner of sorrow and sin, 
 When the glory of God was about me 
 
 And the glory of gladness within. 
 
 Oh, my heart grows weak as a woman's 
 
 And the fountains of feeling will flow, 
 When I think of the paths steep and stony 
 
 Where the feet of the dear ones must go, 
 Of the mountains of sin hanging o'er them, 
 
 Of the tempest of fate blowing wild ; 
 Oh, there's nothing on earth half so holy 
 
 As the innocent heart of a child. 
 
 There are idols of hearts and of households, 
 
 They are angels of God in disguise, 
 His sunlight still sleeps in their tresses, 
 
 His glory still beams in their eyes ; 
 Oh, those truants from earth and from heaven, 
 
 They have made me more manly and mild, 
 And I know how Jesus could liken 
 
 The kingdom of God to a child. 
 
 Seek not a life for the dear ones, 
 
 All radiant as others have done, 
 But that life may have just as much shadow 
 
 To temper the glare of the sun ; 
 I would pray God to guard them from evil 
 
 But my prayer would bound back to myself; 
 Ah ! a seraph may pray for a sinner 
 
 But a sinner must pray for himself. 
 
56 MANUAL OF READING. 
 
 The twig is so easily bended, 
 
 I have banished the rule and the rod ; 
 I have taught them the goodness of knowledge 
 
 They have taught me the goodness of God. 
 My heart is a dungeon of darkness 
 
 Where I shut them from breaking a rule ; 
 My frown is sufficient correction 
 
 My love is the law of the school. 
 
 I shall leave the old house in the autumn 
 
 To traverse its threshold no more — 
 Ah, how I shall sigh for the dear ones 
 
 That meet me each morn at the door. 
 I shall miss the good nights and the kisses, 
 
 And the gush of their innocent glee, 
 The group on the green and the flowers 
 
 That are brought every morn to me. 
 
 I shall miss them at morn and at eve, 
 
 Their songs in the school and the street, 
 I shall miss the low hum of their voices, 
 
 And the tramp of their delicate feet. 
 When the lesson and tasks are all ended, 
 
 And death says the school is dismissed, 
 May the little ones gather around me 
 
 To bid me "good night" and be kissed. 
 
 — Charles Dickens. 
 
MANUAL OF READING. $7 
 
 THE RAINY DAY. 
 
 The day is cold, and dark, and dreary ; 
 
 It rains and the wind is never weary ; 
 The vine still clings to the mouldering wall, 
 But at every gust the dead leaves fall, 
 
 And the day is dark and dreary. 
 
 My life is cold, and dark and dreary ; 
 
 It rains, and the wind is never weary ; 
 My thoughts still cling to the mouldering past, 
 But the hopes of youth fall thick in the blast, 
 
 And the days are dark and dreary. 
 
 Be still, sad heart ! and cease repining ; 
 
 Behind the clouds is the sun still shining ; 
 Thy fate is the common fate of all, 
 Into each life some rain must fall, 
 
 Some days must be dark and dreary.. 
 
 — Longfellow. 
 
 MY SCHOOL-MATES. 
 
 The old school house is gone now, its site is vacant, 
 and its play ground is silent as the memories that linger 
 like ghosts of the departed around it. The joyous, juve- 
 nile host that once crowded its seats, or answered to the 
 master's rat-tat on the window sash, are scattered to their 
 sober tasks amidst the great working world, or lie resting 
 with the dead. 
 
 My school-mates ! How memory struggles, with that 
 word, to call back again the half-hundred sturdy boys 
 and gleeful girls whose names stood with our own upon 
 
58 MANUAL OF READING. 
 
 the school roll ; to whom our boyhood owed so much of 
 its pleasures, and our manhood, perhaps, so much of its 
 character for good or evil. As I am musing, slowly they 
 come around me again, and the old school room rings 
 again with the shouts of its merry population at their 
 noon time sports. I mark again, in the reflected light of 
 a riper experience, the various traits and activities that 
 commended them to my school-boy regards, and read in 
 the magnified type of their manhood, the true value of 
 their childish virtues and vices. 
 
 And the first and saddest thought that presses upon 
 me, is the waste of intellect that has occurred amongst 
 them. There were minds there, shrewd, capacious and 
 aspiring, for whom the parent or teacher had marked, in 
 the future, a career of high attainment or brilliant success. 
 Amongst that group of boys one might have marked the 
 embryo poets, scholars, statesmen, inventors and mer- 
 chants, the future men of thought and men of action, who 
 should fill the world with the blessings or the noise of 
 their achievements. Bold, hardy, witty and free, strong 
 of will and stout hearted, there was in them the stuff of 
 which men are made. 
 
 Alas ! how few have fulfilled the promises of their 
 childhood. The witty boy has become a dull, plodding 
 man. The sparkling maiden is now but a nervous, nar- 
 row-minded woman. The selfish demands of a selfish 
 world have fallen like a mildew upon the once free 
 thoughts. 
 
 Some are active business men, and "well to do," in the 
 world's phrase ; but who that knew them in the past 
 would not sigh to reflect how many generous, boyish 
 traits have been smothered to make them the men they 
 are ? 
 
 A few, and those not of the brightest, have more than 
 met the hopes we formed of them. Generous, large 
 
* MANUAL OF READING. 59 
 
 hearted men and women, they have but expanded into 
 manly and womanly growth the good that dwelt in them 
 in childhood. And it is a significant fact that it is the 
 good far oftener than the bright child that has grown to 
 be the successful, influential man. The trained heart has 
 outrun the trained intellect in the race of life. — Journal 
 of Education. 
 
 THE SMACK IN SCHOOL, 
 
 A district school not far away, 
 'Mid Berkshire hills, one winter's day, 
 Was humming with its wonted noise 
 Of three-score mingled girls and boys ; 
 Some few upon their tasks intent, 
 But more on furtive mischief bent. 
 The while the master's downward look 
 Was fastened on a copy-book ; 
 When suddenly, behind his back, 
 Rose sharp and clear a rousing smack ! 
 As 'twere a battery of bliss 
 Let off in one tremendous kiss ! 
 "What's that ?" the startled master cries 
 "That, thir," a little imp replies, 
 "Wath William Willith, if you pleath, 
 I thaw him kith Thuthanna Peathe !" 
 With a frown to make a statue thrill, 
 The master thundered, "Hither, Will !" 
 Like wretch o'ertaken in his track, 
 With stolen chatties on his back, 
 Will hung his head in fear and shame, 
 And to the awful presence came — 
 A great, green, bashful simpleton, 
 The butt of all good natured fun. 
 
60 MANUAL OF READING. 
 
 With smile suppressed, and birch upraised 
 
 The threatener faltered — "I'm amazed 
 
 That you, my biggest pupil, should 
 
 Be guilty of an act so rude ! 
 
 Before the whole set school to boot — 
 
 What evil genius put you to't ?" 
 
 "'Twas she, herself, sir," sobbed the lad, 
 
 "I did not mean to be so bad ; 
 
 But when Susannah shook her curls, 
 
 And whispered, I was 'fraid of girls, 
 
 And dursn't kiss a baby's doll, 
 
 I couldn't stand it, sir, at all, 
 
 But up and kissed her on the spot ! 
 
 I know — boo-hoo — I ought to not, 
 
 But, somehow, from her looks — boo-hoo — 
 
 I thought she kind o' wished me to !" — Palmer 
 
 THE BRIDGE. 
 
 I stood on the bridge at midnight, 
 As the clocks were striking the hour, 
 
 And the moon rose o'er the city, 
 Behind the dark church-tower." 
 
 I saw her bright reflection 
 
 In the water under me, 
 Like a golden goblet falling 
 
 And sinking into the sea. 
 
 And far in the hazy distance 
 Of that lovely night in June, 
 
 The blaze of the flaming furnace 
 Gleamed redder than the moon. 
 
MANUAL OF READING. 6l 
 
 Among the long, black rafters 
 
 The wavering shadows lay, 
 And the current that came from the ocean 
 
 Seemed to lift and bear then away ; 
 
 As, sweeping and eddying through them, 
 
 Rose the belated tide, 
 And streaming into the moonlight, 
 
 The seaweed floated wide. 
 
 And like those waters rushing 
 
 Among the wooden piers, 
 A flood of thoughts came o'er me 
 
 That filled my eyes with tears. 
 
 How often, O how often, 
 
 In the days that had gone by, 
 I had stood on that bridge at midnight 
 
 And gazed on that wave and sky ! 
 
 How often, O how often, 
 
 I had wished that the ebbing tide 
 
 Would bear me away on its bosom 
 O'er the ocean wild and wide ! 
 
 For my heart was hot and restless, 
 
 And my life was full of care, 
 And the burden laid upon me 
 
 Seemed greater than I could bear. 
 
 But now it has fallen from me, 
 
 It is buried in the sea ; 
 And only the sorrow of others 
 
 Throws its shadow over me. 
 
62 MANUAL OF READING. 
 
 Yet whenever I cross the river 
 On its bridge with wooden piers, 
 
 Like the odor of brine from the ocean, 
 Comes the thought of other years. 
 
 And I think how many thousands 
 
 Of care-encumbered men, 
 Each bearing his burden of sorrow, 
 
 Have crossed the bridge since then. 
 
 I see the long procession 
 
 Still passing to and fro, 
 The young heart hot and restless, 
 
 And the old subdued and slow ! 
 
 And forever and forever, 
 
 As long as the river flows, 
 As long as the heart has passions, 
 
 As long as life has woes ; 
 
 The moon and its broken reflection 
 And its shadows shall appear, 
 
 As the symbol of love in heaven, 
 
 And its wavering image here. — Longfellow. 
 
 SELECT THOUGHTS. 
 
 He who has lost his honor can lose nothing more. 
 
 Charms strike the sight, but merit wins the soul. — Pope. 
 
 The truest end of life is to know the life that never 
 ends. — Penn. 
 
MANUAL OF READING. 63 
 
 The man who minds his own business has a good, 
 steady employment. 
 
 Evil is wrought by want of thought as well as by want 
 of heart. — Hood. 
 
 Would you have others speak highly of you ? Never 
 speak highly of yourself. 
 
 To most men experience is like the stern lights of a 
 ship, which illumine only the track it has passed. — 
 Coleridge. 
 
 Would you have fame ? Write your name in deeds 
 of kindness, love and mercy on the hearts you come in 
 contact with. 
 
 The bright days of youth are the. seed time of life. 
 Every action is a seed whose good or evil fruit will be the 
 happiness or misery of after life. 
 
 It is not money, nor is it mere intellect, that governs 
 the world ; it is moral character ; it is intellect associated 
 with moral excellence. — T. D. Woolsey. 
 
 Vice is a monster of such hideous mien, 
 That to be hated needs but to be seen ; 
 Yet seen too oft, familiar with her face, 
 We first endure, then pity, then embrace. 
 
 Unto the one who labors, 
 Fearless of foe or frown ; 
 Unto the kindly hearted 
 Cometh a blessing down. 
 
 — Mary Francis Tyler. 
 
 The mind is the man. — Tyrtceus. 
 
 The mind only is true wealth.— A dolph of Nassau. 
 
 We live not in body but in mind. — Speusippus. 
 
64 MANUAL OF READING. 
 
 A good mind is a kingdom in itself. — R. Leighton. 
 
 A vacant mind is an invitation to vice. — B. Gilpin. 
 
 Every duty we omit obscures some truth we should 
 have known. — Ruskin. 
 
 The line of life is a ragged diagonal between duty and 
 desire. — W. R. Alger. 
 
 When any calamity has been suffered the first thing 
 to be remembered is how much has been escaped. — 
 Johnson. 
 
 A loving heart and a pleasant countenance are com- 
 modities which a man should never fail to take home 
 with him. 
 
 Every lie, great or small, is the brink of a precipice, 
 the depth of which nothing but Omniscience can fathom. 
 — Reade. 
 
 And when the world shall link your name 
 With gracious lives and manners fine, 
 
 The teacher shall assert her claims, 
 
 And proudly whisper, "These were mine." 
 
 — Whit tier. 
 
 If vexed with a child when instructing.it, try to write 
 with your left hand. Remember a child is all left-handed. 
 — J. F. Boyes. 
 
 I can easier teach twenty what were good to be done 
 than be one of the twenty to follow my own teaching. — 
 
 Shakespeare. 
 
 Instructors should not only be skillful in those sciences 
 which they teach, but have skill in the method of teach- 
 ing and patience in the practice. — Dr. Watts. 
 
MANUAL OF READING. 65 
 
 We often praise the evening clouds, 
 
 And tints so gay and bold, 
 But seldom think upon our God 
 
 Who tinged the clouds with gold. — Scott. 
 
 It is because all ties must part 
 
 That farewell words are spoken. — Robert Wilson. 
 
 Sweet is the love that nature brings. — Wadsworth. 
 
 Nothing pays that's wrong, 
 The good and pure alone are sure 
 To bring prolonged success. — Anon. 
 
 Grace is to the body, what good sense is to the mind. 
 — Franklin. 
 
 Those who would make us feel must feel themselves. 
 — Churchill. 
 
 Men should prove by their doing the correctness of 
 their living. — Anon. 
 
 THE DESTRUCTION OF SENNACHERIB. 
 
 The Assyrian came down like the wolf on the fold, 
 And his cohorts were gleaming in purple and gold ; 
 And the sheen of their spears was like stars on the sea, 
 When the blue wave rolls nightly on deep Galilee. 
 
 Like the leaves of the forest when summer is green, 
 That host with their banners at sunset were seen ; 
 Like the leaves of the forest when autumn hath blown, 
 That host on the morrow lay withered and strown. 
 
66 MANUAL OF READING. 
 
 For the Angel of Death spread his wings on the blast ; 
 And breathed in the face of the foe as he passed ; 
 And the eyes of the sleepers waxed deadly and chill 
 And their hearts but once heaved, and forever grew still ; 
 
 And there lay the steed with his nostrils all wide, 
 But through it there roll'd not the breath of his pride, 
 And the foam of his gasping lay white on the turf, 
 And cold as the spay ol the rock-beating surf. 
 
 And there lay the rider, distorted and pale, 
 With the dew on his brow and the rust on his mail ; 
 And the tents were all silent, the banners alone, 
 The lances unlifted, the trumpet unblown. 
 
 And the widows of Ashur are loud in their wail, 
 And the idols are broke in the temple of Baal ; 
 And the might of the Gentile, unsmote by the sword, 
 Hath melted like snow in the glance of the Lord ! 
 
 — Byron. 
 
 'THE OLD ARM CHAIR.' 
 
 I love it, I love it, and who shall dare 
 
 To chide me for loving the "Old Arm Chair ?" 
 
 I've treasur'd it long as a holy prize, 
 
 I've bedew'd it with tears and embalmed it with sighs ; 
 
 'Tis bound by a thousand bands to my heart ; 
 
 Not a tie will break, not a link will start. 
 
 Would you learn the spell ? — a mother sat there, 
 
 And a sacred thing is that "Old Arm Chair." 
 
MANUAL OF READING. 67 
 
 In childhood's home, I lingered near 
 
 The hallow'd seat, with list'ning ear, 
 
 And gentle words did mother give 
 
 To fit me to die, and teach me to live ; 
 
 She told me shame would never betide, 
 
 With truth for my creed and God for my guide ; 
 
 She taught me to lisp my earliest prayer 
 
 As I knelt beside that "Old Arm Chair." 
 
 I sat and watched for many a day 
 
 When her eyes grew dim, and her locks were gray, 
 
 And I almost worship'd her when she smiled, 
 
 And turned from her Bible to bless her child. 
 
 Years rolled on, but the last one sped — 
 
 My idol was shattered, my earth-star fled. 
 
 I learned how much the heart can bear 
 
 When I saw her die in the "Old Arm Chair." 
 
 'Tis past, 'tis past, but I gaze on it now 
 
 With quivering breath and throbbing brow ; 
 
 'T was there she nursed me, 'twas there she died, 
 
 And memory flows with lava tide. 
 
 Say it is folly and deem me weak, 
 
 While the scalding drops start down my cheek ; 
 
 But I love it, I love it, and can not tear 
 
 My soul from a mother's "Old Arm Chair." 
 
 — Eliza Cook. 
 
68 MANUAL OF READING. 
 
 THE MOTHER BIRD. 
 
 "Peep, peep, peep !" says she ; 
 "One, two, three, one, two, three 
 Little birds who wait for me ! 
 
 "One is yellow, two are brown, 
 
 And their throats are soft with down ; 
 
 On each head a scarlet crown. 
 
 "Mother-bird is flying fast ; 
 Soon your hunger will be past ; 
 Here is mother, come at last. 
 
 "Peep, peep, peep !" says she ; 
 "And can it be ? — ah ! can it be ? 
 No little ones are here for me." 
 
 In vain her cry, in vain her quest, 
 
 A thoughtless boy has robbed her nest ; 
 
 She looks around with aching breast. 
 
 Nursery 
 
 VENTILATION AND TEMPERATURE. 
 
 First in order of importance is ventilation. The school 
 must have a steady supply of fresh air throughout the 
 day. The symptoms which indicate neglect of this are 
 very plain. Perhaps the teacher may often be conscious 
 of a dimness of eyesight, a giddiness of head, a general 
 languor and drowsiness, which nothing can shake off, and 
 for which she cannot well account : it is probable that 
 they are largely owing to her working in impure air. 
 Many continue even to bear headaches, sickness, or sore 
 throat, without ever suspecting that these are owing to 
 the same cause. If such be the effect on the teacher, is 
 
MANUAL OF READING. 69 
 
 it to be supposed that the children will escape ? Their 
 countenances and the tones of their voice are some index 
 to the state of the school. And if the teacher will scruti- 
 nize these, as she should accustom herself to do, she will 
 be kept from error in this matter. It is not enough that 
 the air be fresh in the morning, or that the windows be 
 opened and closed fitfully throughout the day, just as ac- 
 cident may direct her attention to the subject, or that 
 there be one stereotyped degree of ventilation throughout 
 the year. This is a matter that requires attention from 
 hour to hour, and from day to day, according to wind and 
 weather. An atmosphere which is fresh in the morning 
 very soon becomes vitiated unless it is changed, and the 
 teacher may not be conscious of its condition. Nothing 
 but constant watchfulness will suffice to maintain the air 
 in proper condition. During the recess the windows 
 should be opened, and the school-room thoroughly 
 aired. 
 
 Another important feature is the keeping up of a proper 
 degree of temperature in the school-room. Both ex- 
 tremes of temperature must be avoided. If the tempera- 
 ture be kept habitually too high, the children will become 
 nervously sensitive of cold. At the same time the air 
 may be fresh, and yet injuriously cold. Particularly are 
 drafts to be avoided. As many schools are constructed, 
 it is hardly possible to avoid these. A class should not 
 stand immediately under an open window or behind a 
 door. A thermometer should be provided for each 
 school-room ; and should be hung in the middle of the 
 room, and examined by the teacher once an hour at least, 
 while the heating apparatus is in operation. Sixty-eight 
 degrees Fahrenheit should be the maximum temperature 
 of the school-room, although seventy degrees is not ob- 
 jectionable during the first half hour of the session in very 
 cold weather. — Superintendent McAlister in the Teacher. 
 
70 MANUAL OF READING. 
 
 NOBODY'S CHILD. 
 
 Alone in the dreary, pitiless street, 
 With my torn old dress, and bare, cold feet, 
 All day I have wandered to and fro, 
 Hungry and shivering, and nowhere to go ; 
 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 I 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, 
 
 I 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 ! 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 ? 
 
 No 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 ! 
 
MANUAL OF READING. 7 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, 
 
 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 pitiful, sad surprise, 
 They look at me with their sweet, tender eyes ; 
 And it seems to me, out of the dreary night ; 
 I am going up to that world of light ; 
 And, away from the hunger and storm so wild, 
 I am sure I shall then be somebody's child. 
 
 — Phi la H. Case 
 
 THE GRAVE. 
 
 The sorrow for the dead is the only sorrow trom which 
 we refuse to be divorced. Every other wound we seek to 
 heal ; every other affliction, to forget ; but this wound, 
 we consider it a duty to keep open. This affliction we 
 •cherish, and brood over in solitude. Where is the mother, 
 who would willingly forget the infant that has perished 
 
72 MANUAL OF READING. 
 
 like a blossom from her arms, though every recollection 
 is a pang ? Where is the child, that would willingly forget 
 a tender parent, though to remember be but to lament ? 
 Who, even in the hour of agony, would forget the friend, 
 over whom he mourns ? 
 
 No, the love which survives the tomb, is one of the 
 noblest attributes of the soul. If it has its woes, it has 
 likewise its delights ; and when the overwhelming burst 
 of grief is calmed into the gentle tear of recollection ; 
 when the sudden anguish, and the convulsive agony over 
 the present ruins of all that we most loved, is softened 
 away into pensive meditation on all that it was, in the 
 days of its loveliness, who would root out such a sorrow 
 from the heart ? Though it may, sometimes, throw a pass- 
 ing cloud over the bright hour of gayety, or spread a 
 deeper sadness over the hour of gloom, yet, who would 
 exchange it, even for the song of pleasure, or the burst 
 of revelry ? No, there is a voice from the tomb sweeter 
 than song. There is a remembrance of the dead, to which 
 we turn, even from the charms of the living. 
 
 Oh, the grave ! the grave ! It buries every error, 
 covers every defect, extinguishes every resentment ! 
 From its peaceful bosom, spring none but fond regrets 
 and tender recollections. Who can look down upon the 
 grave, even of an enemy, and not feel a compunctious 
 throb, that he should have warred with the peJbr handful 
 of earth that lies mouldering before him ? But the grave 
 of those we loved, what a place for meditation ! There it 
 is, that we call up, in long review, the whole history of 
 virtue and gentleness, and the thousand endearments 
 lavished upon us, almost unheeded, in the^daily inter- 
 course of intimacy ; there it is, that we dwell upon the 
 tenderness, the solemn, awful tenderness of the parting 
 scene ; the bed of death, with all its stifled griefs, its 
 noiseless attendance, its mute, watchful assiduities ! the 
 
MANUAL OF READING. 73 
 
 last testimonies of expiring love! the feeble, fluttering, 
 thrilling, — oh, how thrilling ! — pressure of the hand ! the 
 last fond look of the glazing eye turned upon us, even 
 from the threshold of existence ! the faint, faltering ac- 
 cents, struggling in death to give one more assurance of 
 affection ! 
 
 Ay> S° t° the grave of buried love and meditate ! 
 There settle the account with thy conscience, lor every 
 past benefit unrequited ; every past endearment unre- 
 garded, of that departed being, who can never — never — 
 never return to be soothed by thy contrition ! If thou 
 art a child, and hast ever added a sorrow to the soul, or 
 a furrow to the silvered brow of an affectionate parent ; 
 if thou art a husband, and hast ever caused the fond 
 bosom that ventured its whole happiness in thy arms, to 
 doubt one moment of thy kindness or thy truth ; if thou 
 art a friend, and hast ever wronged, in thought, or word, 
 or deed, the spirit that generously confided in thee ; it 
 thou hast given one unmerited pang to that true heart, 
 which now lies cold and still beneath thy feet ; then be 
 sure, that every unkind look, every ungracious word, every 
 ungentle action, will come thronging back upon thy 
 memory, and knocking dolefully at thy soul ; then be 
 sure, that thou wilt lie down sorrowing and repentant on 
 the grave, and utter the unheard groan, and pour the un- 
 availing tear ; more deep, more bitter, because unheard 
 and unavailing. 
 
 Then weave thy chaplet of flowers, and strew the 
 beauties of nature about the grave ; console thy broken 
 spirit, if thou canst, with these tender, yet futile tributes 
 of regret ; but take warning, by the bitterness of this, 
 thy contrite affliction over the dead, and henceforth be 
 more faithful and affectionate in the discharge of thy 
 duties to the living. — W. Irving. 
 
74 MANUAL OF READING. 
 
 A PSALM OF LIFE. 
 
 Tell me not in mournful numbers, 
 Life is but an empty dream ! 
 
 For the soul is dead that slumbers, 
 And things are not what they seem. 
 
 Life is real ! Life is earnest ! 
 
 And the grave is not its goal ; 
 Dust thou art, to dust returnest, 
 
 Was not written of the soul. 
 
 Not enjoyment, and not sorrow, 
 
 Is our destined end and way, 
 But to act, that each to-morrow 
 
 Find us further than to-day. 
 
 Art is long, and time is fleeting, 
 
 And our hearts, though stout and brave, 
 
 Still, like muffled drums, are beating 
 Funeral marches to the grave. 
 
 In the world's broad field of battle, 
 
 In the bivouac of life, 
 Be not like dumb, driven cattle, 
 
 Be a hero in the strife ! 
 
 Trust not Future, howe'er pleasant ! 
 
 Let the dead Past bury its dead ! 
 Act ! — act in the living Present ! 
 
 Heart within, and God o'er head. 
 
 Lives of great men all remind us 
 We can make our lives sublime, 
 
 And, departing, leave behind us 
 Footprints on the sands of time ; 
 
MANUAL OF READING. 75 
 
 Footprints, that perhaps another. 
 
 Sailing o'er life's solemn main, 
 A forlorn and shipwreck'd brother, 
 
 Seeing, shall take heart again. 
 
 Let us, then, be up and doing, 
 
 With a heart for any fate ; 
 Still achieving, still pursuing, 
 
 Learn to labor and to wait. 
 
 — H. W. Longfellow. 
 
 AFTER MARRIAGE. 
 
 Enter LADY TEAZLE and SIR PETER. 
 
 Sir P. Lady Teazle, Lady Teazle, I'll not bear it. 
 
 Lady T. Sir Peter, Sir Peter, you may bear it or not, 
 as you please ; but I ought to have my own way in every- 
 thing, and, what's more, I will too. What ! though I 
 was educated in the country, I know very well that 
 women of fashion in London are accountable to nobody 
 after they are married. 
 
 Sir P. Very well, ma'am, very well ; so a husband 
 is to have no influence — no authority ? 
 
 Lady T. Authority ! No to be sure. If you. wanted 
 authority over me you should have adopted me, and not 
 married me ; I am sure you were old enough. 
 
 Sir P. Old enough ! ay — there it is. Well, well, 
 Lady Teazle, though my life may be made unhappy by 
 your temper, I'll not be ruined by your extravagance. 
 
 Lady T. My extravagance ! I am sure I am not more 
 extravagant than a woman ought to be. 
 
 Sir P. No, no, madam, you shall throw away no 
 more sums upon such unmeaning luxury. 'Slife ! to 
 spend as much to furnish your dressing-room with flowers 
 
76 MANUAL OF READING. 
 
 in winter as would suffice to turn the Pantheon into a 
 green-house. 
 
 Lady T. Sir Peter, am I to blame because flowers 
 are dear in cold weather ? You should find fault with the 
 climate, and not with me. For my part, I'm sure, I wish 
 it were spring all the year round, and that roses grew 
 under our feet. 
 
 Sir P. Zounds ! madam, if you had been born to 
 this, I should not wonder at your talking thus ; but you 
 forget what your situation was when I married you. 
 
 Lady T. No, no, I don't ; 'twas a very disagreeable 
 one, or f should never have married you. 
 
 Sir P. Yes, yes, madam ; you were then in a some- 
 what humbler style — the daughter of a plain country 
 squire. Recollect, Lady Teazle, when I saw you first sit- 
 ting at your tambour, in a pretty-figured linen gown, 
 with a bunch of keys at your side — your hair combed 
 smooth over a roll, and your apartment hung round with 
 fruits in worsted of your own working. 
 
 Lady T. Oh yes, I remember it very well ; and a 
 curious life I led. My daily occupation, to inspect the 
 dairy, superintend the poultry, make extracts from the 
 family receipt-book and comb my Aunt Deborah's lap- 
 dog. 
 
 Sir P. Yes, yes, ma'am 'twas so indeed. 
 
 L&dy T. And then, you know, my evening amuse- 
 ments — to draw patterns for ruffles which I had not mate- 
 rial to make up, to play Pope Juan with the curate, to 
 read a novel to my aunt, or to be stuck down to an old 
 spinet to strum my father to sleep after a fox-chase. 
 
 Sir P. I am glad you have so good a memory. Yes, 
 madam, these were the recreations I took you from ; but 
 now you must have your coach — vis-a,-vis — and three 
 powdered footmen before your chair, and, in the summer, 
 
MANUAL OF READING. 77 
 
 a pair of white cats to draw you to Kensington Gardens. 
 No recollection, I suppose, when you were content to ride 
 double, behind the butler, on a docked coach-horse ! 
 
 Lady T. No, I swear I never did that ; I deny the 
 butler and the coach-horse. 
 
 Sir P. This, madam, was your situation, and what 
 have I done for you ? I have made you a woman of 
 fashion, of fortune, of rank ; in short, I have made you 
 my wife. 
 
 Lady T. Well, then — and there is but one thing more 
 you can make me add to the obligation, and that is — 
 
 Sir P. My widow, I suppose ? 
 
 Lady T. Hem ! hem ! 
 
 Sir P. I thank you, madam ; but don't flatter your- 
 self; for, though your ill-conduct may disturb my peace 
 of mind, it shall never break my heart, I promise you. 
 However, I am equally obliged to you for the hint. 
 
 Lady T. Then why will you endeavor to make your- 
 self so disagreeable to me, and thwart me in every little 
 elegant expense ? 
 
 Sir P. 'Slife ! madam, I say, had you any of these 
 little elegant expenses when you married me ? 
 
 Lady T. Lud ! Sir Peter, would you have me be out 
 of the fashion ? 
 
 Sir P. The fashion, indeed ! What had you to do 
 with the fashion before you married me ! 
 
 Lady T. For my part, I should think you would like 
 to have your wife thought a woman of taste. 
 
 Sir P. Ay — there again — taste ! Zounds ! madam, 
 you had no taste when you married me ! 
 
 Lady T. That's very true, indeed, Sir Peter ; and, 
 after having married you, I should never pretend to taste 
 again, I allow. {Laughs^ But now, Sir Peter, since we 
 have finished our daily jangle, I presume I may go to my 
 engagement at Lady Sneerwell's. 
 
yS MANUAL OF READING. 
 
 Sir P. Ay, there's another precious circumstance — 
 a charming set of acquaintance you have made there. 
 
 Lady T. Nay, Sir Peter, they are all people of rank 
 and fortune, and remarkably tenacious of reputation. 
 
 Sir P. Yes, egad, they are tenacious of reputation 
 with a vengeance, for they don't choose any body should 
 have a character but themselves. Such a crew ! Ah ! 
 many a wretch has rid on a hurdle who has done less 
 mischief than these utterers of forged tales, coiners of 
 scandal, and clippers of reputation. 
 
 Lady T. What ! would you restrain the freedom of 
 speech ? 
 
 Sir P. Ah ! they have made you just as bad as any 
 one of the society. 
 
 Lady T. Why, I believe I do bear a part with a tol- 
 erable grace. 
 
 Sir P. Grace, indeed ! 
 
 Lady T. But I vow I bear no malice against the peo- 
 ple I abuse. When I say an ill-natured thing, 'tis out of 
 pure good humor, and I take it for granted they deal ex- 
 actly in the same manner with me. But, Sir Peter, you 
 know you promised to come to Lady Sneerwell's too. 
 
 Sir P. Well, well, I'll call in just to look after my 
 own character. 
 
 Lady T. Then, indeed, you must make haste after 
 me, or you'll be too late. So good-by to ye. [Exit. 
 
 Sir P. So I have gained much by my intended ex- 
 postulation ; yet with what a charming air she contra- 
 dicts everything I say, and how pleasingly she shows her 
 contempt for my authority ! Well, though I can't make 
 her love me, there is great satisfaction in quarreling with 
 her ; and I think she never appears to such advantage as 
 when she is doing everything in her power to plague me. 
 [Exit.] — R. B. Sheridan. 
 
MANUAL OF READING. 79 
 
 MODULATION. 
 
 'Tis not enough the voice be sound and clear, 
 'T is modulation that must charm the ear. 
 When desperate heroes grieve with tedious moan, 
 And whine their sorrows in a see-saw tone, 
 The same soft sounds of unimpassioned woes, 
 Can only make the yawning hearers doze. 
 The voice all modes of passion can express, 
 That marks the proper word with proper stress ; 
 But none emphatic can that speaker call, 
 Who lays an equal emphasis on all. 
 
 Some o'er the tongue the labored measures roll, 
 Slow and deliberate as the parting toll ; 
 Point every stop, mark every pause so strong, 
 Their words like stage processions stalk along. 
 
 All affectation but creates disgust ; 
 And e'en in speaking, we may seem too just. 
 In vain for them the pleasing measure flows, 
 Whose recitation runs it all to prose ; 
 Repeating what the poet sets not down, 
 The verb disjointing from its favorite noun, 
 While pause, and break, and repetition join 
 To make a discord in each tuneful line. 
 
 Some placid natures fill the allotted scene 
 With lifeless drawls, insipid and serene ; 
 While others thunder every couplet o'er, 
 And almost crack your ears with rant and roar. 
 More nature oft, and finer strokes are shown 
 In the low whisper, than tempestuous tone ; 
 
80 MANUAL OF READING. 
 
 And Hamlet's hollow voice and fixed amaze, 
 More powerful terror to the mind conveys, 
 Than he, who, swollen with impetuous rage, 
 Bullies the bulky phantom of the stage. 
 
 He who, in earnest, studies o'er his part, 
 
 Will find true nature cling about his heart. 
 
 The modes of grief are not included all 
 
 In the white handkerchief and mournful drawl ; 
 
 A single look more marks the internal woe, 
 
 Than all the windings of the lengthened Oh ! 
 
 Up to the face the quick sensation flies, 
 
 And darts its meaning from the speaking eyes : 
 
 Love, transport, madness, anger, scorn, despair, 
 
 And all the passions, all the soul is there. — Lloyd. 
 
14 NEW BOOKS! 
 
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 Chase & Stuart's First Latin Book. 
 
 Chase & Stuart's Latin Grammar. 
 
 Chase & Stuart's Latin Reader. 
 
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 A Manual of Elocution and Reading. By Dr. Edward 
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 The Crittenden Commercial Arithmetic and Business 
 Manual. New Revised and Enlarged Edition. 
 
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 A Short Course in Literature, English and American. By 
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 First Lessons in Physiology and Hygiene, with Special 
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 A Hand-Book of Civil Government. By Thomas D. Suplee, 
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 The Elements of Chemistry. By E. J. Houston, A. M., Author 
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 Short Studies in Literature, English and American. By 
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 SOMETHING NEW FOR TEACHERS AND STUDENTS, 
 
 REVIEW DIAGRAMS 
 
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 Reading, Arithmetic, Physiology and Penmanship. 
 
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 REVISED AND ENLARGED. 
 
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