^p^s LIBRARY OF CONGRESS. : Shelf ..iJ v.: UNITED STATES OF AMERICA, THE SCIENCE OF UTTERANCE; DESIGNED FOR SUPPLEMENTARY INSTRUCTION Reading Classes of Public and Private Schools. By C. DEAK REVISED WITH THE ASSISTANCE OF JOSEPH ESTABROOK, M.A., State Superintendent of Public Instruction, Michigan; Formerly President of Michigan State XoR:\f al School. FOURTH EDITION. CHICAGO: JOHN C. BUCKBEE AND CO:VIPANY, 1888. ^^^^^^ Copyright, 1881, 1884, 1886, 1888, By C. dean. PREFACE. This work has been prepared for supplementary instruction in the art of reading. The end proposed is to train the vocal organs to express the sentiments as well as to appreciate the literature of ordinary- reading in public and private schools. The ability to properly present the ideas which are expressed in written composition depends largely upon the habits of utterance formed in the schoolroom. The ordinaiy Reader is designed as a text-book to assist in developing the powers of conception and inculcating a taste for literature, but the cultivation of the voice as pertaining to enunciation, articulation and expression, should be taught separately as a sub- ject, the application of which is essential in forming a complete education. The system, as arranged in the following pages, has been successfully used in schools, and is offered to teachers and pupils, with the hope and belief that it will serve the purpose for which it has been care- fully prepared. The writer takes pleasure in acknowledging in- debtedness to the numerous authors whose works have been consulted in the preparation of this little vol- ume. Among the number, special thanks are due Profs. Monroe, Kidd, Shoemaker, Griffith, and Lewis, for several examples used in the exercises. The later editions have been carefully revised with the assist- ance of prominent educators who are interested in the subject of reading as a means of instruction. C. D. NOTES FOR TEACHERS. The exercises in this book should be practiced alternately with the reading lesson. Each lesson has a purpose, which should be ex- plained to the class, in order that they may under- stand the results to be attained, and appreciate the importance of the practice. The essential elements of reading or speaking are voice, articulation, and expression ; and the cultiva- tion of these elements cannot fail to secure habits of utterance which are healthful to the speaker, and agreeable to the listener. VOICE. Voice is explained in Lessons II and VI. The exercises in Lessons III, IV and V are valuable as a means of strengthening the muscles of the chest, and of gaining control of the breath. Lessons VII, IX, XVII, XVIII, XIX, XX and XXI are adopted for the cultivation of clearness, smoothness, variety, flexibility, and strength of voice. The regular prac- tice of these vocal exercises is very strengthening to the muscles of the throat ; thus rendering them less susceptible to the effects of exposure and disease. AETICULATIOK. Articulation is a very important part of utter- ance ; but it is often neglected, or exaggerated to the extent of affectation. Great care should be exercised in drilling the class to articulate distinctly without giving undue prominence to the effort. b NOTES FOR TEACHERS. Lessons I, VIII and X explain the different sounds and their formation, according to the action of the organs of speech. Lessons XI, XII and XIII give excellent opportunity to cultivate proper. utter- ance of the various combinations of these sounds. The analysis of words as produced by the organs of speech is a good mental discipline, which frequently develops a taste for analytical work. EXPRESSION. Proper expression in reading is the great object to be attained by these exercises. Pupils should be required to read every sentence with the same ex- pression as when speaking their own thoughts. By this means a true impression is always conveyed. If this effort is made a special exercise, a desire for investigation and study will be promoted, greatly adding to the interest of every branch of knowledge. Lesson XXVIII contains easy examples for practicing conversational tones in reading. To vary the exercises, many of the selections may be used for vocal training. Those on pages 80, 86, 90, 93, 99, 101 and 110 were selected for this purpose. If rightly conducted, concert reading is very bene- ficial to pupils, on account of the greater amount of practice obtained, and the better style of expression required. The selections on pages 101 and 113 are very effective when skillfully rendered. Note. — This book may be used with equal advan- tage in the Grammar School or High School. The writer has obtained by its use most satisfactory results in the last four grades of the Grammar School. CONTEI^TS. LESSON I. The science of utterance Page 11 Analysis of words 11 Simple vocals 11 Compound vocals 12 Sub-vocals 12 Aspirates 12 Compound consonants 12 LESSON n. Analysis of voice 13 Rules for the management of the breath 13 Muscular development of the chest 13 LESSON m. Chest expansion 14 Shoulder movements 15 Development of the lungs 15 Percussion of the chest 16 Percussion with arm movement 16 LESSON IV. Exercises in breathing , 17 LESSON V. Exercises in breathing. — Continued 17 LESSON yi. Organs of the throat 18 LESSON yn. Tones 20 Exercises In vocal tones 21 (7) 8 CONTENTS. LESSON vni. Exercises in consonants • . . . • 23 LESSON IX. Vowels and consonants 24 LESSON X. Labials 25 Dentals 25 Palatals 25 Nasals 25 Aspirate 25 Linguals 25 LESSON XI. Articulation 26 Aspirate consonants 26 Voice consonants 27 Difficult double and triple consonants 27 LESSON XIL Difficult combinations 27 LESSON XIIL Recreations in articulation 29 LESSON XIV. Vocal sounds * . , 83 LESSON XV. Vowel and consonant sounds 35 Aspirate sounds in plurals 36 Unaccented vowels 36 Exercise in pronunciation 37 LESSON XVI. Vocal practice 38 Orotund voice 38 LESSON XVII. Quality of pure and orotund voice , , . 40 Pitch 40 Gamut for varying the pitch of the speaking voice 40 Force , 42 CONTENTS. 9 LESSONS xvra. stress , , , 42 Radical stress • 42 LESSON XIX. Medium stress 44 Vanishing stress 44 LESSON XX. DerivatiYe forms of stress 45 Thorough stress 45 LESSON XXI. Compound stress 46 LESSON XXII. Movement 47 Quantity , 48 LESSON XXIII. Inflections . 49 Rising inflection 49 Falling inflection 50 Circumflex 60 LESSON XXIY. Pauses 52 Parenthesis 52 . LESSON XXV. Emphasis 53 Cadence 54 LESSON XXVI. Impure tones 56 Aspirate , 56 Guttural 56 Falsetto 57 LESSON XXVII. Position 57 - Countenance 59 Gesture 59 Directions and abbreviations 60 LESSON XXVIII. Exercises in conversational tones 60 10 CONTENTS. LESSON XXIX. Expression 64 LESSON XXX. Transition 65 Examples in transition 66 Questions for examination 70 How to criticize ntterance 73 Hamlet's instruction 73 SELECTIONS. The elocution of the pulpit 75 The cynic 77 Definition of eloquence 78 The old forsaken school-house 79 Evening at the farm 80 Hamlet's soliloquy 82 A Legend of Bregenz 83 Char-co-o-al 86 Supposed speech of John Adams 88 Bugle song 90 Ignorance in our country a crime 91 Charge of the light brigade 93 Apostrophe to cold water 94 Superficial learning 96 Industry and eloquence 97 The burning ship 99 The bells 101 Physical geography and history 104 Clarence's dream 109 The charcoal man 110 The bells of Shandon 112 The cataract of Lodore 113 Nobody's child 114 APPENDIX. Words often mispronounced 117 SCIENCE OF UTTERANCE, LESSOX I. The science of utterance teaches the proper de- livery of words. ANALYSIS OF WORDS. Words are a combination of articulate sounds. These sounds are represented by letters, and pro- duced by the organs of speech. In the English language there are twenty-six let- ters, each representing one or more sounds. The letters are divided into vowels and conso- nants. The sounds are divided into vocals, sub-vocals, and aspirates. Vowels represent vocal sounds ; consonants repre- sent sub-vocal and aspirate sounds. Vocals are unobstructed voice sounds ; sub-vocals are obstructed voice sounds ; and aspirates are breath sounds. Vocal sounds are simple and compound. TABLE OF SIMPLE VOCALS. 1. a as in arm, far, car. 7. i as in it, ill, in. 2. a u all, or, law. 8. 6 " on, dog, what 3. i a dare, fare. 9. 00 '' ooze, rule, moon 4. i « at, can, lad. 10. So " book, good, put 5. e a eve, me, the. 11. er " her, urn, str. 6. S u ell, end, met. 12. u " up, sup, us. 12 THE SCIENCE OF UTTERANCE. Compound vocals are composed of two simple vowel sounds. TABLE OF COMPOUND VOCALS. 13. a as in ale. has the sound of 14. i " ice, " 15. *^ old, " 16. ou " out, now, ^* 17. oi " oil, joy, " 18. u " use, few, " a+e. a+i- o-f-oo. a-f-1. 1+00. TABLE OF SUB-VOCALS. 19. b as in boy, ebb, bat. 20. d '' did, dog, die. 28. n '^ run, on, an. 31. g' ' gag, go, wag. 29. ng " sing, ring. 33. i ' judge,joy,wedge. 30. 1 ^' lo, bill, will. 23. V * valve, wave, vale. 31. r " roar, rear, row 34, th '* tbee,tbis,breatbe. 32. w " we, way, war. 85. z '' zeal, zone, rise. 33. y '* yes, yet, year. 36. zb ' ' azure, measure. 27. m as in man, me. TABLE OF ASPIRATES. 34. p as in pipe, cap. 35. t *' top, met. 36. k '* back, cbasm. 37. f '' fife, laugh. 38. cb ** church, which. 39. th as in thin, think. 40. s " see. hiss, dice. 41. sh *' she, wish. 42. h ** horse, home. 43. wh *' what, when. COMPOUND CONSONANTS. 44. X sounds like k-fs or g+^ as in ox, locks, exact. 45. qu sounds like k+w — , as in quart, quarter. THE SCIENCE OF UTTERANCE. 13 LESSON II. ANALYSIS OF VOICE. The proper delivery of words depeads on voice, articulation, and expression. Voice is produced by the vibration of the edges of the glottis, caused by the breath passing over the vocal cords (which are situated in the larnyx), and through the cavities of the mouth and nose. Perfect control of the breath and vocal organs will produce a clear, full, and resonant voice. HINTS FOR THE MANAGEMENT OF THE BREATH. I. Always inhale through the nostrils. II. Take a deep inspiration, expanding the ab- domen, waist and chest. III. Keep the lungs well inflated while reading or speaking. MUSCULAR DEVELOPMENT OF THE CHEST. Position — Expand the chest and the upper part of the body as if defying a blow, and you have the active chest. Eelax the muscles and let the chest fall as if fatigued, and you have the passive chest. / 14 THE SCIENCE OF UTTERANCE. LESSON 111. I.— CHEST EXPANSION. Position — Elbows sharply bent and close to the side, fore-arm hori- zontal, fingers curved, palms up- /-j.^..,. ward. Take a deep inspiration. '-..^ Hold the breath. 1. Extend the arms forward with force, relaxing the muscles and opening the hands, palms downward. 2. Bring the arms energetically back to their former position, ex- panding the chest as much as possible. 3. Expel the breath through the nostrils, take a fresh inspiration, and repeat from first movement. n.— SHOULDER MOVEMENTS. Position — ^Arms falling easily at the side. Take a full breath. 1. Bring the shoulders forward, contracting the chest. 2. Throw the shoulders back and down, expand- ing the chest. 3. Eepeat these two movements with expiration and inspiration of the breath. THE SCIENCE OF UTTERANCE. 15 ni.— SHOULDER M0VE:MENTS,— ARMS BENT. Position— Fingers curved at the side of the shoulders, palms for- ward, fore-arms vertical. 1. Bring the hands, palms in- ward, nearly touching each other about three inches from the chin. 2. Throw the fore-arms back, as in last position, fingers curved, palms outward. 3. Repeat with expiration and inspiration. DEVELOPMENT OF THE LUNGS. 1. Bring the tips of the fingers to the shoulders, inhaling the breath through the nostrils at the same time. 2. Strike downward and for- ward, curving the fingers with the palms front, and expelling the breath through the nostrils with the movement. In this movement keep the body steady and let the expulsion be done by the abdominal muscles and diaphragm. if^ THE SCIENCE OF UTTERANCE. PERCUSSION OF THE CHEST. Place the closed hands on the chest, with the elbows at the side. Take a deep inspiration through the nostrils. Hold the breath. 1. Strike on the chest rapid per- cussive blows with the hand from the elbow. 2. Expel the breath through the nostrils, inhaling deeply. Repeat the first movement. N. B. — The blows should be light at first. When the practice is easy, they may be increased in force, but always free from violence. PERCUSSION WITH ARM MOVEMENTS. Position — Let the hands fall easily at the side; take a full breath. 1. Swing the arms from the shoulder alternately, giving elas- tic but not heavy blows upon the chest, below the collar-bone. Give two blo^\ns with each hand. 2. Exhale and inhale the breath as in the preceding ex- ercises. THE SCIENCE OF UTTERANCE. 17 LESSON IT. EXERCISES IN BREATHING. 1. Eelax the muscles of the chest. Take a full breath, expanding the chest to its fullest capacity. Exhale gradually. 2. Expand the sides while i^ihaling. Exhale gradually. 3. Inhale, expanding the entire waist as if trying to burst a belt. Expel the breath by contracting the whole waist. 4. Inhale, directing the will to the muscles of the back and expand them as much as possible. Expel, drawing these muscles inward. 5. Breathe deeply, expanding the chest and waist. Hold the breath as long as possible. Expel slowly. 6. " Inhale slowly, exercising the will upon all parts of the body simultaneously. Exhale slowly. This is an intense form of what should be the natural habit of breathing." N. B. — Inhale and exhale through the nostrils. Commence gradually and discontinue ii* any sensa- tion of dizziness is experienced. Persons not accus- tomed to habits of full breathing will derive special advantages from these exercises. LESSON Y. EXERCISES IN BREATHING.— CONTINUED. Stand perfectly erect, the weight of the body resting on one foot, the other in advance, the arms 2 18 THE SCIENCE OF UTTERANCE. akimbo, with fingers pressing on the abdominal mus- cles in front and the thumbs on the dorsal muscles each side of the spine, the chest fully expanded, the shoulders held backward and downward. Inhale slowly until the lungs are well expanded, retain the breath a moment, exhale slowly ; repeat six times in succession. Inhale quickfy; exhale through the mouth slowly and quietly, as in natural breathing, retaining the active chest. Eepeat six times. Expand the lungs to their utmost capacity, ex- pel slowly through the open mouth, gently sounding the letter h; repeat six tknes. This exercise is called effusive breathing. Expand the lungs as before, expel with force as in a whispered cough ; repeat six times. This exer- cise is called expulsive breathing. Expand the lungs as usual, expel suddenly with great force as if whispering loudly '^who'' to a person in the distance ; repeat six times. This is called ex- plosive breathing. ]Sr. B. — Avoid irritating the throat. Whenever the exercise causes coughing, the effort is too violent. LESSON YI. ANALYSIS OF VOCAL ORGANS. The glottis is the opening at the upper part of the larynx. The larynx is at the top of the windpipe, and is the organ of voice. It is susceptible of a multitude of changes, affecting the pitch, force, and quality of the voice. The passa^ge between the larynx and mouth is called the pharynx, and is susceptible of various de- grees of expansion and contraction. THE SCIENCE OF UTTERANCE. 19 In front of the pharynx is the month, which is thrown open by the movement of the lower jaw, and produces the full effect of a round, smooth, and agreeable tone. At the top of the pharynx, behind the soft palate, is the entrance to the nasal passages. When the soft palate is raised it prevents the breath from pass- ing into the nose, and when it is depressed the breath flows through the nostrils as well as into the mouth. THE VOCAL ORGANS. FiQ. 7. 1. Larynx. 2. Pharynx. 8. Uynlft. 4. Nasal Passage. 5. Base of Tojiga%, 6. Top of Ton^«. 7-7. Point of Tongue. 8. Lipa. 9. Glottis. 20 THE SCIENCE OF UTTERANCE. Fig. 8. Interior of the mouth when the tone is impure. Fig. 9. Interior of the mouth when the tone is pure. LESSON YII. TONES. Tones are pure or impure. Pure tone is that quality of voice in which all the breath is converted into a clear, round, smooth, and agreeable sound. It is free from nasal or impure quality. Impure tones are used in expressing malignant feelings, passions, personations, and mimicry. Pure tone is used more than any other quality of voice, and should be cultivated. The most severe and sustained exercise of the voice in pure tone, if pitched in the right key, will strengthen and invig- orate the lungs and throat and give a healthful stim- ulus to the vital organs. Commence with the sound of aA, as that is the most open sound. THE SCIENCE OF UTTERANOB. 21 If ah is produced in a deep, full tone, the palate and the uvula will rise, while the tongue lies flat, and the top of the windpipe descends as in Pig. 9. If ah is produced in a nasal tone, the uvula will fall and appear to touch the tongue, as in Fig. 8. ^' To think a gape " will place the vocal organs in position for pure tones. EXERCISES IN VOCAL TONES. Active chest. — Inhale the breath until the ab- domen, waist and chest are expanded. Keep the head erect but not stiff, and the chest and shoulders firm and steady. The effort is made by the working of the muscles of the abdomen and the relaxation and contraction of the diaphragm.* Sound a, a, o, oo, a, e, sending the voice out in a straight column, as follows : — g 2. Sound the vocals with one breath, as follows : — a a 6 00 a e 3. Sound the vocals with one breath, breaking the sound at the beginning of each one : — *Tlie diaphragm is the muscle separating the chest from the abdo- men, and by its muscular contraction and dilatation, assists inspiration and expiration. 22 THE SCIENCE OF UTTEEANGB. 4. Sonnd each vocal, commencing softly, advance to greater force, then gradually decrease the sound : — Sound each vocal explosively, as follows : — 6. Sound each vocal in a powerful and distinct whis- per, as if calling to a person at a distance. 7. Sound each vocal as if asking a question — a-^"^^ a--^"'"^ 0^'"'^^ 0^^ 00 ---^ a-^^ e^''^ 8. Sound each vocal as if answering a question : — ii-^ a--^^ 0^-^.^ 00^..^ a^-.^ ^--^^ Sound each vocal, as in laughing, as follows: — SU^rs. '"^*i''N^''V'^w/'>w-\,/^w» 10. Sound each vocal rapidly, as in laughing : — it «'^^^^^>i'*« o>- a>> 00 > S^ Give the following examples, with proper spirit. Bring out the emphatic words with intense force ; keep the voice within range, not too high. EXAMPLES. 1. Bise ! father, rise ! 'tis Rome demands your help I 2. Out with you! — and he went out. 3. Hold! hold for your lives! 4. Forward the Light 'Brigade! 5. To arms! to arms! to arms! they cry, 6. Down^ soothless insulter ! 7. Go from my sight ! I hate and I despise thee I 8. Rouse ye Eomans ! rouse ye slaves! 9. He dares not touch a hair of Cataline I 10. The/oe, they come! they come! 11. Hence! home! ye idle creatures ! get you home! 12. You blocks! you stones! you worse than sense- less things ! 13. Fret! 'till your proud heart hreahs! 14. If it will feed nothing e&e, it will feed my re- venge ! 15. Baclc to thy punishment, false fugitive I 16. Lord Angus, thou hast lied! 44 THE SCIENCE OF UTTERANCE. LESSON XIX. MEDIAN STRESS. Median stress is the application of force to the middle of the vocal sound. Commence the sound in a very subdued tone; gradually increase until the sound is full and deep, then gradually diminish in force to the close. It is used to express pathos, solemnity, reverence, sublimity, devotion, and grandeur. It should be applied in different degrees, according to the sen- timent. MediaQ stress is one of the greatest beauties in reading, — although carried to excess, it becomes a fault, — and should be judiciously used. EXAMPLES. 1. a O O a <> 00 O e O 2. Woe unto thee, Chorazin. Woe unto thee, Beth- fiaida. 3. Then age and want, oh ill matched pair. Show man was made to mourn. 4. Eoll on, thou deep and dark blue ocean, roll. 5. Blow, bugle, blow; set the wild eohoes flying. 6. Oh the wild charge they made. VANISHING STRESS. Vanishing stress is the application of the voice to the last part of the vocal sound. It commences with a light and gentle sound, which gradually in- creases in volume, and suddenly terminates with a heavy and violent sound. It is one of the best exer- THE SCIENCE OP UTTERANCE. 45 cises for strengthening the voice. It is used to ex- press determined purpose, earnest resolve, stern re- buke, astonishment, contempt, horror, revenge, and hate. EXAMPLES. 1. a<[ o<; a<; 00 < e<^ 2. I wovbt! I sharht! 3. Thou slave! thou vyretch! thou coward I 4. Thou little valiant, great in viUainy! 5. Thou ever strong upon the strongest side ; 6. ^\iOM fortune' s champion I 7. I an itGhmg palm? 8. Tou know that you are Brutus that speaks this. 9. Or by the gods this speech were else your last 1 10. I tell thee, thou art defied! 11. Hence! horrible shadow, hence I 12. I say you are not! 13. I hate him. LESSOK XX. DERIVATIVE FORMS OF STRESS. 1. Thorough stress. 2. Compound stress. 3. Intermittent stress. THOROUGH STRESS. Thorough stress is the application of the force of the voice to the whole extent of the vowel sound. It is used in expressing joy, exultation, lofty com- mand, indignation, and bravado. 46 THE SCIENCE OF UTTERANCE. EXAMPLES. 1. a 3ZI ^ ZZ ^ ZZ ^^ ZZ ^ ZZ 2. i^ire/ i^^Ve/ Fire! 3. Hurrah ! hurrah for Sheridan 1 Hurrah ! hurrah for horse and man I 4. Princes! potentates! warriors I The flowers of heaven Once yours, now lost ; Awalce! arise! or be forever fallen ! 5. Eejoice, ye men of Algiers, ring your bells! King John, your king and England's, doth ap- pear, Open your gates and give the victor way I (This is a vigorous shouting exercise. The chest must be expanded to its greatest capacity, the mouth well opened, using the utmost force without violence. It is invigorating and agreeable, and will give strength to the lungs and volume to the voice.) LESSON XXI. COMPOUND STRESS. Compound stress is the application of the force to the first and last parts of the sound. It is the union of the radical and vanishing stress on the same sound, and is used to express surprise, contempt and mockery, or sarcasm. EXAMPLES. 1. a >< o >< a >< 00 >< 6 >< 2. Gone to be married! Gone to swear a peace ! It is not so ; thou hast mis-spoke, mis-heard; THE SCIENCE OF UTTERANCE. 47 Be well advised ; tell o'er thy tale again, It cannot he; thou dost but say 'tis so. 3. Banished from Rome, 4. Smile on, my lords: / 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. INTER]VnTTENT STRESS. Intermittent stress is a tremulous effort of the voice ; the force is broken, it is used to express feeble and broken utterance of age, sickness, and grief. EXAMPLES. 1. a-^--^^^^^ o^ — ^-^-^ a -' -"-'--^ 00'-'--^-^ Q^^^^^, 2. Pity the sorrows of a poor old man. Whose trembling limbs have borne him to your door. 3. Hes sinking! he^s sinking! Oh, what shall I do? LESSOX XXII. MOVEMENT. Movement of voice is the rate at which we speak. Words are uttered slowly, moderately, and rap- idly, according to the nature of the sentiment to be -expressed. Slow movement is used to express reverence, sub- iimity, amazement, awe and horror. 48 THE SCIENCE OF UTTERANCE. Moderate movement is used in narrative, essays, and newspaper articles. Eapid movement is used to express joy, anger, or excitement. ^^Appropriate utterance accommodates the move- ment of voice to every mood of thought, from the slowest prolonged and lingering utterance of deep contemplation and profound awe, to the swift and rapid strains of lyric rapture and ecstasy. Utter- ance to be natural and effective must have the gen- uine expression of its appropriate movement. So- lemnity cannot exist to the ear without slowness — gayety without briskness of utterance, gravity with- out sedate style, nor imagination without a lively movement.'* The three principal faults in movement are, uni-^ form slowness or drawling, uniform rapidity, or uni- form moderate movement. "Perfect command of every degree of move- ment is indispensable to the appropriate expression of the different forms of thought and emotion." QUANTITY. Quantity is time upon words. It is prolonged or shortened according to the nature of the meaning^ of the word. The word long should receive more time than shorty though the latter contains more letters. Words of dignity require long quantity. Words of impatience or sudden action require^ short quantity. THE SCIENCE OF UTTERANCE. 49 LESSON XXIII. INFLECTIONS. Inflections are slides of the voice used in reading or speaking, to give better expression ; also to give emphasis. Inflections are rising and falling : both are united in the drcumjiex. RISING INFLECTION. Eising inflection denotes uncertainty, interroga- tion, and incompleteness of idea. EXAMPLES. 1. Are you going home? 2. Shall I know your answer? 3. Hast thou ever known the feeling I have felt, when I have seen. Mid the tombs of aged heroes, Memories of what hath been — What it is to view the present In the light of by-gone days; From an eminence to ponder Human histories and ways? 4. Was it the chime of a tiny bell. That came so sweet to my dreaming ear, Like the silvery tones of a fairy^s shell, That he winds on the beach so mellow and clear, When the winds and the waves lie together And the moon and the fairy are watching the deep, 60 THE SCIENCE OF UTTERANCE. She dispensing her silvery light, And he his notes so silvery quite, While the boatman listens and ships his oar. To catch the music that comes from the shore? FALLING INFLECTION. Falling inflection denotes positiveness, confidence, and determination or completion of idea. EXAMPLES. 1. A wise son maketh a glad father, but a foolish son is the heaviness of his mother. 2. Shakspeare was the greatest tragic writer, 3. The war is ended. 4. It is my living sentiment, and, by the blessing of God, it shall be my dying sentiment, independ- ence now, and independence forever. 5. Art is never art till it is more than art. The finite exists only as to the body of the infinite. The man of genius must first know the infinite, unless he wishes to become, not a poet, but a maker of idols. EXAMPLES IN RISING AND FALLING INFLECTION. Touch, — How old are you? WilL — Five and twenty, sir. Touch. — ^A ripe age. Is thy name William? Wilh — William, sir. Touch, — ^A fair name. Wast born i' the forest, here? Will, — Ay, sir, I thank God. Touch, — Thank God? a good answer. Art rich? THE SCIENCE OF UTTERANCE. 51 Will. — Faith, sir, so-so. Touch, — So-so is good, very good; — ^very excellent good: and yet, it is not; it is but so-so. dRCUMFLEX. The circumflex is a combination of the rising and falling inflection on the same syllable or word. The falling circumflex terminates on the down- ward slide. The rising circumflex terminates on the upward slide. The circumflex inflections express irony, sarcasm, doubt, mockery, reproach, and wonder. EXAMPLES. 1. It is vastly easier for you, Mistress Dial, who have always, as everybody knows, set yourself up above me — ^it is vastly easier for you, I say, to ac cuse other people of laziness. 2. My father's trade! now really that's too bad. My father's trade! why, blockhead, are you mad? My father, sir, did never stoop so low — He was a gentleman, I'd have you know. 3. The common error is, to resolve to act right after breakfast, or after dinner, or to-morrow mom- ing, or next time, but now, just now, this once, we must go on the same as ever. 4. Is'ow, in building of chaises, I tell you what, There is always somewhere a weakest spot ; And that's the reason, beyond a doubt, A chaise breaks down, but doesn't wear out. 53 THE SCIENCE OF UTTERANCE. LESSON XXIV. PAUSES. There are two kinds of pauses in reading, — Gram- matical and Rhetorical, The grammatical pause is indicated by the marks of punctuation, as follows: The comma (,), semi- colon (;), colon (:), and period (.); also interrogation (?), exclamation (!), dash ( — ), parenthesis (), and quotation marks (" "). These are pauses which di- vide composition into sentences, and sentences into sections. These pauses are of great importance, as a disre- gard of them' in reading will very frequently de- stroy the sense completely or change the meaning from what it should be. Rhetorical pause depends on the construction of the sentence, and is one of the chief means of dis- tinctness in the expression of thought. It consists in suspending the voice before or after the utterance of an important thought. The pause before the privr cipal word excites curiosity and expectation ; the pause a/ier the principal word carries the mind back to what has been said. " It should not be repeated too frequently; for as it excites strong emotions, and of course raises expectations ; if the importance of the matter be not fully answerable to such expectations it occasions disappointment and disgust." Sense and sentiment are the best guides in the use of the pause, PARENTHESIS. A sentence or certain words inserted in a sen- tence, which interrupts the sense or natural connec THE SCIENCE OF UTTERANCE. 53 tion of words, but serves to explain or qualify the sense of the principal sentence. Parenthesis should be read more rapidly and in a more subdued tone, making a short pause before commencing, and resuming the former pitch and tone at the principal sentence. EXAMPLES. 1. Know then this truth, (enough for man to know,) Virtue alone is happiness below. 2. Oh, woman ! though only a part of man's rib, (If the story in Genesis don't tell a fib,) Should your naughty companion e'er quarre^ with you You are certain to prove the best man of the two. 3. I have seen charity (if charity it may be called,) insult with an air of pity. 4. Know ye not, brethren (for I speak unto them that know the law), that the law hath dominion over a man as long as he liveth ? 5. I am happy, said he (expressing himself with the warmest emotion), infinitely happy in seeing you return. LESSON XXY. EMPHASIS. Emphasis gives prominence to certain words and phrases, and may be expressed by an increase of force or stress. " Emphasis is in speech, what coloring is in paint- 54 THE SCIENCE OF UTTERANCE. ing. It admits of all degrees, and must, to indicate a particular degree of distinction, be more or less intense, according to the ground word or current melody of the discourse/* ^^ lS[o certain rules can be given to guide the stu- dent in the employment of emphasis. If the voice be clear, fuU, flexible, and under the control of the will, he will be able to express what he fuUy under- stands and strongly feels in an effective manner, without the aid of rules. The best advice to the student upon this point is to study his subject until he thoroughly understands it, and then practice upon until he can express it to his own satisfaction." EXAMPLES. "In Homer, we discern all Greek vivacity; in Virgil all the Eoman stateliness. Homer's imagination is by much the more rich and copious] Virgil's the more chaste and correct. The strength of the former lies in his power of warming the fancy; that of the latter in his power of touching the heart. Homer's style is more simple and animated ; Virgil's more elegant and uniform. Thejirst has on many occasions a sublimity to which the latter never attains; but the latter in re- turn never sinks below a certain degree of epic dignity which cannot so clearly be pronounced of the former.'* CADENCE. *- Cadence is the natural termination of the voice at the close of a sentence or phrase. It may have the descending or ascending slide, or it may close with no slide whatever. A sentence expressing a complete thought, and THE SCIENCE OF UTTERANCE. 55 which is not affected by another phrase or clause pre- ceding or following it, should always terminate with a downward slide ; but for modified sentences no in- variable rule can be given ; we must be guided by the ideas to be expressed. Expression in reading depends greatly on Cadence. EXAMPLES. 1. 1, 2, 3, 4, 5,. a, e, i, o, 2. Smith, Chambers, Butterfield, Morgan, Brown, Page, Jones, A 3. Speak the speech, I pray you, as I pronounced it to you — trippingly on the tongue ; but if you mouth it, as many of our players do, I had as lief the town crier spake my lines. 4. For weeks the clouds had raked the hills. 5. The war must go on. We must fight it through. And if the war must go on, why put off longer the Declaration of Independence ? 6. It is impossible to indulge in such habitual severity of opinion upon our fellow men without injuring the tenderness and delicacy of our own feelings. 7. 56 THE SCIENCE OF UTTERANCE. LESSON XXVI. IMPURE TONES, impure tones are aspirate, guttural and falsetto. ASPIRATE. Aspirate is the intense whisper with little or no vocality. It is used to express fear, secrecy, horror and aversion. EXAMPLES. 1. Hark! what was that? Hark! hark! to the shout. 2. Hark ! I hear the bugles of the enemy ! They are on the march along the bank of the river! We must retreat instantly or be cut off from our boats! I see the head of their column already rising over the height! Our only safety is in the screen of the hedge. Keep close to it — be silent — and stoop as you run! For the boats! Forward. 3. Soldiers! You are now within a few steps of the enemy's outposts! Our scouts report them as slum- bering in parties around their watch-fires, and ut- terly unprepared for our approach. A swift and noiseless advance around that projecting rock, and we are upon them, — we capture them without the possibility of resistance! One disorderly noise or motion may leave us at the mercy of their advanced guard. Let every man keep the strictest silence un- der pain of instant death. GUTTURAL. Gruttural is a harsh throat tone. The sound is sent forth in a rough, discordant tone. It expresses hat- red, intense anger, loathing and contempt. THE SCIENCE OP UTTERANCE. 57 The prominent characteristic of this tone is its narsh, discordant quality, produced by the compressed and partial closing of the throat above the glottis. It denotes all those states of mind classed under disKke and ill-humor. When carefully controlled, it is an element of great power, but the greatest care should be taken to use it in the right sentiment. EXAMPLES. 1. I loathe ye in my bosom, I scorn ye with my eye, And I'll taunt ye with my latest breath, And fight ye till I die. 2. Avaunt! and quit my sight. Let the earth hide thee. Thy bones are marrowless, thy blood is cold, Thou hast no speculation in those eyes, Which thou dost glare with, 3. Hence horrible shadow, Unreal mockery, hence ! 4. I'll have my bond ; I will not hear thee speak. rU have my bond ; and therefore speak no more. I'll not be made a soft and dull-eyed fool. To shake the head, relent, and sigh; and yield To Christian intercessors. Follow not; I'll have no more speaking, / wiU have my bond, FALSETTO. Falsetto voice is generally produced above the natural tone, and is used in imitation of high female voices, in the voices of children, and in afi'ectation, «tc. 58 THE SCIENCE OP UTTERANCE. EXAMPLES. 1. "Now, Socrates, dearest," Xantippe replied, I hate to hear every thing vulgarly my'd. Now whenever you speak of your chattels again, Say waters came ; And lingering long by cape and bay, \\'ailed every harsher note away ; Loud. When bursting bolder on the ear. The clan's shrill gathering they could hear, — Those thrilling sounds, that call the might Of old Clan-Alpine to the fight. 14. Soft oro- Father of earth and heaven I I call thy name ! TUND. Round me the smoke and shout of battle roll; My eyes are dazzled by the rustling flame ;— Father, sustain an untried soldier's souL Or life, or death, whatever be the goal That crowns or closes round the struggling hoar, Thou knowest, if ever from my spirit stole One deeper prayer, 'twas that no cloud might lower On my young fame I — O hear ! God of eternal power. LoTTD ORO Now for the fight, — now for the cannon peal, — TUKD. Forward, — through blood and toil and cloud and fire! Glorious the shout, the shock, the crash of steel, The volley's roll, the rocket's blasting spire; They shake, — like broken waves their squares retire, — On them, hussars 1 — Now give them rein and heel ; Think of the orphaned child, the murdered sire : — Earth cries for blood,— in thunder on them wheel! This hour to Europe's fate shall set the triumph-seal ! 4 70 THE SCIENCE OF UTTERANCE. QUESTIONS FOU EXAMINATION. What does the science of utterance teach ? What are words? How are vocal sounds represented? How are vocal sounds produced? How many letters in the English language? How many sounds have each letter? How are the letters divided? How are the sounds divided? What are vowels? What are consonants? What are vocals ? What are sub-vocals? What are aspirates? How many sounds has a? e? i? o? n? What is a compound vocal sound? Name them, and give the sounds of each one. How many sub-vocal sounds? Name them. How many aspirate sounds? What combination of sounds has q? x? How many sounds has c? Name them. What constitutes the proper delivery of words? What is voice? What wiU produce a pure voice? How should the breath be inhaled? Explain the active chest. Explain the passive chest? Explain how voice is produced. THE SCIENCE OF UTTERANCE. 71 Where is the glottis? Where is the larynx ? what is its use? What is the pharynx? Explain the position and use of the soft palate? What is pure tone? What is impure tone? Which quality of voice is more used? Which is the most open vocal sound? What action of the will places the vocal organs in position for pure tone? What is the diaphragm? What is articulation ? Explain the orotund voice? What are the rules to be observed? , What does pitch signify? What compass should the speaking voice have? How is pitch produced? What does force relate to? What are the degrees? What is stress ? How many forms has stress? What are they called? What is radical stress? What does it express? What is median stress? What does it express? What is vanishing stress? What does it express? What are the derivative forms of stress ? What is thorough stress? What is compound stress? What is intermittent stress? Explain the different movements of voice? 72 THE SCIENCE OF UTTERANCE. Explain quantity? What are inflections? Explain the rising inflection? Explain the falling inflection ? Explain the circumflex inflection? What are pauses ? Explain the grammatical pause? Explain the rhetorical pause? Explain parenthesis? Explain emphasis? Explain cadence? What are impure tones? Explain the aspirate tone? Explain the guttural tone? Explain the falsetto tone? What should be observed in positiont Explain countenance in reading? Explain gesture? What is expression? What is transition? THE SCIENCE OF UTTERANCE. 73 HOW TO CRITICIZE THE UTTERANCE OF A READER OR SPEAKER. 1. Is the breath under perfect control? 2. Is the voice clear, full, and resonant ? 3. Is the articulation distinct and correct, with- out being too precise ? 4. Is the mouth open enough to give full effect to the words, without mouthing ? 5. Is the voice modulated correctly to suit the sentiment ? 6. Is force used properly? 7. Is the movement too fast or too slow, or two uniform ? 8. Are inflections used properly? 9. In narrative, are looks, tone, and manner as if relating the experience of the speaker? 10. In description, does the reader or speaker pro- ceed as if he had seen, heard, felt or known that which he describes? 11. Does the style appear affected? 12. Are imitation and personation true to the character. 13. Are the expression of the face, the position and gestures suited to the subject and the occasion. HAJVILBT'S INSTRUCTIONS. Speak the speech^ I pray you, as I pronovmced it to you, trippingly on the tongue ; but if you mouth it, as many of your players do, I had as lief the tovm crier 74 THE SCIENCE OP UTTERANCE. spoke my lines. Nor do not saw the air too much with your hand, thus; but use all gently : for in the very torrent, tempest, and (as I may say) whirlwind of your passion, you must acquire and beget a tem- perance that may give it smoothness. Oh ! it offends me to the soul, to hear a robustious, periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings ; who for the most part, are capable of nothing but inexplicable dumb shows and noise. I would have a fellow whipped for o'er- doing Termagant; it out-herods Herod; pray you avoid it. Be not too tame neither, but let vour own discre- tion be your tutor : suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature ; for anything so overdone is from the purpose of playing, whose end, both at the first, and now, was, and is, to hold, as 'twere, the mirror up to nature ; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now, this overdone, or come tardy off, though it make the unskillful laugh, can not but make the judicious grieve ; the censure of the which one must, in your allowance, o'erweigh a whole theater of others. Oh there be players that I have seen play, — and heard others praise, and that highly, — not to speak it profanely, that, neither having the accent ol Christians, nor the gait of Christian, pagan, or Turk, have so strutted and bellowed, that I have thought some of Nature's journeymen had made men, and not made them well, they imitated humanity so abom- inably. — Shakespeare. THE SCIENCE OF UTTERANCE. iO SELECTIONS, THE ELOCUTIONS' OF THE PULPIT. I can not forbear regretting here, that a matter of such vast importance to preaching, as delivery, should be so generally neglected or misunderstood. A common apprehension prevails, indeed, that a strict regard to these rules would be deemed theatri- cal ; and the dread, perhaps, of incurring this imputa- tion is a restraint upon many. But is it not possible to obtain a just and expressive manner, perfectly consistent with the gravity of the pulpit, and yet quite distinct from the more passionate, strong, and diversified action of the theatre ? And is it not pos- sible to hit off this manner so easily and naturally, as to leave no room for just reflection? An affair this, it must be owned, of the utmost delicacy ; in which we shall probably often miscarry, and meet with abundance of censure at first. But, still, I imagine, that through the regulations of taste, the improve- ments of experience, the corrections of friendship, the feelings of piety, and the gradual mellowings of time, such an elocution may be acquired, as is above de- lineated ; and such as, when acquired, will make its way to the hearts of the hearers, through their ears 76 THE SCIENCE OF UTTERANCE. and eyes, with a delight to both that is seldom felt ; while, contrary to what is now practiced, it will ap- pear to the former the very language of nature, and present to the latter the lively image of the preacher's soul. Were a taste for this kind of elocution to take place, it is difficult to say how much the preaching art would gain by it. Pronunciation would be stud- ied, an ear would be formed, the voice would be modulated, every feature of the face, every motion of the hands, every posture of the body, would be brought under right management. A graceful, and correct, and animated expression in all these would be ambitiously sought after; mutual criticisms and friendly hints would be universally acknowledged; light and direction would be borrowed from every quarter, and from every age. The best models of antiquity would in a particular manner be admired, surveyed, and imitated. The sing-song voice, and the see-saw gestures, i±* 1 may be allowed to use those expressions, would, of course, be exploded ; and, in time, nothing would be admitted, at least ap- proved, among performers, but what was decent, manly, and truly excellent in kind. Even the people themselves would contract, insensibly, a growing relish for such a manner ; and those preachers would at last be in chief repute with all, who followed nature, overlooked themselves, appeared totally ab- sorbed in the subject, and spoke with real propriety and pathos, from the immediate impulse of truth and virtue. — Jamies Fordyoe. THE SCIENCE OF UTTERANCE. 71 THE CTISIIC. The Cynic is one who never sees a good quiility in a man, and jiever fails to see a bad one. He is the human owl, vigilant in darkness and blind to light, mousing for vermin, and never seeing nobh game. The Cynic puts all human actions into only two classes — openly bad, and secretly bad. All virtue; and generosity, and disinterestedness, are merely the appearance of good, but selfish at the bottom. He holds that no man does a good thing except for profit. The effect of his conversation upon your feelings is to chill and sear them ; to send you away sour and morose. His criticisms and innuendoes fall indiscrim- inately upon every lovely thing^ like frost upon the flowers. If Mr. A is pronounced a religious man, he will reply : yes^ on Sundays. Mr. B has joined the church : certainly; the elections are coming on. The minister of the gospel is called an example of dili- gence : it is his trade. Such a man is generous : oj othe)' men's money. This man is obliging : to lull sus- picion and' cheat you. That man is upright : because he is green. Thus his eye strains out every good quality, and takes in only the bad. To him religion is hypocrisy, honesty a preparation for fraud, virtue only a want of opportunity, and undeniable purity, asceticism. The livelong day he will coolly sit with sneering lip, transfixing every character that is presented. It is impossible to indulge in such habitual severity of opinion upon our fellow-men. without in- juring the tenderness and delicacy of our own feel- 78 THE SCIENCE OE UTTERANCE. ings. A man will be what his most cherished feel- ings are. If he encourages a noble generosity, every feeling will be enriched by it ; if he nurse bitter and envenomed thoughts, his own spirit will absorb the poison, and he will crawl among men as a burnished adder, whose life is mischief, and whose errand is death. He who hunts for flowers, will find flowers; and he who loves weeds, may find weeds. Let it be remembered that no man, who is not himself mortally diseased, will have a relish for disease in others. Reject^ then^ the morbid ambition of the Cynicy or cease to call yourself a man, — H. W. JBeecher. DEFINITION OF ELOQUENCE. When public bodies are to be addressed on mo- mentous occasions, when great interests are at stake, and strong passions excited, nothing is valuable in speech, farther than it is connected with high intel- lectual and moral endowments. Clearness, force, and earnestness are the qualities which produce con- viction. True eloquence indeed does not consist in speech ; it cannot be brought from far. Labor and learning may toil for it, but they toil for it in vain : words and phrases my be marshaled in every way, but they can not compass it : it must exist in the man, in the subject, and in the occasion. Affected passion, intense expression, the pomp of declamation, — all may aspire after it ; they can not reach it : it comes, if it come at all, like the outbreaking of a fountain from the earth, or the bursting forth of volcanic fires, with spontaneous, original, native force. — Webster, THE SCIENCE OP UTTERANCE. 79 THE OLD FOESAKEN SCHOOL-HOUSE. [Pure tone— conversational.] They've left the school-house, Charley, where years ago we sat And shot our paper bullets at the master's time-worn hat ; The hook is gone on which it hung, the master sleepeth now Where school-boy tricks can never cast a shadow o'er his brow. They've built a new, imposing one, — the pride of all the town, — And laughing lads and lasses go its broad steps up and down; A tower crowns its summit with a new, a monster bell. That youthful ears, in distant homes, may hear its music swell. Tm sitting in the. old one, with its battered, hingeless door ; The windows are all broken, and the stones lie on the floor ; I, alone, of all the boys who romped and studied here. Remain to see it battered up, and left so lone and drear. I'm sitting on the same old bench where we sat side by side, And carved our names upon the desk, when not by master eyed; Since then a dozen boys have sought their great skill to dis- play, And, like the foot-prints on the sand, ov/r names have passed away. 'Twas here we learned to conjugate *'amo, amas, amat" While glances from the lasses made our hearts go pit-a-pat ; 'Twas here we fell in love, you know, with girls who looked us through — [of blue. Yowrs with her piercing eyes of black, and mine with eyes Our sweethearts — pretty girls were they — to us how very dear — Bow down your head with me, my boy, and shed for them a tear ; With them the earthly school is out ; each lovely maid now stands [hands." before the one Great Master, in the "house not made with You tell me you axe far out West ; a lawyer, deep in laws* With Joe, who sat behind us here, and tickled us with straws; Look out for number one, my boys; may wealth come at your touch ; [much. But with your long, strong, legal straws don 't tickle men too 80 THE SCIENCE OF UTTERANCE. Here, to the right, sat Jimmy Jones — you must remember Jim — He's teaching now, and punishing, as master punished him; What an unlucky lad he was ! his sky was dark with woes ; Whoever did the sinning it was Jim who got the blows. Those days are all gone by, my boys ; life's hill we 're going down, With here and there a silver hair amid the school-boy brown ; But memory can never die, so we*'l talk o'er the joys We shared together, in this house, when you and I were boys. Though ruthless hands may tear it down — this old house lone and drear. They'll not destroy the characters that started out from here ; Time's angry waves may sweep the shore and wash out all beside ; Bright as the stars that shine above, they shall for aye abide. I've seen the new house, Charley ; 'tis the pride of all the town, And laughing lads and lasses go its broad steps up and down, But you nor I, my dear old friend, can't love it half so well A.S this condemned, forsaken one, with cracked and tongue- less bell. John H. Yates. BYENING AT THE FAEM. Over the hill the farm-boy goes, His shadow^ lengthens along the land, A giant staff in a giant hand ; In the poplar tree above the spring, The katy-did begins to sing ; The early dews are falling ; — Into the stone-heap darts the mink The swallows skim the river's brink , And home to the woodland fly the crows, THE SCIENCE OP UTTERANCE, 81 When over the hill the farm-boy goes, Cheerily calling, " Co', boss ! CO', boss ! co' ! co' ! co' 1" Farther, farther over the hill. Faintly calling, calling still, '' Co', boss ! co', boss ! co' ! co' ! " Now to her task the milkmaid goes. The cattle come crowding through the gate, Looing, pushing, little and great ; About the trough, by the barn-yard pump, The frolicsome yearlings frisk and jump, While the pleasant dews are falling ;- — The new milch heifer is quick and shy, But the old cow waits with tranquil eye, And the white stream into the bright pail flows, When to her task the milkmaid goes, Soothingly calling, "So, boss! so, boss! so! so! sol" The cheerful milkmaid takes her stool, And sits and milks in the twilight cool, Saying, "So 1 so, boss ! so ! so ! " To supper at last the farmer goes. The apples are pared, the paper read. The stories are told, then all to bed. Without, the crickets' ceaseless song Makes shrill the silence all night long ; The heavy dews are falling. The housewife's hand has turned the lock ; Drowsily ticks the kitchen clock ; The household sinks to deep repose. 82 THE SCIENCE OF UTTERANCE. But still in sleep the farm-boy goes Singing, calling, "Oo'j boss! CO', boss! co' ! coM co'!'* And oft the milkmaid in her dreams, Drums in the pail with the flashing streams, Murmuring, "So, boss ! so ! " — «/. T. Trowbridge, HAMLET'S SOLILOQUY. Hamlet : — To fee, or not to be : that is the question : Whether 'tis nobler in the mind to suffer The stings and arrows of outrageous fortune, Or to take arms against -a sea of troubles. And by opposing end them? To die, — ^to sleep, — No more ; and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to, — 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep! perchance to dream; — ay, there^s the rub ; For in that sleep of death what dreams may come When we have shuflled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life : For who would bear the whips and scorns of time. The oppressor's wrong, the proud man's contumely^ The pangs of despised hve^ the law's delay, The insolence of oflSce, and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare hodJdn? who would fardels bear, To grunt and sweat under a weary life, But, that the dread of something after death. THE SCIENCE OF UTTERANCE. 83 The undiscovered country from whose bourne No traveler returns, puzzles the will, And makes us rather bear those ills we haA)B Than fly to others that we know not of? Thus conscience does make cowards of us all ; And thus the native hue of resolution Is sicklied o^er with the pale cast of thought; And enterprises of great pith and moment. With this regard, their currents turn awry, And lose the name of action, — Shahespeare. A LEGEND OF BEEGENZ. Girt round with rugged mountains, the fair Lake Constance lies ; in her blue heart reflected shine back the starry skies ; and, watching each white cloudlet float silently and slow, you think a piece of heaven lies on our earth below ! Midnight is there; and silence, enthroned in heaven, looks down upon her own calm mirror, upon a sleeping town : for Bregenz, that quaint city upon the Tyrol shore, has stood above Lake Constance a thousand years or more. Her battlements and tow- ers, from off their rocky steep, have cast their tremb- ling shadow for ages on the deep. Moxmtain, and lake, and valley, a sacred legend know, of how the town was saved, one night, three hundred years ago. Far from her home and kindred a Tyrol maid had fled, to serve in the Swiss valleys, and toil for daily bread ; and every year that fleeted so silently and fast, seemed to bear farther from her the mem- ory of the past. She served kind, gentle masters, 84 THE SCIENCE OP UTTERANCE. nor asked for rest or change ; her friends seemed no more new ones, their speech seemed no more strange; and when she led her cattle to pasture every day, she ceased to look and wonder on which side Bre- genz lay. She spoke no more of Bregenz, with long- ing and with tears ; her Tyrol home seemed faded in a deep mist of years. She heeded not the rumors of Austrian war and strife; each day she rose con- tented to the calm toils of life. Yet, when her mas- ter's children would clustering round her stand, she sang them ancient ballads of her own native land ; and when at mom and evening she knelt before God's throne, the accents of her childhood rose to her lips alone. And so she dwelt : the valley more peaceful year by year; when suddenly strange portents of some great deed seemed near. The golden corn was bend- ing upon its fragile stalk, while farmers, heedless of their fields, paced up and down in talk. The men seemed stem and altered, with looks cast on the ground ; with anxious faces, one by one, the women gathered round ; all talk of flax, or spinning, or work was put away; the very children seemed afraid to go alone to play. One day, out in the meadow with strangers from the town, some secret plan discussing, the men walked up and down; yet now and then seemed watching a strange, uncertain gleam, that looked like lances 'mid the trees that stood below the stream. At eve they all assembled, then care and doubt were fled ; with jovial laugh they feasted ; the board was nobly spread. The elder of the village rose up, his glass in hand, and cried, "We drink the downfall THE SCIENCE OF UTTERANCE. 85 of an accursed land ! The night is growing aarlier, ere one more day is flown, Bregenz, our foemen's stronghold, Bregenz shall be our own ! " The women shrank in terror (yet pride, too, had her part), but one poor Tyrol maiden felt death within her heart. Before her stood fair Bregenz ; once more her towers arose; what were the friends beside her ? Only her country's foes ! The faces of her kinsfolk, the days of childhood flown, the echoes of her mountains, reclaimed her as their own. Noth- ing she heard around her (though shouts rang forth again) ; gone were the green Swiss valleys, the pas- ture and the plain ; before her eyes one vision, and in her heart one cry, that said, "Go forth, save Bregenz, and then, if need be, die !" With trembling haste and breathless, with noise- less step, she sped; horses and weary cattle were standing in the shed ; she loosed the strong, white charger, that fed from out her hand, she mounted, and she turned his head toward her native land. Out — out into the darkness — faster, and still more fast ; the smooth grass flies behind her, the chestnut wood is past ; she looks up ; clouds are heavy ; why is her steed so slow? — scarcely the mnd beside them can pass them as they go. "Faster!" she cries, "Oh, faster!" Eleven the church-bells chime: "O God," she cries, "help Bre- genz, and bring me there in time ! " But louder than bells' ringing, or lowing of the kine, grows nearer in the midnight the rushing of the Ehine. Shall not the roaiing waters their headlong gallop check? The steed draws back in terror, — she leans upon his neck to watch the flowing darkness; the bank is 86 THE SCIENCE OF UTTERANCE. high and steep; one pause — he staggers forward, and plunges in the deep. She strives to pierce the blackness, and looser throws the rein; her steed must breast the waters that dash above his mane. How gallantly, how nobly, he struggles through the foam, and see — in the far distance shine out the lights of home ! Up the steep bank he bears her, and now they rush again toward the heights of Bre- genz, that tower above the plain. They reach the gate of Bregenz just as the midnight rings, and out come serf and soldier to meet the news she brings. Bregenz is saved ! Ere daylight her battlements are manned ; defiance greets the army that marches on the land. And if to deeds heroic should endless fame be paid, Bregenz does well to honor the noble Tyrol maid. Three hundred years are vanished, and yet upon the hill an old stone gateway rises, to do her honor still. And there, when Bregenz women sit spinning in the shade, they see in quaint, old carving the Charger and the Maid. And when, to guard old Bregenz, by gateway, street, and tower, the warder paces all night long and calls each passing hour: "nine," "ten,'* "eleven," he cries aloud, and then (O crown of Fame !) when midnight pauses in the skies, he calls the maiden's name. — ■Adelaide Procter. CHAE-CO-0-AL ! [Char-co-o-all Char-co-o-al 1 Scale: 1—3—1—5; 5—3—1—5.] The chimney soot was falling fast. As through the streets and alleys passed A man who sang, with noise and din. This word of singular meaning, Char-co-o-al ! THE SCIENCE OP UTTERANCE. 87 His face was grim, his nose upturned, As if the veiy ground he spurned — And like a trumpet sound was heard, The accents of that awful word, Char-co-o-al ! "Don't go there !'* was the warning sound; The pipes have all burst underground, The raging torrent's deep and wide;" But loud his trumpet voice replied, Char-co-o-al ! "Beware of Main street crossing deep, Away from Walnut gutter keep ! " This was the sweeper's only greet, A voice replied far up the street, Char-co-o-al I At set of sun, as homeward went. The joyous men of cent per cent. Counting the dollars in their till, A voice was heard, both loud and shrill, Char-co-o-al ! A man upon the watchman's round. Half steeped in mud and ice was found. Shouting with voice, though not so strong, That awful word which heads my song, Char-co-o-al 1 There in the gas-light, dim and gray. Dreaming unconsciously he lay. And from his nose, turned up still more. Came sounding like a thrilling snore — Char-co-o-al 1 88 THE SCIENCE OF UTTERANCE. [RAPID MOVEMENT.] Great rats, small rats, lean rats, brawny rats, Brown rats, black rats, gray rats, tawny rats, Grave old plodders, gay young f riskers, Fathers, mothers, uncles, cousins, Pointing tails and pricking whiskers. Families by tens and dozens. Brothers, sisters, husbands, wives — Followed the Piper for their lives. SUPPOSED SPEECH OP JOHN ADAMS. The war must go on. We must fight it through. And if the war must go on, why put off longer the Declaration of Independence? That measure will strengthen us. It will give us character abroad. Why then, sir, do we not, as soon as possible, change this from a civil to a national war? And since we must fight it through, why not put ourselves in a state to enjoy all the benefits of victory, if we gain the victory? If we fail, it can be no worse for us. But we shall not fail. The cause will raise up armies ; the cause will create navies. The people, — the people, if we are true to them, will carry us and will carry themselves gloriously through this struggle. I care not how fickle other people have been found. I know the people of these colonies ; and I know that resistance to British aggression is deep and settled in their hearts, and can not be eradicated. Every colony, indeed, has expressed its willingness to follow, if we but take the lead. Sir, the declara- THE SCIENCE OF UTTERANCE. 89 tion will inspire the people with increased courage. Instead of a long and bloody war for restoration of privileges, for redress of grievances, for chartered immunities, held under a British king, set before them the glorious object of entire independence, and it will breathe into them anew the breath of life. Eead this declaration at the head of the army; every sword will be drawn from its scabbard, and the solemn vow uttered, to maintain it or to perish on the bed of honor. Puhlish it from the pulpit ; re- ligion will approve it, and the love of religious liberty will cling round it, resolved to stand with it or fall with it. Send it to the public halls ; proclaim it there ; let them hear it, who heard the first roar of the enemy's cannon ; let them see it, who saw their brothers and their sons fall on the field of Bunker Hill, and in the streets of Lexington and Concord, and the very walls will cry out in its support. Sir, I know the uncertainty of human afi'airs; but I see, I see clearly through this day's business. You and I, indeed, may rue it. We may not live to the time when this declaration shall be made good. We may die ; die colonists ; die slaves ; die, it may be, ignominiously, and on the scafi'old. Be it so. Be it so. If it be the pleasure of Heaven that my country shall require the poor ofi'ering of my life, the victim shall be ready at the appointed hour of sac- rifice, come when that hour may. But while I do live, let me have a country (or at least the hope of a country), and that 2^ free country. But whatever may be our fate, — be assured, be assured, that this declaration will stand. It may €0st treasure, and it may cost blood j but it will stand, 90 THE SCIENCE OP UTTERANCE. and it will richly compensate for both. Through the thick gloom of the present, I see the brightness of the future, as the sun in heaven. We shall make this a glorious^ an immortal day. When we are in our graves, our children will honor it. They will celebrate it with thanksgiving, with festivit;^, with bonfires, and illuminations. On its annual return they will shed tears, copious, gushing tears, not of subjection and slavery, not of agony and distress, but of exultation, of gratitude, and of joy. Sir, before God, I believe the hour is come. My judgment approves this measure, and my whole heart is in it. All that I have, and all that I am, and all that I hope in this life, I am now ready here to stake upon it ; and I leave off as I began, that live or die, survive or perish, I am for the declara- tion. It is my living sentiment, and by the blessing of God it shall be my dying sentiment ; independence now ; and independence forever. — Webster. BUGLE SONG. [Dying, dying^ dying, should be read with one breath, each word fainter until almost inaudible.] The splendor falls on castle walls. And snowy summits old in story The long light shakes across the lakes, And the wild cataract leaps in glory. Blow, bugle, blow ; set the wild echoes flying ; Blow, bugle ; answer, echoes, dying, dying, dying. O hark, O hear ! how thin and clear. And thinner, clearer, farther going; O sweet and far, from cliff and scar. The horns of Elf-land faintly blowing I Blow ; let us hear the purple glens replying ; Blow, bugle ; answer, echoes, dying, dying, dying* THE SCIENCE OF UTTERANCE. 91 O love, they die in yon rich sky, They faint on field, on hill, on river; Our echoes roll from soul to soul. And grow forever and forever. Blow, bugle, blow ; set the wild echoes flying, And answer, echoes, answer dying, dying, dying. — Tennyson, IGNOEANCB IN OUE COUNTET A CEIMB. In all the dungeons of the old world, where the strong champions of freedom are now pining in cap- tivity beneath the remorseless power of the tyrant, the morning sun does not send a glimmering ray into their cells, nor does night draw a thicker vail of darkness between them and the world, but the lone prisoner lifts his iron-laden arms to Heaven in prayer, that we, the depositaries of freedom and of human hopes, may be faithful to our sacred trust ; while, on the other hand, the pensioned advocates of despot- ism stand, with listening ear, to catch the first sound of lawless violence that is wafted from our shores, to note the first breach of faith or act of perfidy among us, and to convert them into arguments against lib- erty and the rights of man. There is ilot a shout sent up by an insane mob, on this side of the Atlantic, but it is echoed by a thousand presses, and by ten thousand tongues, along every mountain and valley on the other. There is not a conflagration kindled here by the ruthless hand of violence, but its flame glares over all Europe, from horizon to zenith. On each occur- rence of a flagitious scene, whether it be an act of 92 THii SCIENCE OP UTTERANCE. turbulence and devastation, or a deed of perfidy or breach of faith, monarchs point them out as fruits of the growth and omens of the fate of republics, and claim for themselves and their heirs a further extension of the lease of despotism. The experience of the ages that are past, the hopes of the ages that are yet to come, unite their voices in an appeal to us ; they implore us to think more of the character of our people than of its num- bers ; to look upon our vast natural resources, not as tempters to ostentation and pride, but as a means to be converted, by the refining alchemy of education, into mental and spiritual treasures ; they supplicate us to seek for whatever complacency or self-satisfac- tion we are disposed to indulge, not in the extent of our territory, or in the products of our soil, but in the expansion and perpetuation of the same means of human happiness ; they beseech us to exchange the luxuries of sense for the joys of charity, and thus give to the world the example of a nation whose wisdom increases with its prosperity, and whose vir- tues are equal to its power. For these ends they en- join upon us a more earnest, a more universal, a more religious devotion to our exertions and re- sources, to the culture of the youthful mind and heart of the nation. Their gathered voices assert the eternal truth, that, in a repuhlic^ ignorance is a crime; and that private immorality is not less an opprobrium to the state than is guilt in the perpetra- tor. — H. Mann. THE SCIENCE OF UTTERANCE. 93 ClIAEGB OP THE LIGHT BEIGADBL Half a league, half a league, Half a league o^zward, All in the valley of death Eode the six hundred. "Forward the Light Brigade ! Charge for the guns," he said. Into the valley of death Eode the six hundred. "Forward the Light Brigade !" Was there a man dismay 'd? Not though the soldier knew Some one had hlunder'd; 'Theirs not to make reply, Theirs not to reason why. Theirs but to do and die. Into the valley of death Eode the six hundred. Ccmno^ to right of them, Gannon to left of them, Cannon in front of them, Volleyed and thunder d; Storm' d at with shot and shell, Boldly they rode and weU^ Into the jaws of death, Into the mouth of hell Eode the six hundred. FlasKd all their sabres bare, Flash'd as they tum'd in air. Sabring the gunners there, 94 THE SCIENCE OF UTTERANCE. Charging an army, while All the world wondered: Plunged in the battery-smoke, Eight through the line they broke ; Cossack and Eussian Eeel'd from the sabre-stroke Shattered and sundered. Then they rode back, but not — Not the six hundred. Cannon to right of them, Cannon to left of them, Cannon behind them Volleyed and thundered; Storm' d at with shot and shell, While horse and hero fell. They that had fought so well Came through the jaws of death, Back from the mouth of heU^ All that was left of them ; Left of six hundred. When can their glory /ac?e? OA, the wild charge they made I All the world wonder' d. Honor the charge they made 1 Honor the Light Brigade^ Noble six hundred ! — Tennyson* APOSTEOPHE TO COLD WATEE. [Paul Denton, a Methodist preacher in Texas, advertised a barbecne, with better liquor than is usually furnished. When the people were as- sembled, a desperado in the crowd walked up to him, and cried out: "Mr. Denton, your reverence has lied. You promised not only a good barbecue, but better liquor. Where 's the liquor ? " "There I " answered the preacher, in tones of thunder, pointing his motionless finger at a spring gushing up in two strong colnnms, with a sound like a shout of joy, from the bosom of the earth.] <* There ! " he repeated, with a look terrible as lightning, while his enemy actually trembled at his J THE SCIENCE OF UTTERANCE. 95 feet; "there is the liquor which God, the Eternal, brews for all his children. Not in the simmering still, over smoky fires, choked with poisonous gases, surrounded with the stench of sickening odors and corruptions, doth your Father in heaven prepare the precious essence of life — pure, cold water ; but in the green glade and grassy dell, where the red deer wanders, and the child loves to play, there God brews it ; and down, low down in the deepest valleys, where the fountain murmurs and the rills sing ; and high upon the mountain tops, where the naked granite glitters like gold in the sun, where the storm-cloud broods and the thunder-storms crash ; and far out on the wide, wild sea, where the hurricane howls music, and the big wave rolls the chorus, sweeping the march of God — there He brews it, that beverage of life — health-giving water. "And everywhere it is a thing of life and beauty — gleaming in the dew-drop ; singing in the summer rain ; shining in the ice-gem, till the trees all seem turned to living jewels ; spreading a golden veil over the setting sun, or a white gauze around the mid- night moon ; sporting in the glacier ; folding its bright snow-curtain softly about the wintry world ; and weaving the many-colored bow, that seraph's zone of the siren — whose warp is the rain-drops of earth, whose woof is the sunbeam of heaven, all checked over with celestial flowers, by the mystic hand of refraction. "vStill always it is beautiful — that blessed life- water ! K'o poisonous bubbles are on its brink ; its foam brings not madness and murder; no blood stains its liquid glass ; pale widows and starving orphans weep not burning tears in its depths ] no drunkard's shrinking ghost, from the grave, curses it in the worlds of eternal despair ! Speak out, my friends : would you exchange it for the demon's drink, alco- hol?" A shout like the roar of a tempest, answered^ ' No 1 " John B. Gough. 96 THE SCIEIS^CE OF UTTERANCE. SUPERFICIAL LEARNING. "Well!" exclaimed a young lady, just returned from school, " my education is at last finished ; in- deed, it would be strange, if, after five years' hard application, anything were left incomplete. Happily, it is all over now, and I have nothing to do but exer- cise my various accomplishments. " Let me see ! — as to French, I am mistress of that, and speak it, if possible, with more fluency than English. Italian I can read with ease, and pronounce very well, as well, at least, and better than any of my friends ; and that is all one need wish for in Italian ; Music I have learned until I am perfectly sick of it. But, now that we have a grand piano, it will be de- lightful to play when we have company. "And then there are my Italian songs, which everybody allows I sing with taste, and as it is what so few people can pretend to, I am particularly glad that I can. My drawings are universally admired, especially the shells and flowers, which are beautiful, certainly ; besides this, I have a decided taste in all kinds of fancy ornaments. And then, my dancing and waltzing, in which our master himself owned that he could take me no farther ; — just the figure for it, certainly ; it would be unpardonable if I did not excel. "As to common things, geography, and history, and poetry, and philosophy, thank my stars, I have got through them all, so that I may consider myself not only perfectly accomplished, but also thoroughly well informed. " Well, the only wonder is that one head can con- tain it all ! " — Jane Taylor, THE SCIENCE OF UTTERANCE. 97 IISTDUSTEY AND ELOQUENCE. In the ancient republics of Greece and Eome, oratory was a necessary branch of the finished edu- cation. A much smaller proportion of the citizens were educated than among us ; but of these a much larger number became orators. No man could hope for distinction or influence, and yet slight this art. The commanders of their armies were orators as well as soldiers, and ruled as well by their rhetorical as by their military skill. There was no trusting with them as with us, to a natural facility, or the acquisi- tion of an accidental fluency by occasional practice. They served an apprenticeship to the art. They passed through a regular course of instruction in schools. They submitted to long and laborious dis- cipline. They exercised themselves frequently, both before equals and in the presence of teachers, who criticised, reproved, rebuked, excited emulation, and left nothing undone which art and perseverance could accomplish. The greatest orators of antiquity, so far from being favored by natural tendencies, except, indeed, in their high intellectual endowments^ had to struggle against natural obstacles ; and, instead of growing up spontaneously to their unrivaled eminence, they forced themselves forward by the most discouraging, artificial process. Demosthenes combated an impediment in speech and an ungainliness of gesture, which, at first, drove him from the forum in disgrace. Cicero failed, at first, through weakness of lungs and an excessive 98 THE SCIENCE OF UTTERANCE. vehemence of manner, which wearied the hearers and defeated his own purpose. These defects were conquered by study and discipline. He exiled him- self from home, and, during his absence in various lands, passed not a day without a rhetorical exercise, seeking the masters who were most severe in criti- cism, as the surest means of leading him to the per- fection at which he aimed. Such, too, was the education of their other great men. They were all, according to their ability and station, orators ; orators, not by nature or accident, but by education^ formed in a strict process of rhe- torical training. The inference to be drawn from these observa- tions is, that if so many of those who received an accomplished education, became accomplished ora- tors, because to become so was one purpose of their study ; then, it is in the power of a much larger pro- portion among us to form ourselves into creditable and accurate speakers. The inference should not be denied until proved false by experiment. Let this art be made an object of attention; let young men train themselves to it faithfully and long; and if any of competent talents and tolerable science be found, at last, incapable of expressing themselves in a continued and connected discourse, so as to answer the ends of public speaking, then^ and not till then^ let it be said, that a peculiar talent, or natural aptitude, is requisite, the want of which must render effort vain : then, and not till then, let us ac- quiesce in this indolent and timorous notion, which contradicts the whole testimony of antiquity and all the experience of the world. — Wirt. THE SCIENCE OF UTTERANCE. 99 THE BUENING SHIP. The storm o'er the ocean flew furious and fast, And the waves rose in foam at the voice of the blast. And heavily labored the gale-beaten ship, Like a stout-hearted swimmer, the spray at his lip ; And dark was the sky o'er the mariner's path, Save when the wild lightning illumined in wrath. A young mother knelt in the cabin below. And pressing her babe to her bosom of snow, She prayed to her God, 'mid the hurricane wild, "0 Father, have mercy, look down on my child!" It passed, — the fierce whirlwind careered on its way, And the ship like an arrow divided the spray ; Her sails glimmered white in the beams of the moon, And the wind up aloft seemed to whistle a tune, — to whistle a tune. There was joy in the ship as she furrowed the foam, For fond hearts within her were dreaming of home. The young mother pressed her fond babe to her breast, And the husband sat cheerily down by her side. And looked with delight on the face of his bride, "Oh, happy," said he, "when our roaming is o'er, We '11 dwell in our cottage that stands by the shore. Already in fancy its roof I descry. And the smoke of its hearth curling up to the sky; Its garden so green, and its vine-covered wall ; The kind friends awaiting to welcome us all. And the children that sport by the old oaken tree." Ah gently the ship glided over the sea ! Hark ! what was that ? Hark ! Hark to the shout 1 100 THE SCIENCE OP UTTERANCE. ^^Fire!^'* Then a tramp and a rout, and an uproar of voices uprose on the air* — And the mother knelt down, and the half-spoken prayer That she offered to God in her agony wild, Was, "Father, have mercy, look down on my child !" She flew to her husband, she clung to his side. Oh ! there was her refuge whate'er might betide. '^Fire /" ^^FireT' It was raging above and below ; — And the cheeks of the sailors grew pale at the sight, And their eyes glistened wild in the glare of the light. 'T was vain o'er the ravage the waters to drip ; The pitiless flame was the lord of the ship. And the smoke in thick wreaths mounted higher and higher. "O God ! it is fearful to perish by fire.'' Alone with destruction, alone on the sea, " Great Father of mercy, our hope is in thee." Sad at heart, and resigned, yet undaunted and brave, They lowered the boat, a mere speck on the wave. First entered the mother, enfolding her child : It knew she caressed it, looked upward and smiled. Cold, cold was the night as they drifted away. And mistily dawned o'er the pathway the day : — And they prayed for the light, and at noontide about. The sun o'er the waters shone joyously out. ^^Hot a sail! '^ ^^Ho! a sail!'' cried the man at the lea, ^^Ho! a sail!'' and they turned their glad eyes o'er the sea. *^They see us, they see us, the signal is waved ! They bear down upon us, they bear down upon us : Huzza! we are saved'' THE SCIENCE OF UTTERANCE. 101 THE BELLS. SLEIGH BELLS. Hear the sledges with their bells, Silver hells ! What a world of merriment their melody foreteZ^ / How they tinkle^ tinkle^ tinkk. In the icy air of night, While the stars that oversprinklef All the heavens seem to twinkle With a crystsilline delight ; Keeping time, time, time, In a sort of Eunic rhyme^ To the tintinnabulation that so musically weZ?s From the hells, hells, hells, Bells, bells, bells. From the jingling and the tinkling of the bells. WEDDING bells. Hear the wedding bells — Golden hells! What a world of happiness their harmony /ore^Ks/ Through the balmy air of night How they ring out their delight 1 From the molten golden notes, And all in tune. What a liquid ditty floats, To the turtle dove that listens, when she gloai^ On the moon I Oh, from out the sounding cells What a gush of euphony voluminously wells! How it swells! How it dwells — 103 THE SCIENCE OF UTTERANCE. On the future ! How it tells Of the rapture that impels To the swinging and the ringing Of the hells^ bells, bells^ Of the BELLS, BELLS, BELLS, BELLS, Bells, bells, bells ! To the rhyming and the chiming of the bells, fire bells. Hear the loud alarum bells — Brazen bells, What a tale of terror now their tu7*hulency tells / In the startled ear of night. How they scream out their affright 1 Too much horrified to speak, They can only shriek, shriek Out of tune. In a clamorous appealing to the mercy of the fire ! In a mad expostulation with the deaf and frantic^re, Leaping, higher, higher, higher With a desperate desire ; And a resolute endeavour, Now, now to sit or never By the side of the pale-faced moon ! Oh, the bells, bells, bells, What a tale their terror tells Of despair/ How they clang and clash and roar, What a horror they outpov/r On the bosom of the palpitating air 1 Yet the ear it fully knows By the twanging And the clanging^ THE SCIENCE OP UTTERANCE. 103 How the danger sinks and swells^ By the sinking or the swelling or the anger of the hells; OdhQ bells— Of the bells, bells, bells, beUs, Bells, bells, bells, In the clamor and the clcmgor of the bells 1 FUNERAL bells. Hear the tolling of the bells, Iron bells. What a world of solemn thought their monody oom- pels ! In the silence of the night ; How we shiver with aifright, At the melancholy menace of their tone! For every sound that floats From the rust within their throats Is a groan. And the people — ah, the people — They dwell up in the steeple, All alone I And who tolling, tollhig, tolling In that muffled monotone. Feel a glory in so rolling On the human heart a stone. They are neither man nor woman — They are neither brute nor human — They are ghouls. And their king it is who tolls, And he rolls, rolls, rolls, rolls, A po&an from the bells I And his merry bosom swells 104 THE SCIENCE OF UTTERANCE. With the ^odan of the helh ! And he dances and he ydls; Keeping time^ time, time, In a sort of Eunic rhyme. To the poean of the bells— Oftheiefe; Keeping time, time, time, In a sort of Eunic rhyme, To the throhhing of the belk, Of the bells, bells, bells ^ To the sobbing of the bells, Keeping time, time, time, As he knells, hnells, knells, In a happy Eunic rhyme, To the rolling of the bells — Of the bells, bells, bells — To the tolling of the bellsy Of the bells, bells, bells, bells — Bells, bells, bells ^ To the moaning and the groaning of the bells. — Edgar A. Poe. PHYSICAL GEOGRAPHY AND HISTORY. Physical or Natural Geography is a very compre^ hensive science ; it includes a knowledge of the ma^ terials of which the earth is composed. This knowl- edge embraces the science of Geology^ which names and arranges the rocks and other materials which compose the earth ; and of Chemistry, which teaches the constituent elements of these substances. THE SCIENCE OF UTTERANCE. 105 Thus you see that sciences which may appear dis- tinct have an intimate connection with each other, since geology and chemistry are necessary to a com- plete knowledge of geography. Physical geography also comprehends a knowledge of those substances which grow out of the earth, and this knowledge is called Botany, We will suppose ourselves to be seated in a bal- loon, sufficiently elevated above the surface of the earth to be able to distinguish its general figure and surface. Let us look first at its figure. We behold, suspended, as it would seem, in empty space, though in reality surrounded by the material substance air^ a large ball, not exactly round, but a little flattened at each end or pole. This ball presents an uneven surface ; while it is turning around from west to east, let us examine the various objects which appear. For this we must approach nearer. Here we see a long strip of land extending almost from one pole to the other ; nearly in the center it seems penetrated by an arm of the ocean ; this must be the great American continent, separated by the Gulf of Mexico into a northern and southern part. We will suppose that our balloon is somewhat lowered, and directed over the northern part of this great continent ; and what do we now see ? On two sides are vast oceans, washing its eastern and western coasts, and on the north an ocean of ice sej^arates it from the north pole. Do you observe that chain of lakes ? These are called the Great Lakes, being the largest in the world. 106 THE SCIENCE OF UTTERANCE. Let US approach nearer. Do you hear a sound like the rush of mighty waters ? It is the thundering Niagara, which had poured forth its mass of waters long before man had heard the roar of its cataract. But what becomes of this vast collection of water ? It hurries onward, forming mighty rivers and lakes, until it becomes lost in the great ocean which you see on the east. But we must not, in the sublimity of this scene, forget that we have other observations to make. Let us direct our course toward the middle of this country, which we call North America. There, from the north, flows a majestic river, receiving in its course many noble streams ; one, rapid and turbulent, bring- ing along mud and roots and trunks of trees torn up in its fury, comes foaming from the west, another, scarcely less rapid in its course, comes from the east ; the parent river, embracing them both with many other tributary streams, bears them on to the southern gulf. You see here an extensive country, through which the rivers descend from the north, from the east and west ; this is called a basin^ and many delightful valleys and plains does it contain ; its sides on the west and east are the Rocky Mountains, and the Apalachian on the north, a high ridge which divides the waters that flow toward the northern ocean from those which run toward the southern gulf. We will now go eastward, and pass that great chain of mountains which may well be called the back bone of our country. We are now in its eastern side. Look, and you will see many rivers flowing toward the eastern ocean. THE SCIENCE OF UTTERANCE. 107 Do you observe the northeastern part of the sec- tion of -country we are now viewing ? You may there see mountains with snow-covered tops ; and farther west another chain, whose summits and sides are always verdant ; between these mountains, pursuing a southern course, a river is seen whose progress at first seems hurried, but by degrees its youthful im- petuosity subsides, and, with calm and placid motion, it bears itself on to an arm of the ocean, running in from the east, and forming the southern boundary to a lovely country. The valley of this river is adorned with the orna- ments of art, and the richest gifts of nature. This valley, and an extensive territory on the east and west of it are called New England, or the country of the pilgrims. History will tell you why these names are given. But our aerial journey is becoming too long ; we must retrace our way from the happy valley of the Connecticut. Let us go westward, and descend near to the earth — here we see our own Hudson, carrying on its bosom innumerable little objects, passing and repassing in rapid motion, as if actuated by a spirit of intelligence ; but, although not gifted with intelli- gence themselves, they are directed in their course by intelligent minds, and filled with rational beings, in- tent on business or pleasure. These steamboats ex- hibit one of the proudest victories which mind has ever achieved over matter, two destructive elements being made subservient to man's convenience, and obedient to his will. 108 THE SCIENCE OF UTTERAI^CE. We have now arrived at a place where the Hud- son river ceases to be navigable ; and here, in a little flourishing city on its eastern bank we will alight from our imaginary balloon, and close our voyage of discovery. Such are some of the observations of physical geography ; in order to understand it, you must in imagination combine at one view the great features of nature — oceans, lakes and rivers, continents and islands, table-lands, basins, plains, valleys and deserts; these are all the subjects of this science. History and Physical Geography are very closely connected. Yet how little is known in connection with history of the physical features of the globe. There are histories without number, but it is only by a careful selection and perusal of the best authors, that much advantage can be derived from them. In early youth, history interests the mind chiefly on account of the pleasure derived from narrative. As the pupil advances in life, history ought to be regarded under a new aspect, and studied both for the sake of gaining information, and forming the mind to habits of discrimination and reflection. One who reads history merely for amusement, or who loads the memory with facts, without regard to their importance, or examination of their causes, may read much, and yet neither know men, manners, laws, arts and sciences, neither the past or the present world, nor the relations which they bear to each other. A modern French writer on education advises the student in history to make use of books of extracts, in which facts and principles may be noted THE SCIENCE OF UTTERANCE. 109 in a definite and gystematic order. By this means, the student will, in process of time, possess a collec- tion of practical truths, and of illustrations of principle, arranged in order, and furnishing instruc- tion at once solid, diversified and complete. — Mrs. Phelps, CLAEENCE'S DEEAM. Clarence. — My dream was lengthen'd after life ; Oh, then began the tempest to my soul! I passed, methought, the melancholy flood With that grim ferryman, which poets write of, Unto the kingdom of perpetual night. The first that there did greet my stranger soul Was my great father-in-law, renowned Warwichj Who cried, — " What scourge for perjury Can this dark monarchy afford/a<^e Clarence?" And so he vanished; then came wandering by A shadow like an angel, with bright hair Dabbled in blood ; and he shriek' d out aloud, "Clarence is come — false, fleeting, perjured Clarence, That stabb'd me, in the field by Tewkesbury. Seize on him. Furies ; take him into torments I " With that, methought a legion oi foul fiends Environ'd me, and howled in mine ears Such hideous cries, that with the very noise I trembling wak'd^ and for a season after Could not believe but that I was in hell ! Such terrible impression made my dream. Oh, Brackenbury, I have done those things That now give evidence against the soul. 110 THE SCIENCE OP UTTERANCE. For Edward's sake ; and see how he requites me I Oh, God if my deep prayers cannot appease Thee, Bat Thou wilt be avenged on my misdeedSf Yet execute Thy wrath on me alone ; Oh, spare my guiltless wife and my poor children 1 I pray thee, gentle keeper, stay by me ; My soul is heavy, and I fain would sleep, — Shakespea/re. THE CHAEOOAL MAN. [ Conversiitional, with calling voice varied in adaptation to the sense —loud or low, near or distant, as required.] Though rudely blows the wintry blast, And sifting snows fall white and fast, Mark Haley drives along the street, Perched high upon his wagon seat ; His sombre face the storm defies, And thus from morn till eve he cries — '' Chareo' ! charco' ! " While echo faint and far replies — ^^Hark, O! hark, O!" "Charco' !"—" Hark, !"— Such cheery sounds, Attend him on his daily rounds. The dust begrimes his ancient hat ; His coat is darker far than that ; 'Tis odd to see his sooty form All speckled with the feathery storm, Yet in his honest bosom lies No spot, nor speck — though still he cries, "OharcoM charco'!" And many a roguish lad replies — "Ark, ho! ark, ho!" " Charco' ! " — " Ark, ho ! " — Such various sounds Announce Mark Haley's morning rounds. THE SCIENCE OF UTTERANCE. Ill Thus all the cold and wintry day He labors much for little pay, Yet feels no less of happiness Than many a richer man, I guess, When through the shades of eve he spies The light of his own home, and cries — "Charco'! charcoM" And Martha from the door replies — "Mark, ho! Mark, ho!" " Charco 1 " — "Mark, ho ! " — Such joy abounds When he has closed his daily rounds. The hearth is warm, the fire is bright ; And while his hand, washed clean and white, Holds Martha's tender hand once more, His glowing face bends fondly o'er The crib wherein his darling lies, And in a coaxing tone he cries, "Charco'! charco'!" And baby with a laugh replies — "Ah, go! ah, go!" ^' Charco' ! "—"Ah, go ! "—while at the sounds The mother's heart with gladness bounds. Then honored be the charcoal man, Though dusky as an African. 'T is not for you that chance to be A little better clad than he, His honest manhood to despise. Although from mom till eve he cries — "Charco'! charcoM" While mocking echo still replies — "Hark, o1 hark, O!" ^* Charco' ! " — "Hark, O ! " — ^Long may the so^inds Proclaim Mark Haley's daily rounds ! —J. T, Trowbridge. 112 THE SCIENCE OF UTTERANCE. THE BELLS OP SHANDON. [The chnrcli of Shandon is built on the ruins of Shandon Castle, and is a prominent object to the traveler as he approaches the city of Cork from any direction. Father Prout, or the Rev. Francis Mahoney, which was his true name, was a native of Cork.] With deep aifection and recollection, I often think of those Shandon bells. Whose sounds so wild wonld, in days of childhood, Fling round my cradle their magic spell. On this I ponder where'er I wander, And thus grow fonder, sweet Cork, of thee, With thy bells of Shandon That sound so grand on The pleasant waters of the river Lee. IVe heard bell's tolling ''old Adrian's Mole in,'* Their thunder rolling from the Vatican, And cymbals glorious, swinging uproarious In the gorgeous turrets of Notre Dame : But thy sound was sweeter than the dome of Peter Flings o'er the Tiber, pealing solemnly. O ! the bells of Shandon Sound far more grand on The pleasant waters of the river Lee. There's a bell in Moscow, while on tower and kiosko* In St. Sophia the Turkman gets. And loud in air calls men to prayer From the tapering summit of tall minarets. Such empty phantoms, I freely grant them ; But there's an anthem more dear to me, — 'Tis the bells of Shandon, That sound so grand on The pleasant waters of the river Lee. — Father ProuU THE SCIENCE OP UTTERANCE. 113 THE CATAEACT OF LODGES. [Rapid Movement. See also page 88,] How does the water Come down at Lodore? From its sources which well In the tarn on the fell ; From its fountains In the mountains, Its rills and its gills ; Through moss and through brake It runs and it creeps, For a while, till it sleeps In its own little lake. And thence at departing, Awakening and starting, It runs through the reeds, And away it proceeds, Through meadow and glade. In sun and in shade, And through the wood-shelter, Among crags in its flurry, Helter-skelter, Hurry-skurry. Here it comes sparkling, And there it lies darkling ; Now smoking and fi'othing, Its tumult and wrath in, TiU in this rapid race, On which it is bent, It reaches the place Of its steep descent. 114 THE SCIENCE OF UTTERANCE. The cataract strong Then plunges along, Striking and raging, As if a war waging Its caverns and rocks among ; Spouting and frisking, Turning and twisting, Around and around With endless rebound : Smiting and fighting, A sight to delight in, Confounding, astounding. Dizzying and deafening the ear with its sound. Retreating and beating and meeting and sheeting. Delaying and straying and playing and spraying, Advancmg and prancing and glancing and dancing, And gleaming and streaming and steaming and beaming. And dashing and flashing and splashing and clashing, And so never ending, but always descending. Sounds and motions forever and ever are blending, All at once and all o'er, with a mighty uproar : And this way, the water comes down at Lodore. NOBODY'S CHILD. [This should be rendered in the tender, pathetic voice of a child, and, when so given, it is exquisitely beautiful. The sad, touching voice should kindle with expectation at the close.] Alone in the dreary, pitiless street, With my torn old dress, and bare cold feet, All day have I wandered to and fro, Hungry and shivering, and no where to go ; THE SCIENCE OF UTTERANCE. 115 The night's coming on in darkness and dread, And the chill sleet beating upon my bare head. Oh ! why does the wind blow upon me so wild? Is it because 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. 1 wonder if they, in their blissful glee, Would pity a poor little beggar like me, Wandering alone in the merciless street, Naked and shivering, and nothing to eat? Oh ! 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 ail 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 ! Perhaps 'tis a dream ; but sometimes, when I lie Gazing far up in the dark blue sky. Watching for hours some large bright star, I fancy the beautiful gates are ajar. 116 THE SCIENCE OF UTTERANCE. And a host of white-robed, nameless things, Come fluttering o'er me on gilded wings ; A hand that is strangely soft and fair Caresses gently my tangled hair, And a voice like the carol of some wild bird— The sweetest voice that was ever heard — Calls me many a dear, pet name. Till my heart and spirit are all aflame. They tell me of such unbounded love, And bid me come up to their home above; And then with such 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. —Fhila H. Goat, APPENDIX. WORDS OFTEN MISPRONOUNCED. Aaron, dr'un. abdomen, ab-do'men, abject, ab'ject, absolutory, ab-sol'u-tdry, academian, dc-a-di'mt-an, acclimate, ac-cli'mdte, accoutre, ac-koo'ter, acetate, as'e-tate, acorn, a'cSrn. acoustics, a-kow'sttks. Adagio, a-dd'jo, adamantian, ad-a'tnan-te'an. adipose, ad'i-pose. Adonis, a-do'nis, • advertisement, ad-ver' tis-ment, iEneid, e-ne'id. aerate, d'er-ate, aerie, e're or d're. aeronaut, d' -er-onaut, aged, d'ged, alcoran, aV co-ran, alias, d'le-as. allegro, aUy-gro, allopathy, al-lop'a-thy, ally, a/-/y. almond, d'niond. alpaca, al-pac'a, altercation, dUter-ca-tion, ambergris, am'ber-grees. amenable, a-me'na-ble amour, a-moor' , anchovy, an-cho'vy, antepenult, an-te-pe-nuW , antipodes, ari-tip' o-dez. Aphrodite, af-ro-di'te, apodosis, a-pod'o-sis, apparatus, ap-pa-rd'tus, apricot, d'pri-cot. apropos, d'pro'po' , aquiline, dk'we-ltn or -line. Arab, dr'ab. archangel, ark-an'jel, arctic, ark' tic, area, a're-a, argentine, ar'jen-tlne, Ariadne, d-ri-ad'ne^ Arion, a-rVon, Archimedes, ar-ke-me' dez, Arkansas, dr-kan'sas, arquebuse, ar'kwe-bus, Asia, d'-she-a, aspirant, as-pir'ant, assets, as' sets, ate, ate, attache, at'td'skd, Aubert, o'bdr' , audacious, au-dd'cious, aureola, au-re'o-la. WORDS OFTEN MISPRONOUNCED. au revoir, d'ruv'wdr. ay or aye, a, aye (meaning yes), t, attacked, at-takt' , aunt, ant, bade, bad. bagatelle, bag-a-tel' , badinage, bdd'in-dzh, Balmoral, bal-mor'al Balzac, bdl'zac' . Barrabas, ba-rab'bas, baS'bleu^ ba'bluh. bass relief, bass' relief. bath, bath. Beatrice Cenci, ba-d-tre'cha chen'che, beau monde, bo'-mond' Beelzebub, be-el'ze-bub. Beethoven, bd'to-fen, bel-esprit, beV-ds'pre, bellows, beVlus. beneath, be-neath. Be'ranger^ ba' rong' zha* bivouac, biv'wdk. blackguard, blag'gard. blatant, bld'tant, blase\ bla'zd' , Boccaccio, bo-kd'cho, bombastic, bum-bds'tic. Boileau, bwd'lo. Boleyn, booHn, Bolingbroke, bol' ing-brobk, Bonnat, bun'nd' , Borghese, b6r-gd'zd, bouquet, bob'-kd', Bramin, brd'min, bravo, brdvo. brigand, brig' and. brigantine, brig'-an-tine, bromine, bro'min. bromide, bro'inid, bronchitis, bron-kl'tis. Brougham, b7''ob'am. Buddha, bWod'a. caldron, cat' divn. calf, calf. calligraphy, cal4ig'ra-phy, calliope, cal-ll'ope. camel opard, ca-inel' o-pard, Canaanite, cd'nait-lte. canine, ca-nine' . caoutchouc, koo'chook^ carbine, car' bine, caret, cd'ret, careme, kd'rdni. caricature, cdr'i-cat'ure, carmine, car'mine. carte-de-visite, kart-de-ve zet*, carte blanche, kart blongsh, cartridge, cdr'tridge. catechumen, kdt-e-ku' men. Catiline, kat'i-line. caviar, ka've'dr'. Cayenne, ka-en', Cecil, ses'il, cemetery, sem'-e-tery, cerement, sere'ment, chalcedonic, kal-se-ddn'ic, Cham, kdm, chaos, ka'ds, Cherubini, kd-roo-be'ne, chicanery, she-cd'-ner-y, chiropodist, ki-rop' o-dist. chloride, klo'rid. WORDS OFTEN MISPRONOUNCED Chopin, s ho' pang', chorist, ko'rist. cicatrice, sik'a-tris, Cincinnati, sin-sin-nd-ti, citrate, cit'rate. clandestine, clan-des'tine. coadjutor, co-ad-ju' tor, cockatrice, cock' a-trlce , coffee, kof'fe. cognac, kon'ydk. Colbert, kul'bdr. combatant, co?n' ba-tant, combativeness, com' ba-tive-ness comparable, cd?n'para-ble, comparative, corn-par' a-tive. comptroller, con-troi'er, conch, kongk. conduit, kon'dit, confidant, con'Ji-ddnt', connoisseur, con-nis-sur' , contumely, con'tu-7ne'ly, conversant, con'ver-sant, coral, cor'aL Corot, ko'ro' , cortege, kSr-tdzh, corvette, kSr'vet', coterie, ko'te-re' , eoup^^ koo'pd! . courier, koo're-er, Courbetj koor'ba' , courteous, kur'te-us, courtier, kort'yer. Creek, crTek. crematory, crem'a-to-ry, cuirass, kwe'ras', cuisine, kwe'zen, cupola, cu' pa-la, Curacoa, koo-ra-so' . cynosure, si'no-shur Czerny, chdr'iti, debris, da'bre' debut, da'bu' . debutant, da'bu'tong' , decade, dek'ade declivous, de-cli'vous, decorous, de-co'rous, dedecorous, de-dec' o-rus, defalcate, de-fdVcate, deficit, def'i'Cit. degage, da! ga' zhd' . deglutition, deg-lu-tish'un, degout, dd'goo' . Delaroche, de'la'rush. demoniacal, dem-o-nl' a-cal, demonstrsLtive, de-??idn' stra-ttve, de'nouemenff dd'fio'mong, dernier, ddrn'ya' . Descartes, dd'kdrt' . dishabille, dis-a-bW . Desgoffe, dd'guf, despicable, des' -pic-a-ble, de'tour, dd'toor' . de tropy da'-tro' , devoir, dur-wdr' , diaresis, di'er'e-sis, diamond, di'a-viond, Diana, Di-dn'a. dinarchy, din'ar-ky, dishevelled, de'shev'-ld. disputable, dis'pu-td-ble, disputant, dis'pu-tdnt, Disraeli, diz-ra'el-e, distich, dis'tik. distingue, dis'tang'ga' , divan, di-van' . WORDS OFTEN MISPRONOUNCED. docile, doHL dolce, ddl'chd. domine, dom'i-ne, donative, ddn'a-tive, Doric, dor'ic, dromedary, dru7nJe-da-ry, drought, drowt, dynasty, dl'nas-ty, eclat y a'kla', edile, edile, e*en, en, egregious, e-gre'jus, elephantine, el-e-fan'tm, elite, a' let, enervate, e-ner'vate. English, eng'glish, ennui J on'we' , ensemble^ ong'song'bl. entree^ ong'tra' . enunciate, e-nun-she-dt, envelope, en-ve-lope. Epicurean, ep-i-cu-re' an, epoch, ep^ok, err, er. erysipelas, er-e-sip'e-las. espionage, es'pe-o-ndzh' . etuiy d'twe' . etagere, d'ta'zhdr, exile, eks'ile. exorable, ex'o-ra-ble, expos ^^ eks*pd'zd' , exquisite, eks' quiz-it, extempore, eks-tem'po-re. extraordinary, ex-trdr' di-na-ry , eyre, dr, facdde^ fa' sad. facile, fds'il. fac-simile, fdc-sim-i-le, falcon, faw'kn, faro, fdr'o. faubourgs fo'burg, faucet, faW'Set, Faure^ for, feoff, fef. finale, fi-ndHe, finance, ft-nance', financier, fn-an-ser' , finesse, fe'nes' , fiord, fe-Srd' , flaccid, flak'-sid, florist, fio-rist, forge, forge. fortnight, fort'nite. Friere, fdre. Freycinet, frd'se'nd, franchise, fran'chiz, Froude, frood, Gaelic, gd'lik, gallows, gal'lus, Ganz, gdnts, gsiol, jail. gape, gdp or gdp. Garibaldi, gar-e-bdl'di, Gerome, zhd'rom' , ghoul, gobl. giaour, jowr. Gil Bias, he I bids, glacier, glas'e-er. gondola, gon' do-la, Gounod, goo' no' . Graefe, grd'fe. granary, grdn'a-ry, grimace, grf-mace'. WORDS OFTEN MISPRONOUNCED. g^imy, gri'my. g^oat, gf'aut, guano, gwd'fto. guilotine, gil'lo-ten', guipure, ge'pur^, Guizot, ge'zo' . Gumbert, goo77i'bert, gyve, jlv, Haeckel., heck' el, halibut, hol'e-but, harem, ha! rem, haricot, a-re'kd , Hause^ how'ze, Hebe, he' be, height, hit, Heine, hl'ne, heinous, hd'nus, Hemans, hem'anz, heraldic, he-raVdic, heroine, her'o-m, Heyse, hi'ze, hollyhock, hoVly-hock, horizon, ho-ri'zon, hydropathy, hy-drop' a-thy , hygiene, hy'gf-me. hyperbole, hy-per'bo-le, impiously, im'pi-ous4y, incognito, in-cog'ni-td. incomparable, in-com'pa-ra-ble, indecorous, in-de-co'rus, indicatory, in' di-ca-to-ry . indisputable, in-dis'pu-ta-ble, industry, in'dus-try. Ingelow, in'je-lo, inquiry, in-quVry. interesting, in'ter-est-ing. irascible, i-rds'cf-ble, Iowa, i'owa, irrefragable, ir-refra-ga-ble. irremediable, ir-re-me' di-a-ble , isolate, is'o-late, Italian, i-tal'-yan, Ixion, iks-l'on, jaundice, jdn'dis, jugular, ju'gu-lar, juvenile, ju've-ml, Kahn, kawn or kdn, kiln, kil. laconism, lak'o-nism, lamentable, lam' ent-a-ble . Lange^ Idng'e, lang syne, Idng sin, not zin, Laocoon, la-oc'o-on, laugh, Idf, Leipsic, lip'sik, leisure, le'zhur, lenient, le'ni-ent, lenitive, len'i-tive, Leroux, le-roo' , lethargic, le-thdr*gic, lever, le'ver. litigious, le-tij'us, louis d'or, lob' e dSr, lyceum, li'Ce'u77t, Lyonnaise, le'un'ndz' , Machiavelian, mak-e-a-vel'yan, magi, 77ia'ji, maintenance, 77idn' ten-ayue , mall, i7idl. manes, ma'nez, maniacal, 77ia-7ii'ac-al. WORDS OFTEN MISPRONOUNCED. mansard roof, man' sard, maritime, mar' 4-tim, mayonnaise, md'yon'dz, mechanist, mek'an-ist, medicinal, me-dicH-naL meerschaum, mar' shazvm, Meissonier, md'son'ya' , Melpomene, mel-pom' e-ne, menioir, mem'wo7, menagery, me-ndzh'e-re, meningitis, ^nen-in-ji'tis, mercantile, mer' can-til, Milan ^ ml' Ian. Millet, mil' Id', mirage, me'rdzh' , mischievous, mis'che-vus, misconstrue, mis-con' strob, misogyny, me-soj'e-ne. Mo Here, mul'ydr' , Monacp, mon'-a-cd, monsieur, mus'y4r\ morale, nio'rdl' , morceau, mdr'so', museum, mu-ze'um, myrmidon, mitr' me-ddn. nape, nap, national, ndsh'un-al, nauseous, ndw'shus, neglige', na'gle'zhd'. Nemesis, nem'e-sis, nomad, nom'ad, Notre Dame, no'tre ddm, nuptial, nup'shaL obligatory, ob'ti-ga-tory, occult, oc-cult' . octuple, oc'tU'ple, ogled, o'gld. onyx, o'nyx, orgies, or'jiz, Orion, o-rl'un, orison, or'e-zun. orotund, o'ro-tund, orthoepist, or' -tho-e-pist, otium, o'she-um, overtures, o'ver-tures. pageant, pdj'ent, Palestine, pal'es-tine, parabola, pa-ra' bo-la, pathos, pd-thos. patriot, pa'tri-ot, patronage, pat'ron-age, patroness, pd-tron-ess, patronize, pat'ron-ize, pedestal, ped'es-tal, Pegasus, peg'a-sus, Penelope, pe-nel'o-pe. peony, pe'-o-ny. Petruchio, pe-troo'ke-o, pharmaceutic, far-ma-su' tik^ phonics, fon'iks, pianoforte, pe-d'no-for'ta. piquant, pi k' ant, placard, pla card' . plateau, pla' to. plebeian, ple-be'yan, poignant, poi'nant, polonaise, pol'o-ndz, Pompeii, pojn-pd'ye, porcelain, pSr'ce-nn, prebend, preb'end. precedence, pre-se'dence. precedent (adj.), pre-se'dent. WORDS OFTEN MISPRONOUNCED. precedent {noun), pres' -e-dent. prelude {noun), prel'-ude, premier, pretn'ya. prestige, prds'tezh' , pronunciation, pro-nuns he-d' shun. prosaic, p7V-za'ic. protasis, pj^dt'a-sis. pjvtege, p7'o' td' zha' . pro tempore, tem'po-re. protestation, prot' es-ta-tion^ pseudo, su'do. Psyche, si'ke, Ptolemaic, iol-e-md'ic, puerile, pu'er-tl. pyramidal, pe-rdm' i-daU pyrites, pe-rVtez. quadrille, ka-driV , qui vive, ke vev, quoit, kwoit. raspberry, rdz'ber-re, ration, r a' shun. rational, rash'un-aL recess, re-cess' , receptivity, rec' ep-tiv' i-ty, reciprocity, rec-i-proc'i-ty. reconnoissance, re-kon'ni'sdnce, refutable, re-fu' ta-ble , regime, rd'zhein. remediable, re-me' di-a-ble, renaissance, re-nd' sdngs, rendezvous^ rong'-da'voo, research, research! . restaurant, res'to-rant, Roland, Ro'land. Schurz (Carl), shoorts. stance, sd- dngss' . Sedan, se-dan' , seine, sen, Seine, sdn. Serapis, se-rd'pis. sesame, ses'a-me. sheik, shek. shew, sho, shewn, shon, silhouette, se'lgo'et*, sinecure, si'ne-cUK sine die, si'ne di'e, sirup, sir' -up. slabber, sldb'ber. sleek, sleek. sobriquet, so'b7'e'kd, soiree, swd'rd'. solecism, sol'e-cism. souvenir, s'obv'ner, spermaceti, sper-ma-ce'tV, spinach, spin' -age. steadfastly, sted' fast-le . suite, swet. sulphuric, sul-fu'ric. Suppe, sob'pe. supple, sup'pl. syllabic, sil'lab'ic, tapestry, tdp'es-tre, tapis, td'pe' . tartaric, tar-tar 'ic, Telemachus, te-lem'a-kus. Terpsichore, terp-sik' o-re. tete-a-tete, tdte'a-tat. Thiers, te-dr' . tiny, ti'ny. tout-a-fait, tob'ta'-fd, transition, tran-sizh' un. 8 WORDS OFTEN MISPRONOUNCED. troche, tro'ke, trousseaUy trFo'so', Tuileries, twe-ie-re'. Vibert, Ve'bar*. Virchow^ fir*kd, viscount, vi' count. vagary, va-ga'ry. valet ^ vdV-a! , vehemence, ve'he-mence, Venezuela, ven-e-zue' la. ycleped, e-klept' , Zamacois, thd-md-ko^is. Zeus, ze-us. LIBRARY OF CONGRESS 027 211 401 8 <:X^^•^^^lliSMMfei^