SANDERS' UNION FOURTH READER:
EMBRACING A FULL EXPOSITION OF THE PRINCIPLES OF RHETORICAL READING;
WITH NUMEROUS EXERCISES FOR PRACTICE,
BOTH IN PROSE AND POETRY, VARIOUS IN STYLE, AND CAREFULLY ADAPTED TO THE
PURPOSES OF TEACHING IN SCHOOLS OF EVERY GRADE.
BY CHARLES W. SANDERS, A.M.
PREFACE.
THIS FOURTH READER is designed to pass the pupil from the comparatively
easy ground occupied by the THIRD to the more difficult course embraced
in THE UNION FIFTH READER, which is next higher in the series. It is,
therefore, carefully graded to this intermediate position.
In one sense, however, it is the most important in the set; since the
great mass of pupils, in our common schools, are drawn away from
scholastic pursuits long before the proper time for entering upon any
course of reading more advanced than that which is here presented. This
consideration has had its full weight in the preparation of the
following pages.
Every exercise will be found to bear the impress of that special
adaptation to the purposes of teaching, without which no book of this
kind can fully perform the office which it assumes. The labor expended
in this direction, though all unseen by the casual observer, has been
neither light nor brief. It can be duly appreciated by none but the
experienced teacher.
All words in the exercises, requiring explanation, have been arranged,
as regular lessons in spelling and definition. In these definitions,
however, it must be kept in mind, that no attempt has been made to give
_all the meanings of which a word is susceptible, but that only which it
bears in the particular place in the exercise where it is found._ There
is a special educational advantage in thus leading the mind of the pupil
definitely to fix upon the _precise import_ of a word, in some
particular use or application of it.
All proper names occurring in the text, and at all likely to embarrass
the learner, have been explained in brief, comprehensive notes. These
notes involve many matters, Geographical, Biographical, and Historical,
which are not a little interesting in themselves, aside from the special
purpose subserved by them in the present connection.
All this has been done, and more, in order to secure that kind of
interest in the exercises which comes of reading what is clearly
understood; and because no perfect reading is possible, where the reader
himself fails to perceive the meaning of what he reads.
In the selection and adaptation of the pieces, the highest aim has been
to make and to leave the best moral impression; and this, not by dull
and formal teachings, but by the pleasanter, and, therefore, more
powerful, means of incidental and unexpected suggestion. Admonition is
then most likely to be heeded, when it comes through the channel of
events and circumstances.
The direct and ostensible aim of the book, however, has been kept
steadily in view; which is to furnish the best possible exercises for
practice in Rhetorical reading. To this end, the greatest variety of
style and sentiment has been sought. There is scarcely a tone or
modulation, of which the human voice is capable, that finds not here
some piece adapted precisely to its best expression. There is not an
inflection, however delicate, not an emphasis, however slight, however
strong, that does not here meet with something fitted well for its
amplest illustration. No tenderness of pathos, no earnestness of
thought, no play of wit, no burst of passion, is there, perhaps, of
which the accomplished teacher of Elocution may not find the proper
style of expression in these pages, and, consequently, the best examples
for the illustration of his art.
The book, thus briefly described, is, therefore, given to the public
with the same confidence that has hitherto inspired the author in
similar efforts, and with the hope that it may reach even a higher
measure of usefulness than that attained by any of its predecessors, in
the long line of works which he has prepared for the use of schools.
NEW YORK, April, 1863.
CONTENTS.
PART FIRST.
ELOCUTION.
SECTION I.--ARTICULATION
ELEMENTARY SOUNDS OF THE LETTERS
SUBSTITUTES FOR THE VOWEL ELEMENTS
SUBSTITUTES FOR THE CONSONANT ELEMENTS
ERRORS IN ARTICULATION
COMBINATIONS OF CONSONANTS
EXAMPLES TO ILLUSTRATE INDISTINCT ARTICULATION
MISCELLANEOUS EXAMPLES
SECTION II--ACCENT AND EMPHASIS
EXAMPLES OF PRIMARY AND SECONDARY ACCENT
EXAMPLES OF INTENSIVE EMPHASIS
EXAMPLES OF ABSOLUTE EMPHASIS
EXAMPLES OF ANTITHETIC EMPHASIS
SECTION III.--INFLECTIONS
MONOTONE
RISING AND FALLING INFLECTIONS
RULES FOR THE USE OF INFLECTIONS
THE CIRCUMFLEX
SECTION IV.--MODULATION
PITCH OF VOICE
QUANTITY
RULES FOR QUANTITY
QUALITY
RULES FOR QUALITY
NOTATION IN MODULATION
EXAMPLES FOR EXERCISE IN MODULATION
SECTION V.--THE RHETORICAL PAUSE
PART SECOND.
1. TRUE HEROISM, _Adapted. Osborne_
2. YOU AND I, _Charles Mackay_
3. LIFE'S WORK
4. THE YOUNG CAPTIVES
5. MY MOTHER'S LAST KISS, _Mrs. E. Oakes Smith_
6. THE DEAD CHILD'S FORD, _Mrs. E. Oakes Smith_
7. LAME AND LAZY--_A Fable_
8. FAITHFULNESS IN LITTLE THINGS, _Adapted, Eliza A. Chase_
9. THE AMERICAN BOY
10. THE SAILOR BOY'S SONG
11. CHASE OF THE PET FAWN, _Adapted. Miss Cooper_
12. KINDNESS
13. CARELESS WORDS
14. WEBSTER AND THE WOODCHUCK, _Adapted. Boston Traveler_
15. DO IT YOURSELF
16. BETTER LATE THAN NEVER
17. THE ADOPTED CHILD, _Mrs. Hemans_
18. THE OLD EAGLE TREE, _Rev. John Todd_
19. THE LIGHT OF KNOWLEDGE, _Elihu Burritt_
20. NIGHT'S LESSONS, _L.H. Sigourney_
21. NATURE'S TEACHINGS, _Chambers' Journal_
22. SOWING AND HARVESTING, _Anon._
23. A THRILLING INCIDENT, _Adapted. Anon._
24. THE TRUTHFUL KING
25. WHEN SHALL I ANSWER, NO, _J.N. McElligott_
26. TO MASTER ROBERT AND JOHN, _Davis_
27. WHANG, THE MILLER, _Goldsmith_
28. CHIMNEY-SWALLOWS, _Henry Ward Beecher_
29. THE DOUBTING HEART, _Adelaide Procter_
30. THE COMING OF WINTER, _T.B. Read_
31. CHILD TIRED OF PLAY, _N.P. Willis_
32. THE RESCUE, _By a Sea Captain_
33. ROBERT BRUCE AND THE SCOTCH WOMAN
34. ROBERT BRUCE AND THE SPIDER, _Bernard Barton_
35. WEALTH AND FASHION
36. MY FIRST JACK-KNIFE
37. THE PINE-TREE SHILLINGS, _Nathaniel Hawthorne_
38. HIAWATHA'S HUNTING, _Longfellow_
39. DESPERATE ENCOUNTER WITH A PANTHER, _Bk. of Adventures_
40. THE POWER OF HABIT, _John B. Gough_
41. THE DRUNKARD'S DAUGHTER
42. THE TWO YOUNG TRAVELERS, _Adapted. Merry's Museum_
43. HIGHER!
44. LABOR, _Caroline F. Orne_
45. THE AMBITIOUS APPRENTICE
46. SO WAS FRANKLIN, _Anon._
47. NOW AND THEN, _Jane Taylor_
48. AN INGENIOUS STRATAGEM, _Days of Washington_
49. FRANCES SLOCUM, THE YOUNG CAPTIVE, _B.J. Lossing_
50. THE RAIN-DROPS, _Delia Louise Colton_
51. SMALL THINGS, _F. Bennoch_
52. MURDERER'S CREEK, _James K. Paulding_
53. NAPOLEON'S ARMY CROSSING THE ALPS, _Adapted. Anon._
54. WHERE THERE'S A WILL THERE'S A WAY, _Eliza Cook_
55. "I CAN"
56. NOW, TO-DAY, _Adelaide A. Procter_
57. CAPTURE OF MAJOR ANDRE
58. BENEDICT ARNOLD
59. BEHIND TIME, _Freeman Hunt_
60. HOW HAPPY I'LL BE
61. THE SWORD OF BUNKER HILL, _William R. Wallace_
62. BIBLE LEGEND OF THE WISSAHIKON, _Lippard_
63. ADVICE TO THE YOUNG, _E.H. Chapin_
64. THE INTREPID YOUTH
65. THE FOUR MISFORTUNES, _John G. Saxe_
66. MRS. CREDULOUS AND THE FORTUNE-TELLER
67. FAITH, HOPE, AND CHARITY--_An Allegory_
68. NOT TO MYSELF ALONE, _S.W. Partridge_
69. THE WORLD WOULD BE THE BETTER FOR IT, _W.H. Cobb_
70. SELECT PROVERBS OF SOLOMON, _Bible_
71. WINTER BEAUTY, _Henry Ward Beecher_
72. FROSTED TREES
73. THE MOUNTAINS OF LIFE, _James G. Clark_
74. IMAGINARY EVILS, _Chas. Swain_
75. SIR WALTER AND THE LION, _A. Walchner_
76. CHOICE EXTRACTS
I. WHAT REALLY BENEFITS US.
II. GOD'S LOVE.
III. LIFE-WORK.
IV. HUMILITY.
V. BENEFITS OF ADVERSITY.
VI. OUR MOUNTAIN HOMES.
VII. MAKE A BEGINNING.
VIII. INFLUENCE.
IX. PLEASURE IN ACQUIRING KNOWLEDGE.
X. WHAT IS FAME?
XI. CULTIVATED INTELLECT.
XII. GOD'S WORKS ATTEST HIS GREATNESS.
77. CAPTURE OF THE WHALE
78. LEAVES FROM AN AERONAUT, _Willis Gaylord Clark_
79. THE DAPPLE MARE, _John G. Saxe_
80. A LEAP FOR LIFE, _George P. Morris_
81. THE INDIAN BRIDE'S REVENGE, _Adapted. L.M. Stowell_
82. A MOTHER'S LOVE, _Albert Barnes_
83. THE LIFE-BOOK, _Home Journal_
84. ODE ON SOLITUDE, _Pope_
85. GETTING THE RIGHT START, _J.G. Holland_
86. THE PRESUMPTION OF YOUTH, _Rollin_
87. SONG OF THE AMERICAN EAGLE
88 THE ARMY OF REFORM, _Sarah Jane Lippincott_
89. LAST CRUISE OF THE MONITOR, _Adapted. Grenville M. Weeks_
90. DUTIES AND RESPONSIBILITIES OF WOMEN, _Gail Hamilton_
91. SCENE FROM WILLIAM TELL, _J. Sheridan Knowles_
92. THE RICH MAN AND THE POOR MAN, _Khemnitzer_
93. GRANDEUR OF THE OCEAN, _Walter Colton_
94. A BURIAL AT SEA, _Walter Colton_
95. THE TREASURES OF THE DEEP, _Mrs. Hemans_
96. THE BRIDGE OF SIGHS, _Thomas Hood_
97. A REQUIEM
98. VISIT TO MOUNT VERNON, _A.C. Ritchie_
99. LA FAYETTE, _Charles Sprague_
100. THE MYSTIC WEAVER, _Rev. Dr. Harbaugh_
101. WORK AWAY, _Harpers' Magazine_
102. QUEEN ISABELLA'S RESOLVE, _Vinet_
103. DISCOVERY OF THE NEW WORLD, _Lamartine_
104. THE RETURN OF COLUMBUS, _Vinet_
105. TWO HUNDRED YEARS AGO, _Grenville Mellen_
106. PRESS ON, _Park Benjamin_
107. THE THREE FORMS OF NATURE, _From the French of Michelet_
108. THE WHALE AND THE WHALER, _From the French of Michelet_
109. RIENZI'S ADDRESS TO THE ROMANS, _Miss Mitford_
110. SONG OF THE FORGE
111. CHOICE EXTRACTS
I. SWIFTNESS OF TIME.
II. THE SHIP OF STATE.
III. THE TRUE HERO.
IV. HEART ESSENTIAL TO GENIUS.
V. EDUCATION.
VI. VANITY OF WEALTH.
VII. CONSOLATION OF THE GOSPEL.
VIII. THE LIGHT OF HOPE.
IX. PAMPERING THE BODY AND STARVING THE SOUL.
112. WE ALL DO FADE AS A LEAF, _Gail Hamilton_
113. TEACHINGS OF NATURE, _Pollok_
114. PASSING UNDER THE ROD, _Mary S.B. Dana_
115. THE PETULANT MAN, _Osborne_
116. THE BRAHMIN AND THE ROGUES, _Versified by J.N. McElligott_
117. LIVING WITHIN OUR MEANS, _S.W. Partridge_
118. GRANDEUR OF THE UNIVERSE, _O.M. Mitchel_
119. "WHOM HAVE I IN HEAVEN BUT THEE?", _Pamelia S. Vining_
120. THE MEMORY OF WASHINGTON, _Kossuth_
121. THE LOST ONE'S LAMENT
EXPLANATION OF THE PAUSES.
.
The Period is the longest pause--a full stop. It marks the end of a
sentence, and shows the sense complete; as, The sky is blue`. Pause the
time of counting _six_, and let the voice fall.
?
The Interrogation is used at the end of a question; as, Is the sky
blue'? If the question can be answered by _yes_ or _no_, the voice
rises; if not, it falls; as, Where is your map`;? Pause the time of
counting _six_.
!
The Exclamation denotes wonder, surprise, pain, or joy; as, O'! what a
sweet rose`! Pause the time of counting _one_, after a single word, and
let the voice rise; but after a complete sentence, pause the time of
counting _six_, and let the voice fall.
:
The Colon is a pause shorter than the Period; as, The sky is clear`: the
sun shines. Pause the time of counting _four_, and let the voice fall.
;
The Semicolon is a pause shorter than the Colon; as, The rose is fair`;
but it soon fades. Pause the time of counting _two_, and let the voice
fall. Sometimes the voice should rise, as the sense may require.
,
The Comma is the shortest pause; as, Jane goes to school', and learns to
read. Pause the time of counting _one_, and keep the voice up.
--
The Dash denotes a sudden pause or change of subject; as, I saw him--but
what a sight! When the dash is used after any other pause, the time of
that pause is doubled.
* * * * *
EXPLANATION OF OTHER MARKS.
'
The Apostrophe has the form of the comma. It denotes the possessive
case; as, John's book; also, that one or more letters have been left out
of a word; as, lov'd for loved.
" "
The Quotation includes a passage that is taken from some other author or
speaker; as, John said: "See my kite."
( )
The Parenthesis includes words not properly a part of the main sentence;
as, I like these people (who would not?) very much. The words within the
parenthesis should be read in a lower tone of voice.
[ ]
The Brackets inclose words that serve to explain the preceding word or
sentence; as, James [the truthful boy] went home.
^
The Caret shows where words are to be put in that have been omitted by
mistake; as, Live ^in peace.
(..)
The Diæresis is placed over the latter of two vowels, to show that they
belong to two distinct syllables; as, aërial.
-
The Hyphen is used to connect compound words; as, Well-doing; or the
parts of a word separated at the end of a line.
[Index]
The Index points to something special or remarkable; as, => Important
News!
*** .... or ----
The Ellipsis shows that certain words or letters have been purposely
omitted; as, K**g, k..g, or k--g, for king.
[Paragraph]
The Paragraph denotes the beginning of a new subject. It is chiefly used
in the Bible; as, [Paragraph] The same day came to him, etc.
[Section]
The Section is used to divide a book or chapter into parts; as,
[Section]45.
* [Obelisk] [Double Dagger]
The Asterisk, the Obelisk, the Double Dagger, and sometimes other marks,
[Footnote: For instance: the Section mark, [Section], and the Parallel,
||.] refer to notes in the margin.
APPLICATIONS OF THE MARKS USED IN WRITING.
LINE
1 My Young Friends', never tell a falsehood`; but always
2 speak the truth`; this is pleasing to your Maker.
3 Do you read His holy word--the Bible'? O! remem-
4 ber, that He has there said: "He that speaketh lies, shall
5 not escape: he shall perish."* Remember, too, that the
6 All-seeing God knows all that we say or do.
7 [Paragraph] Tho' wisdom's voice is seldom heard in k--g's
8 palaces,--there have been _wise_ kings, (_e.g._ Solomon,) who
9 were lov'd and obey'd by their subjects.[Obelisk]
10 Here, [i.e. in the U.S.,] we can not boast of our kings,
11 princes, lords, &c.; yet we have had a PRESIDENT, who,
12 in true greatness, surpass'ed them all; viz., the great
13 WASHINGTON.---- [Index] Washington feared and hon-
14 ored God.
15 [S] Section, [/=] Double Dagger, and || Parallel, are also used
16 for reference to the margin.
* * * * *
* Proverbs xix. 5 and 9. [Obelisk] 1 Kings.
PART FIRST.
ELOCUTION.
Elocution is the art of delivering written or extemporaneous composition
with force, propriety, and ease.
It deals, therefore, with words, not only as individuals, but as members
of a sentence, and parts of a connected discourse: including every thing
necessary to the just expression of the sense. Accordingly, it demands,
in a _special_ manner, attention to the following particulars; viz.,
ARTICULATION, ACCENT, EMPHASIS, INFLECTION, MODULATION, and PAUSES.
* * * * *
SECTION I.
ARTICULATION.
Articulation is the art of uttering distinctly and justly the letters
and syllables constituting a word.
It deals, therefore, with the elements of words, just as elocution deals
with the elements of sentences: the one securing the true enunciation of
each letter, or combination of letters, the other giving to each word,
or combination of words, such a delivery as best expresses the meaning
of the author. It is the basis of all good reading, and should be
carefully practiced by the learner.
ELEMENTARY SOUNDS OF THE LETTERS.
VOWEL SOUNDS.
TONICS.
_Element_. _Power_.
1.--1 A as in _A_pe.
2.--2 A " _A_rm.
3.--3 A " _A_ll.
4.--4 A " _A_t.
5.--5 A " C_a_re.
6.--6 A " _A_sk.
7.--1 E " _E_ve.
8.--2 E " _E_nd.
9.--1 I " _I_ce.
10.--2 I " _I_t.
11.--1 O " _O_ld.
12.--2 O " D_o_.
13.--3 O " _O_x.
14.--1 U " _U_se.
15.--2 U " _U_p.
16.--3 U " P_u_ll.
17.--OI " O_i_l.
18.--OU " O_u_t.
CONSONANT SOUNDS.
SUB-TONICS.
19.--B as in _B_at.
20.--D " _D_un.
21.--G " _G_un.
22.--J " _J_et.
23.--L " _L_et.
24.--M " _M_an.
25.--N " _N_ot.
26.--R " _R_un.
27.--V " _V_ent.
28.--W " _W_ent.
29.--Y " _Y_es.
30.--1 Z " _Z_eal.
31.--2 Z " A_z_ure.
32.--NG " Si_ng_.
33.--TH " _Th_y.
A-TONICS.
34.--F as in _F_it.
35.--H " _H_at.
36.--K " _K_id.
36.--P " _P_it.
38.--S " _S_in.
39.--T " _T_op.
40.--CH " _Ch_at.
41.--SH " _Sh_un.
42.--TH " _Th_in.
43.--WH " _Wh_en.
21: Soft G is equivalent to J; soft C to S, and hard C and Q to K.
X is equivalent to K and S, as in _box_, or to G and Z
as in _exalt_.
42: WH is pronounced as if the H preceded W, otherwise it would be
pronounced _W hen_. R should be slightly trilled before a
vowel. For further instructions, see Sanders and Merrill's
Elementary and Elocutionary Chart.
SUBSTITUTES FOR THE VOWEL ELEMENTS.
For Long A.
_ai_ as in s_ai_l.
_au_ " g_au_ge.
_ay_ " l_ay_.
_ea_ " gr_ea_t.
_ei_ " d_ei_gn.
_ey_ " th_ey_.
For Flat A.
_au_ as in d_au_nt.
_ea_ " h_ea_rt.
_ua_ " g_ua_rd.
For Broad A.
_au_ as in p_au_se.
_aw_ " l_a_w.
_eo_ " G_eo_rge.
_oa_ " gr_oa_t.
_o_ " h_o_rn.
_ou_ " s_ou_ght.
For Short A.
_ai_ as in pl_ai_d.
_ua_ " g_ua_ranty.
For Intermediate A.
_ai_ as in h_ai_r.
_ea_ " b_ea_r.
_e_ " wh_e_re.
_ei_ " th_ei_r.
For Long E.
_ea_ as in w_ea_k.
_ei_ " s_ei_ze.
_eo_ " p_eo_ple.
_ey_ " k_ey_.
_ie_ " br_ie_f.
_i_ " p_i_que.
For Short E.
_a_ as in _a_ny.
_ai_ " s_ai_d.
_ay_ " s_ay_s.
_ea_ " d_ea_d.
_ei_ " h_ei_fer.
_eo_ " l_eo_pard.
_ie_ " fr_ie_nd.
_ue_ " g_ue_ss.
_u_ " b_u_ry.
For Long I.
_ai_ as in _ai_sle.
_ei_ " sl_ei_ght.
_ey_ " _ey_e.
_ie_ " d_ie_.
_oi_ " ch_oi_r.
_ui_ " g_ui_de.
_uy_ " b_uy_.
_y_ " tr_y_.
For Short I.
_e_ as in _E_nglish.
_ee_ " b_ee_n.
_ie_ " s_ie_ve.
_o_ " w_o_men.
_u_ " b_u_sy.
_ui_ " b_ui_ld.
_y_ " s_y_mbol.
For Long O.
_au_ as in h_au_tboy.
_eau_ " b_eau_.
_eo_ " y_eo_man.
_ew_ " s_ew_.
_oa_ " b_oa_t.
_oe_ " h_oe_.
_ou_ " s_ou_l.
_ow_ " fl_o_w.
For Long Slender O.
_oe_ as in sh_oe_.
_ou_ " s_ou_p.
For Short O.
_a_ as in w_a_s.
_ou_ " h_ou_gh.
_ow_ " kn_ow_ledge.
For Long U.
_eau_ as in b_eau_ty.
_eu_ " f_eu_d.
_ew_ " d_ew_.
_ieu_ " ad_ieu_.
_ou_ " y_ou_r.
_ue_ " c_ue_.
_ui_ " s_ui_t.
For Short U.
_e_ as in h_e_r.
_i_ " s_i_r.
_oe_ " d_oe_s.
_o_ " l_o_ve.
_ou_ " y_ou_ng.
For Short Slender U.
_o_ as in w_o_lf.
_ou_ " w_ou_ld.
For the Diphthong OI.
_oy_ as in j_oy_.
For the Diphthong OU.
_ow_ as in n_ow_.
There is no pure Triphthongal sound in the language. _Buoy_ is
equivalent to _bwoy_. _U_ being a consonant.
SUBSTITUTES FOR THE CONSONANT ELEMENTS.
F.
_gh_ as in lau_gh_.
_ph_ " s_ph_ere.
J.
_g_ " _g_em.
K.
_c_ " _c_an.
_ch_ " _ch_ord.
_gh_ " hou_gh_.
_q_ " _q_uit.
S.
_c_ " _c_ent.
T.
_d_ " face_d_.
_phth_ " _phth_isic.
V.
_f_ " o_f_.
_ph_ " Ste_ph_en.
Y.
_i_ " val_i_ant.
1 Z.
_c_ " suffi_c_e.
_s_ " wa_s_.
_x_ " _X_erxes.
2 Z.
_s_ " trea_s_ure.
_z_ " a_z_ure.
_si_ " fu_si_on.
_zi_ " gla_zi_er.
NG.
_n_ " co_n_ch.
SH.
_ce_ " o_ce_an.
_ci_ " so_ci_al.
_ch_ " _ch_aise.
_si_ " pen_si_on.
_s_ " _s_ure.
_ss_ " i_ss_ue.
_ti_ " no_ti_on.
CH.
_ti_ " fus_ti_an.
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-_i_n.
cap'n " cap-_tai_n.
barr'l " bar-r_e_l.
ev'ry " ev-_e_-ry.
hist'ry " his-t_o_-ry
reg'lar " reg-_u_-lar.
sev'ral " sev-_e_r-al.
rhet'ric " rhet-_o_-ric.
mem'ry " mem-_o_-ry.
jub'lee " ju-b_i_-lee.
trav'ler " trav-_e_l-er.
fam'ly " fam-_i_-ly.
vent'late " ven-t_i_-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-in_g_.
swif-ly " swif_t_-ly.
com-mans " com-man_d_s.
wam-er " wa_r_m-er.
um-ble " _h_um-ble.
ap-py " _h_ap-py.
con-sis " con-sis_t_s.
fa-t'l " fa-tal.
pr'-tect " pr_o_-tect.
b'low " b_e_-low.
p'r-vade " p_e_r-vade.
srink-in " s_h_rink-in_g_.
th'if-ty " th_r_if-ty.
as-ter-is " as-ter-is_k_.
gov-er-ment " gov-er_n_-ment.
Feb-u-ary " Feb-_r_u-a-ry.
III. _The substitution of one sound for another; as,_
_uf_-ford for _a_f-ford.
wil-l_e_r " wil-lo_w_.
sock-_i_t " sock-_et_.
fear-l_u_ss " fear-l_e_ss.
cul-t_e_r " cult-_u_re.
prod-u_x_ " prod-u_cts_.
judg-m_u_nt " judg-m_e_nt.
chil-dr_i_n " chil-dr_e_n.
mod-_i_st " mod-_e_st.
_u_p-prove " _a_p-prove.
_w_in-e-gar " _v_in-e-gar.
sep-_e_-rate " sep-_a_-rate.
temp-er-_i_t " tem-per-_a_te.
croc-_e_r-dile " croc-_o_-dile.
t_u_b-ac-c_u_r " t_o_-bac-c_o_.
com-pr_u_m-ise " com-pr_o_-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.
1. _Bd_, as in ro_b'd_; _bdst_, pro_b'dst_; _bl_, _bl_ and,
a_bl_e; _bld_, hum-_bl'd; bldst_, trou_bl'dst_; _blst_,
trou_bl'st; blz_, crum_bles; br_, _br_and; _bz_, ri_bs_.
2. _Ch_, as in _ch_ur_ch; cht_, fet_ch'd_.
3. _Dj_, as in e_dg_e; _djd_, he_dg'd; dl_, bri_dle; dld_,
rid_dl'd; dlst_, han_dl'st_; _dlz_, bun_dles; dn_,
har_d'n; dr_, _dr_ove; _dth_, wi_dth; dths_, brea_dths;
dz_, o_dds_.
4. _Fl_, as in _fl_ame; _fld_, ri_fl'd_; _flst_, sti_fl'st_;
_flx_, ri_fles_; _fr_, _fr_om; _fs_, qua_ffs_, lau_ghs_;
_fst_, lau_gh'st_, qua_ff'st_; _ft_, ra_ft_; _fts_,
wa_fts; ftst_, gr_ft'st_.
5. _Gd_, as in beg_g'd_; _gdst_, brag_g'dst; gl_, _gl_ide;
_gld_, strug_gl'd; gldst_, hag_gl'dst; gist_, stran_gl'st;
glz_, min_gles; gr, gr_ove; _gst_, beg_g'st; gz_, fi_gs_.
6. _Kl_, as in un_cle_, an_kle_; _kld_, trick_l'd; kldst_,
truck_l'dst; klst_, chuc_kl'st; klz_, wrin_kles; kn_,
blac_k'n; knd_, rec_k'n'd; kndst_, rec_k'n'dst; knst_,
blac_k'n'st; knz_, rec_k'ns; kr, cr_ank; _ks_, chec_ks;
kt_, a_ct_.
7. _Lb_, as in bu_lb_; _lbd_, bu_lb'd; lbs_, bu_lbs; lch_,
fi_lch; lcht_, be_lch'd; ld_, ho_ld; ldst_, fo_ld'st;
ldz_, ho_lds; lf_, se_lf; lfs_, gu_lfs; lj_, bu_lge; lk_,
e_lk; lks_, si_lks; lkt_, mi_lk'd; lkts_, mu_lcts; lm_,
e_lm; lmd_, whel_m'd; lmz_, fi_lms; ln_, fa_ll'n;_ _lp_,
he_lp_; _lps_, sca_lps_; _lpst_, _help'st_; _ls_, fa_lse_;
_lst_, ca_ll'st_; _lt_, me_lt_; _lth_, hea_lth_; _lths_,
stea_lths_; _lts_, co_lts_; _lv_, de_lve_; _lvd_,
she_lv'd_; _lvz_, el_ves_; _lz_, ha_lls_.
8. _Md_, as in doo_m'd_; _mf_, triu_mph_; _mp_, he_mp_;
_mpt_, te_mpt_; _mpts_, atte_mpts_; _mst_, ento_mb'st_;
_mz_, to_mbs_.
9. _Nch_, as in be_nch_; _ncht_, pi_nch'd_; _nd_, a_nd_;
_ndst_, e_nd'st_; _ndz_, e_nds_; _ng_, su_ng_; _ngd_,
ba_nged_; _ngth_, le_ngth_; _ngz_, so_ngs_; _nj_, ra_nge_;
_njd_, ra_ng'd_; _nk_, i_nk_; _nks_, ra_nks_; _nkst_,
tha_nk'st_; _nst_, wi_ne'd_; _nt_, se_nt_; _nts_, re_nts_;
_ntst_, we_nt'st_; _nz_, ru_ns_.
10. _Pl_, as in _pl_ume; _pld_, rip_pl'd_; _plst_, rip_pl'st_;
_plz_, ap_ples_; _pr_, _pr_ince; _ps_, si_ps_; _pst_,
rap_p'st_; _pt_, rip_p'd_.
11. _Rb_, as in he_rb_; _rch_, sea_rch_; _rcht_, chu_rch'd_;
_rbd_, o_rbd_; _rbdst_, ba_rb'dst_; _rbst_, distu_rb'st_;
_rbz_, o_rbs_; _rd_, ha_rd_; _rdst_, hea_rd'st_; _rdz_,
wo_rds_; _rf_, tu_rf_; _rft_, sca_rfd_; _rg_, bu_rg_;
_rgz_, bu_rgs_; _rj_, di_rge_; _rjd_, u_rg'd_; _rk_,
a_rk_; _rks_, a_rks_; _rkst_, wo_rk'st_; _rkt_, di_rk'd_;
_rktst_, emba_rk'dst_; _rl_, gi_rl_; _rld_, wo_rld_;
_rldst_, hu_rld'st_; _rlst_, whi_rl'st_; _rlz_, hu_rls_;
_rm_, a_rm_; _rmd_, a_rm'd_; _rmdst_, ha_rm'dst_; _rmst_,
a_rm'st_; _rmz_, cha_rms_; _rn_, tu_rn_; _rnd_, tu_rn'd_;
_rndst_, ea_rn'dst_; _rnst_, lea_rn'st_; _rnz_, u_rns_;
_rp_, ca_rp_; _rps_, ha_rps_; _rpt_, wa_rp'd_; _rs_,
ve_rs_e; _rsh_, ha_rsh_; _rst_, fi_rst_; _rsts_, bu_rsts_;
_rt_, da_rt_; _rth_, ea_rth_; _rths_, bi_rths_; _rts_,
ma_rts_; _rtst_, da_rt'st_; _rv_, cu_rve_; _rvd_,
ne_rv'd_; _rvdst_, cu_rv'dst_; _rvst_, swe_rv'st_; _rvz_,
ne_rves_; _rz_, e_rrs_.
12. _Sh_, as in _sh_ip; _sht_, hu_sh'd_; _sk_, _sc_an, _sk_ip;
_sks_, tu_sks_; _skst_, fri_sk'st_; _skt_, ri_sk'd_; _sl_,
_sl_ow; _sld_, ne_stl'd_; _slz_, we_stles_; _sm_, _sm_ile;
_sn_, _sn_ag; _sp_, _sp_ort; _sps_, li_sps_; _spt_,
cla_sp'd_; _st_, _st_ag; _str_, _str_ike; _sts_, re_sts_;
_sw_, _sw_ing.
13. _Th_, as in _th_ine, _th_in; _thd_, brea_th'd_; _thr_,
_thr_ee; _thst_, brea_th'st_; _thw_, _thw_ack; _thz_,
wri_thes_; _tl_, ti_tle_; _tld_, set_tl'd_; _tldst_,
set_tl'dst_; _tlst_,set_tl'st_; _tlz_, net_tles_; _tr_,
_tr_uuk; _ts_, fi_ts_; _tw_, _tw_irl.
14. _Vd_, as in cur_v'd_; _vdst_, li_v'dst_; _vl_, dri_v'l_;
_vld_, gro_v'l'd_; _vldst_, gro_v'l'dst_; _vlst_,
dri_v'l'st_; _un_, dri_v'n_; _vst_, li_v'st_; _vz_,
li_ves_.
15. _Wh_, as in _wh_en, _wh_ere.
16. _Zd_, as in mu_s'd_; _zl_, daz_zle_; _zld_, muz_zl'd_;
_zldst_, daz_zl'dst_; _zlst_, daz_zl'st_; _zlz_,
muz_zles_; _zm_, spa_sm_; _zmz_, cha_sms_; _zn_, ri_s'n_;
_znd_, rea_s'n'd_; _znz_, pri_s'nz_; _zndst_,
impri_s'n'dst_.
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.
1. Will he attempt to conceal hi_s acts?_
Will he attempt to conceal hi_s sacks?_
2. The man ha_d o_ars to row he_r o_ver.
The man ha_d d_oors to row he_r r_over.
3. Can there be a_n a_im more lofty?
Can there be _a n_ame more lofty?
4. The judge_s o_ught to arrest the culprits.
The judge_s s_ought to arrest the culprits.
5. Hi_s i_re burned when she told him he_r a_ge.
Hi_s s_ire burned when she told him he_r r_age.
6. He wa_s a_wed at the works of labor a_nd a_rt.
He wa_s s_awed at the works of labor a_n d_art.
7. He wa_s tr_ained in the religion of his fathers.
He wa_s st_rained in the religion of his fathers.
MISCELLANEOUS EXAMPLES.
1. _Br_avely o'er _th_e _b_oi_st_e_r_ous _b_i_ll_ow_s_,
_H_is _g_a_ll_a_nt_ _b_a_rk_ _w_a_s_ _b_o_rn_e.
2. _C_a_n_ _cr_a_v_e_n_ _c_owa_rds_ e_x_pe_ct_ to
_c_o_nq_ue_r_ _th_e _c_ou_ntr_y?
3. _Cl_i_ck_, _cl_i_ck_, _g_oe_s_ _th_e _cl_o_ck_; _cl_a_ck_,
_cl_a_ck_, _g_oe_s_ _th_e _m_i_ll_.
4. _D_i_d_ _y_ou _d_esi_r_e to _h_ea_r_ _h_i_s_ _d_a_rk_
a_nd_ _d_o_l_e_f_u_l_ _dr_ea_ms_?
5. "_F_ir_m_-_p_a_c_e_d_ a_nd_ _sl_ow, a _h_o_rr_i_d_
_fr_o_nt_ _th_ey _form_,
_St_i_ll_ a_s_ _th_e _br_ee_ze_; _b_u_t_ _dr_ea_df_u_l_
a_s_ _th_e _st_or_m_."
6. _Th_e _fl_a_m_i_ng_ _f_i_r_e _fl_a_sh_ed _f_ea_rf_u_ll_y
i_n_ _h_i_s_ _f_a_c_e.
7. _Th_e _gl_a_ss_y _gl_a_ci_e_rs_ _gl_ea_m_e_d_ i_n_
_gl_owi_ng_ _l_igh_t_.
8. _H_ow _h_igh _h_i_s_ ho_n_o_rs_ _h_ea_v_e_d_ _h_i_s_
_h_augh_t_y _h_ea_d_!
9. _H_e _dr_ew _l_o_ng_, _l_e_g_i_bl_e _lin_e_s_ a_l_o_ng_
_th_e _l_ove_l_y _l_a_ndsc_a_p_e.
10. _M_a_ss_e_s_ of i_mm_e_ns_e _m_a_gn_i_t_u_d_e _m_o_v_e
_m_a_j_e_st_i_c_a_ll_y _thr_ough _th_e _v_a_st_ e_mp_i_r_e
of _th_e _s_o_l_a_r_ _s_y_st_e_m_.
11. _R_ou_nd_ _th_e _r_ou_gh_ a_nd_ _r_u_gg_e_d_ _r_o_cks_
_th_e _r_a_gg_e_d_ _r_a_sc_a_l_ _r_a_n_.
12. _Th_e _str_i_pl_i_ng_ _str_a_ng_e_r_ _str_aye_d_
_str_aigh_t_ _to_wa_rd_ _th_e _str_u_ggl_i_ng_ _str_ea_m_.
13. _Sh_e u_tt_e_r_e_d_ a _sh_a_rp_, _shr_i_ll_ _shr_ie_k_,
a_nd_ _th_e_n_ _shr_u_nk_ _fr_o_m_ _th_e _shr_i_v_e_l_e_d_
_f_o_rm_ _th_a_t_ _sl_u_mb_e_r_e_d_ i_n_ _th_e _shr_ou_d_.
14. _F_or _f_ear o_f_ o_ff_ending _th_e _fr_ight_f_ul
fugitive, _th_e _v_i_l_e _v_a_g_a_b_o_nd_ _v_e_nt_u_r_e_d_
_t_o _v_i_l_i_fy_ _th_e _v_e_n_e_r_a_bl_e _v_e_t_e_r_a_n_.
15. A_midst_ _th_e _m_i_sts_, _w_i_th_ a_ngr_y _b_oa_sts_,
_H_e _thr_u_sts_ _h_i_s_ _f_i_sts_ a_g_ai_nst_ _th_e
_p_o_sts_,
A_nd_ _st_i_ll_ i_ns_i_sts_ _h_e _s_ee_s_ _th_e
_g_ho_sts_.
16. Peter Prangle, the prickly prangly pear picker, picked
three pecks of prickly prangly pears, from the prangly
pear trees, on the pleasant prairies.
17. Theophilus Thistle, the successful thistle sifter, in
sifting a sieve full of unsifted thistles, thrust three
thousand thistles through the thick of his thumb; now, if
Theophilus Thistle, the successful thistle sifter, in
sifting a sieve full of unsifted thistles, thrust three
thousand thistles through the thick of _his_ thumb, see
that _thou_, in sifting a sieve full of unsifted thistles,
thrust not three thousand thistles through the thick of
_thy_ thumb. Success to the successful thistle sifter.
18. We travel _sea_ and _soil_; we _pry_, we _prowl_;
We _progress_, and we _prog_ from _pole_ to _pole_.