aias in sail.au" gauge.ay" lay.ea" great.ei" deign.ey" they.
For Flat A.
auas in daunt.ea" heart.ua" guard.
For Broad A.
auas in pause.aw" law.eo" George.oa" groat.o" horn.ou" sought.
For Short A.
aias in plaid.ua" guaranty.
For Intermediate A.
aias in hair.ea" bear.e" where.ei" their.
For Long E.
eaas in weak.ei" seize.eo" people.ey" key.ie" brief.i" pique.
For Short E.
aas inany.ai" said.ay" says.ea" dead.ei" heifer.eo" leopard.ie" friend.ue" guess.u" bury.
For Long I.
aias inaisle.ei" sleight.ey"eye.ie" die.oi" choir.ui" guide.uy" buy.y" try.
For Short I.
eas inEnglish.ee" been.ie" sieve.o" women.u" busy.ui" build.y" symbol.
For Long O.
auas in hautboy.eau" beau.eo" yeoman.ew" sew.oa" boat.oe" hoe.ou" soul.ow" flow.
For Long Slender O.
oeas in shoe.ou" soup.
For Short O.
aas in was.ou" hough.ow" knowledge.
For Long U.
eauas in beauty.eu" feud.ew" dew.ieu" adieu.ou" your.ue" cue.ui" suit.
For Short U.
eas in her.i" sir.oe" does.o" love.ou" young.
For Short Slender U.
oas in wolf.ou" would.
For the Diphthong OI.
oyas in joy.
For the Diphthong OU.
owas in now.
There is no pure Triphthongal sound in the language.Buoyis equivalent tobwoy.Ubeing a consonant.
F.
ghas in laugh.ph" sphere.
J.
g"gem.
K.
c"can.ch"chord.gh" hough.q"quit.
S.
c"cent.
T.
d" faced.phth"phthisic.
V.
f" of.ph" Stephen.
Y.
i" valiant.
1Z.
c" suffice.s" was.x"Xerxes.
2Z.
s" treasure.z" azure.si" fusion.zi" glazier.
NG.
n" conch.
SH.
ce" ocean.ci" social.ch"chaise.si" pension.s"sure.ss" issue.ti" notion.
CH.
ti" fustian.
B, D, G, H, L, M, N, P, and R, have no substitutes.
The most common faults in ARTICULATION are
I.The suppression of a syllable; as,
cab'n for cab-in.cap'n " cap-tain.barr'l " bar-rel.ev'ry " ev-e-ry.hist'ry " his-to-ryreg'lar " reg-u-lar.sev'ral " sev-er-al.rhet'ric " rhet-o-ric.mem'ry " mem-o-ry.jub'lee " ju-bi-lee.trav'ler " trav-el-er.fam'ly " fam-i-ly.vent'late " ven-ti-late.des'late " des-o-late.prob'ble " prob-a-ble.par-tic'lar " par-tic-u-lar.
II.The omission of any sound properly belonging to a word; as,
read-in for read-ing.swif-ly " swift-ly.com-mans " com-mands.wam-er " warm-er.um-ble "hum-ble.ap-py "hap-py.con-sis " con-sists.fa-t'l " fa-tal.pr'-tect " pro-tect.b'low " be-low.p'r-vade " per-vade.srink-in " shrink-ing.th'if-ty " thrif-ty.as-ter-is " as-ter-isk.gov-er-ment " gov-ern-ment.Feb-u-ary " Feb-ru-a-ry.
III.The substitution of one sound for another; as,
uf-ford foraf-ford.wil-ler " wil-low.sock-it " sock-et.fear-luss " fear-less.cul-ter " cult-ure.prod-ux" prod-ucts.judg-munt " judg-ment.chil-drin " chil-dren.mod-ist " mod-est.up-prove "ap-prove.win-e-gar "vin-e-gar.sep-e-rate " sep-a-rate.temp-er-it " tem-per-ate.croc-er-dile " croc-o-dile.tub-ac-cur " to-bac-co.com-prum-ise " com-pro-mise.
IV. Produce the sounds denoted by the following combinations of consonants:—
Let the pupil first produce the sound of the letters, and then the word or words in which they occur. Be careful to give a clear and distinct enunciation to every letter.
V. Avoid blending the termination of one word with the beginning of another, or suppressing the final letter or letters of one word, when the next word commences with a similar sound.
EXAMPLES.
His small eyes instead of His small lies.She keeps pies " She keeps spies.His hour is up " His sour is sup.Dry the widow's tears " Dry the widow steers.Your eyes and ears " Your rise sand dears.He had two small eggs " He had two small legs.Bring some ice cream " Bring some mice scream.Let all men praise Him " Let tall men pray sim.He was killed in war " He was skilled in war.Water, air, and earth " Water rare rand dearth.Come and see me once more " Come mand see me one smore.
NOTE.—By an indistinct Articulation the sense of a passage is often liable to be perverted.
EXAMPLES.
MISCELLANEOUS EXAMPLES.
ACCENT and EMPHASIS both indicate some special stress of voice.
Accent is that stress of voice by which onesyllableof a word is made more prominent than others; EMPHASIS is that stress of voice by which one or morewordsof a sentence are distinguished above the rest.
ACCENT.
The accented syllable is sometimes designated thus: (′); as,com-mand′-ment.
NOTE I.—Words of more than two syllables generally have two or more of them accented.
The more forcible stress of voice, is called thePrimary Accent; and the less forcible, theSecondary Accent.
EXAMPLES OF PRIMARY AND SECONDARY ACCENT.
In the following examples the Primary Accent is designated by double accentual marks, thus:
Ed″-u-cate′,ed′-u-ca″-tion,mul″-ti-ply′,mul′-ti-pli-ca″-tion,sat″-is-fy′,sat′-is-fac″-tion,com′-pre-hend″,com′-pre-hen″-sion,rec′-om-mend″,rec′-om-mend-a″-tion,mo″-ment-a′-ry,com-mun″-ni-cate′,com′-pli-ment″-al,in-dem′-ni-fi-ca″-tion,ex′-tem-po-ra″-ne-ous,coun′-ter-rev′-o-lu″-tion-a-ry.
NOTE II.—The change of accent on the same word often changes its meaning.
EXAMPLES.
col′-league,a partner.col-league′,to unite with.con′-duct,behavior.con-duct′,to lead.des′-cant,a song or tune.des-cant′,to comment.ob′-ject,ultimate purpose.ob-ject′,to oppose.in′-ter-dict,a prohibition.in-ter-dict′,to forbid.o′ver-throw,ruin; defeat.o-ver-throw′,to throw down.
NOTE III.—Emphatic words are often printed inItalics. When, however, different degrees of emphasis are to be denoted, the higher degrees are designated by the use of Capitals,LARGERorSMALLER, according to the degree of intensity.
EXAMPLES.
NOTE IV.—Emphasis, as before intimated, varies in degrees of intensity.
EXAMPLES OF INTENSIVE EMPHASIS.
NOTE V.—Emphasis sometimes changes the seat of accent from its ordinary position.
EXAMPLES.
There is a difference betweenpos′sibility andprob′ability.And behold, the angels of Godas′cending andde′scending on it.For this corruptible must put onin′corruption, and this mortal mustput onim′mortality.Does his conduct deserveap′probation orrep′robation?
NOTE VI.—There are two kinds of Emphasis:—AbsoluteandAntithetic. ABSOLUTE EMPHASIS is used to designate the important words of a sentence, without any direct reference to other words.
EXAMPLES OF ABSOLUTE EMPHASIS.
1.
Oh, speak to passion's raging tide,Speakandsay: "PEACE, BE STILL!"
2. TheUNION, itMUSTandSHALL BE PRESERVED!
3.
HUSH!breathe it not aloud,The wild winds must not hear it! Yet, again,I tell thee—WE ARE FREE!
KNOWLES.
4. When my country shall take her place among the nations of the earth,THENand notTILLthen, let my epitaph be written.
EMMETT.
5. If you areMEN,followME! STRIKE DOWNyon guard, and gain the mountain passes.
6.
OH!shame on us, countrymen,SHAMEon usALL,If weCRINGEto so dastard a race.
7. This doctrinenever was received; itNEVER CAN,by anyPOSSIBILITY,BE RECEIVED; and, if admitted atALL, itmust be byTHE TOTAL SUBVERSION OF LIBERTY!
8. Are youChristians, and, by upholding duelists, will youdeluge the land with blood, andfill it with widows and orphans.
BEECHER.
9.LIBERTYandUNION, NOWandFOREVER, ONEandINSEPARABLE.
WEBSTER.
10.Treason!cried the speaker;treason,TREASON,TREASON, reechoed from every part of the house.
11.The war is inevitable,—andLET IT COME!I repeat it, Sir,—LET IT COME!
PATRICK HENRY.
12.
Be wemen,And suffer such dishonor?MEN, and wash notThe stain away inBLOOD?
MISS MITFORD.
13.
O SACRED FORMS!howproudyou look!Howhighyou lift your heads into the sky!Howhugeyou are! howmightyand howfree!
KNOWLES.
14. I shall know butonecountry. The endsIaim at, shall be "MyCOUNTRY'S, myGOD'S, andTRUTH'S."
WEBSTER.
NOTE VII.—ANTITHETIC EMPHASIS is that which is founded on the contrast of one word or clause with another.
EXAMPLES OF ANTITHETIC EMPHASIS.
1. The faults ofothersshould always remind us of ourown.
2. He desired toprotecthis friend, not toinjurehim.
3.
Butyesterday, the word of Caesar mightHave stood against the world;nowlies he there,And none so poor to do him reverence.
SHAKESPEARE.
4. Agood nameis rather to be chosen thangreat riches.
BIBLE.
5. We can do nothingagainstthe truth; butforthe truth.
BIBLE.
6. He that isslow to anger, is better than themighty; and he thatruleth his spirit, than he thattaketh a city.
BIBLE.
NOTE VIII.—The following examples contain two or more sets of Antitheses.
1.Just menare onlyfree, therestareslaves.
2.Beautyis like theflower of spring; virtueis like thestars of heaven.
3.
Truthcrushed to earth shallriseagain,The eternal years of God are hers;Buterror, wounded,writhesin pain,Anddiesamid her worshipers.
BRYANT.
4. Afalse balanceisabomination to the Lord; but ajust weightishis delight.
BIBLE.
5. Afriendcan not beknowninprosperity;and anenemycan not behiddeninadversity.
6. It is myliving sentiment, and, by the blessing of God, it shall be mydying sentiment:INDEPENDENCE NOW, and INDEPENDENCE FOREVER.
WEBSTER.
7. We live indeeds, notyears,—inthoughts, notbreaths,—infeelings, not infigures on a dial. We should count time byheart throbs. Hemost lives, whoTHINKS THE MOST,—FEELS THE NOBLEST,—ACTS THE BEST.
8.Youhave done themischief, andIbear theblame.
9. Thewise manis happy when he gains hisownapprobation; thefoolwhen he gains that ofothers.
10. We must holdthemas we hold therestof mankind—enemiesinwar,—inpeace, friends.
JEFFERSON.
NOTE IX.—The sense of a passage is varied by changing the place of the emphasis.
EXAMPLES.
1. HasJamesseen his brother to-day? No; butCharleshas.
2. Has Jamesseenhis brother to-day? No; but he hasheardfrom him.
3. Has James seenhisbrother to-day? No; but he sawyours.
4. Has James seen hisbrotherto-day? No; but he has seen hissister.
5. Has James seen his brotherto-day? No; but he saw himyesterday.
REMARK.—To determine the emphatic words of a sentence, as well as thedegreeandkindof emphasis to be employed, the reader must be governed wholly by thesentimentto be expressed. The idea is sometimes entertained that emphasis consists merely inloudnessof tone. But it should be borne in mind that the mostintenseemphasis may often be effectively expressed, even by a whisper.
INFLECTIONS are turns or slides of the voice, made in reading or speaking; as; Will you go to New [Transcriber's Note: Two missing lines in printing, page 25 in original.] or to [Transcriber's Note: Remainder of paragraph is missing.]
All the various sounds of the human voice may be comprehended under the general appellation oftones. The principal modifications of these tones are the MONOTONE, the RISING INFLECTION, the FALLING INFLECTION, and the CIRCUMFLEX.
The Horizontal Line (—) denotes the Monotone.The Rising Slide (/) denotes the Rising Inflection.The Falling Slide (\) denotes the Falling Inflection.The Curve (\_/) denotes the Circumflex.
The MONOTONE is that sameness of sound, which arises from repeating the several words or syllables of a passage in one and the same general tone.
REMARK.—The Monotone is employed with admirable effect in the delivery of a passage that is solemn or sublime.
EXAMPLES.
1. O thou that rollest above, round as the shield of my fathers: whence are thy beams, O sun, thy everlasting light?
OSSIAN.
2.
'Tis midnight's holy hour, and silence nowIs brooding, like a gentle spirit, o'erThe still and pulseless world. Hark! on the windsThe bells' deep tones are swelling; 'tis the knellOf the departed year.
PRENTICE.
3. God came from Teman, and the Holy One from Mount Paran. Selah. His glory covered the heavens, and the earth was full of His praise.
4. Before Him went the pestilence, and burning coals went forth at His feet. He stood and measured the earth: He beheld, and drove asunder the nations; and the everlasting mountains were scattered, the perpetual hills did bow: His ways are everlasting.
BIBLE.
5. The heavens declare the glory of God, and the firmament showeth His handy work. Day unto day uttereth speech, and night unto night showeth knowledge. There is no speech nor language, where their voice is not heard.
ID.
6.
How brief is life! how passing brief!How brief its joys and cares!It seems to be in league with time,And leaves us unawares.
7.
The thunder rolls: be hushed the prostrate world,While cloud to cloud returns the solemn hymn.
THOMSON.
REMARK.—The inappropriate use of the monotone,—a fault into which young people naturally fall,—is a very grave and obstinate error. It is always tedious, and often even ridiculous. It should be studiously avoided.
The RISING INFLECTION is an upward turn, or slide of the voice, used in reading or speaking; as,
s?n/o/s/s/é/Are you prepared to recite your l/