87. Rn, rnd, rndst, rnst, rnt, rnz, rp, rps, rpst, rpt, rptst. Warn, warn'd, warnd'st, burn'st, burnt, burns, harp, harps harp'st, harp'd, harp'dst.

88. Rs, rsh, rst, rsts, rt, rth, rths, rts, rtst. burst, bursts, hurt, hearth, hearths, hurts, hurt'st. 89. Rv, rvd, rvdst, rvst, roz, rz. curv'st, curves, jars.

Purse, harsh

Curve, curv'd, curv'dst,

90. (P, aspirate.) Pl, pld, pldst, plst, plz, pr, ps, pst, pt, pth, pths, pts. Plan, rippl'd, rippl'dst, rippl'st, ripples, prim, whips, whipp'st, crypt, depth, depths, crypts.

91. (B, vocal.) Bd, bdst, bl, bld, bldst, blst, blz, br, bst, bz. -Robb'd, daub'dst, trouble, troubl'd, troubl'dst, troubl'st, troubles, brow, prob'st, robs.

92. (F, aspirate.) Fl, fld, fidst, flst, fr, fs, fst, ft, fth, fths, fts, ftst.-Flame, trifl'd, trifl'dst, trifl'st, frown, laughs, laugh'st, waft, fifth, fifths, wafts, waft'st.

93. (V, vocal.) Vd, vdst, vl, vld, vldst, vlst, vlz, vn, vnth, vnz, vst, vz.- Liv'd, liv'dst, driv'l, driv'l'd, driv'l'dst, driv'l'st, driv❜ls, driv'n, elev’nth, heav'ns, liv'st, lives.

94. (Th, aspirate, as in thin.) Thn, thnd, thndst, thnz, thr, ths, tht.-Strength'n, strength'n'd, length'n'dst, strength'ns, throb, truths, betroth'd.

95. (Th, vocal, as in this.) Thd, thst, thz. - Wreath'd, wreath'st, wreaths.

96. (T, aspirate.) Tl, tld, tldst, tlst, tlz, tr, ts, tst. - Settle, settl'd, settl'dst, settl'st, settles, trust, combats, combat'st.

97. (D, vocal.) Dl, dld'st, dlst, dlz, dn, dnd, dndst, dnst, dnz, dr, dst, dth, dths, dz. — Kindle, kindl'dst, kindl'st, kindles, hard'n, hard'n'd, hard'n'dst, hard'n'st, hard'ns, dread, didst, breadth, breadths, deeds.

98. (K, aspirate.) Kl, kld, kldst, klst, klz, kn, knd, kndst, knst, knz, kr, ks, kt, kts. Truckle, truckl'd, truckl'dst, truck'lst, truckles, black'n, black'n'd, black'n'dst, black'n'st, black'ns, crime, six, kicks, correct, rocked, acts.

99. (G. vocal.) Gd, gdst, gl, gld, gldst, glst, glz, gr, gst, gz. Fagg'd, fagg'dst, glow, mangl'd, mangl'dst, mangl'st, mangles, grim, digg'st, digs.

100. (S, aspirate, as in sin.) Sf, sk, skr, sks, skst, skt, sl, sld, sidst, slst, slz, sm, sn, snz, sp, spl, spr, sps, spt, st, str, sts. Sphere, skip, screw, masks, mask'st, mask'd, slay, nestl'd, nestl'dst nestl'st, nestles, smoke, sneer, bas'ns, spot, splash, spring, clasps, clasp'd, stay, street, insists.

101. (Z, vocal, as in zeal.) Zd, zl, zld, zldst, zlst, zlz, zm, zmz, zn, znd, zndst, znst. Amaz'd, muzzle, muzzl'd, muzzl❜dst

muzzl'st, muzzles, chasm, chasms, pris'n, reas'n'd, reas'n'dst, reas'nst.

102. (Sh, aspirate, as in shine.) Shr, sht.-Shrink, shrine, shrive, shrill, shrub, shriek, shroud, shrank, shrunken, pushed, hushed. (The sh should be carefully sounded in the preceding combination with r.)

103. (Z, vocal, as in azure, sometimes expressed by zh, is the Cognate sound of sh; but it does not occur in consonant combinations in English.)

104. (Ch, aspirate, as in chest.) Cht.-Fetch'd, hatch'd, watch'd, latch'd, scratch'd.

105. (J, vocal, as in jest.) Jd. — Urg'd, emerg'd, cag'd, engag'd, besieg'd.

ARTICULATION.

106. Articulation is the linking together of the elementary sounds, so as to form them into syllables and words. Pronunciation refers to the vocal sound produced; and is either correct or incorrect, according as it conforms with or deviates from that which is considered the true standard.

107. The power of articulation constitutes a marked difference between men and brutes; the latter, being unable to articulate, can only utter indistinct sounds. There can be no good elocution without a pure and accurate articulation. Frequent practice in the preceding lists of words, illustrating the elementary sounds and combinations of consonant sounds, will do much to remedy the ordinary faults in articulation to which the young are liable.

108. Be careful to give to every word its proper sounds. Do not say an for and, givin for giving, spere for sphere, prmote for promote, &c. Do not add to a word a sound that does not belong to it. Do not say helum for helm, lawr for law. Avoid depriving a letter unnecessarily of its regular sound. Do not say git for get, kittle for kettle, kindniss for kindness, &c. Do not rob the r of its true force in such words as energy, proporty. Distinguish between r trilled and untrilled.

109. The practice of running words together, so as to make two or more sound like one, is not proper in English. Do not say beforer, instead of before her; acroster, instead of across her, &c. Let every word be enunciated separately and clearly. When a word ends with s, and the next begins with s, the first must be pronounced distinctly and unmingled with the second; as, the hosts still fought; the mists seem gathering, &c. Do not pervert the sound of aw into or; do not say droring for drawing, sorring for sawing, &c.

ACCENT.

110. By Accent we mean the stress of the voice on a certain syllable of a word which has more than one syllable. In writing we show this stress by a mark, thus ('); as, expletive, muse'um, con-tra-dict'. The following words are accent'ed on the first syllable: Ex'qui-site, mis'chievous, vehement; the follow ing on the second: Contrib'ute, horizon, sono'rous; the following on the third: Comprehend', privateer', violin'. Some words have more than one syllable ac-cent'ed; as, in'di-vis′i-bil ́i-ty.

111. Several words, which are spelled alike as nouns and verbs, and appear the same when written or printed, are distinguished by a difference of accent. Thus we say a perfume, to per-fume'; a pres'ent, to pre-sent'; an ac'cent, to ac-cent'; a reb'el, to re-bel'; an increase, to in-crease'; a rec'ord, to record'; an in'sult, to in-sult', &c. Let the accents be properly marked in the words of the following sentences:

Let us look up again at this immense concave above us, where sparkle the countless stars. If it be solid, who is the architect? Who is it that has fastened in it, at regular distances, such grand and luminous bodies? Who makes this vaulted sky to turn round us so regularly?

True eloquence 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 cannot 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.

SILENT LETTERS.

112. Remember that certain letters are silent, or unsounded, in certain words. Thus the b in doubt, climb, limb, subtle, &c., is unsounded. So is the c in indict, victuals, &c.; the d in Wednesday; the g in gnaw; the h in heir, honest, hour; the k in knife; the in half, should; the n in hymn; the p in empty; the s in island; the t in often, pestle, &c. &c.

EMPHASIS, PAUSE, ETC.

113. Emphasis is a variation of the voice, either by stress or pause, applied to one or more words in a sentence, to indicate distinction, or enforce the meaning. The words in Italic in the following sentence should be emphasized: "I do not ask, I demand your attention." The learner should avoid multiplying unnecessary emphatic words; as the effect is thereby weakened when there is occasion for it.

114. We have seen that, in every word, except monosyl.

lables, there is one syllable, and sometimes more, upon which the voice falls more strongly than on the rest; and this syllable is called the ac-cent'ed syllable. Just so, in every sentence, there is one word at least, and sometimes more, that requires a particular stress of the voice, and this stress is called the emphasis. The sense of a sentence often depends on the right placing of the emphasis. Thus, in the sentence, "Did you give him a ripe orange?" the direct meaning may be taken in seven dif ferent ways, according as the emphasis is bestowed on the seven words separately.

115. Pauses are suspensions of the voice in reading or speaking. Remember that slight pauses must often be made at places where there are no punctuation-marks. Thus: "The general that commanded the army was slain." In this sentence there should be a slight pause after army, although there is no punctuation-mark. Have constant regard to the meaning of what you read.

Emphasis requires a transposition of accent when two words which have a sameness in part of their formation are opposed to each other in sense; What is done cannot be undone. Thought and language act and react upon each other."

as,

66

INFLECTION, ETC.

116. Inflection has reference to the change of tone suitable for the expression of certain ideas and passions. Try the question, "Was it John, or was it James?" When distinction is implied, it will be perceived that there is a very decided difference in the tone. That tone which we give to the former name is the rising inflection; that which we give to the latter is the falling inflection.

It should be explained to pupils that one of the principal circumstances to be regarded, in first attending to the speaking voice, is its power of conveying by one single percussion, independently of articulation, an idea of continuation or completion.

It may be readily made apparent to the young that every conversation exhibits the distinction between the rising and falling inflection; that, in every part of a discourse, the upward or downward slide of the voice suggests, either that the speaker has not finished the sentence, or that he has entirely concluded the period.

The middle falling inflection signifies that a portion of meaning is formed, but that something more is to be added. The middle rising inflection prepares the ear for the cadence, or entire conclusion. The extreme falling inflection implies that the sentence is complete.

117. The rising inflection is that tone of the voice which we give to what is incomplete, or suspended; as, "Did he say

No?" It is the tone of doubt and entreaty. For the sake of convenience, we will mark this inflection precisely as we do an accented syllable, thus ('). This mark is called the acute

accent.

118. Direct questions, or those commencing with a verb, and which can be grammatically answered by a simple yes or no, generally take the rising inflection; as, "Will you ride?" "Can he read?" By the tone of the voice we indicate to the person whom we interrogate that we are wholly in a state of suspense, and that a simple yes or no will terminate it.

The peculiar emotion with which the question is put is, however, the true guide to the inflection. A direct question to which the answer is anticipated takes the falling inflection; as, "Is not that a beautiful sunset'?" A direct question made emphatic by passion may also take the falling inflection.

119. Where the words saying or said, exclaiming or exclaimed, asking or asked, replying or replied, or words similar in effect, occur, followed by what is said or asked, the voice must generally take the rising inflection, and there must be about the same pause after it that there is after a colon; as, "Ringing the bell, he said, ‘Give me my hat.'" "He passed out of the room, exclaiming', 'I will have no more to do with you!'"'

120. The pause of suspension, in incomplete sentences, denoting that the sense is unfinished, generally takes the rising inflection; as, “The young', the healthy and the prosperous', should not presume on their advantages`." "To choose the best among the good is one of the most hazardous attempts of criticism."

121. The falling inflection is the tone of completeness and determination. We have indicated it in print by this mark (`), called the mark of the grave accent. Whenever the sense is complete, whether at the close or any other part of a sentence, the falling inflection should be employed; as, "Live well." "As you value the approbation of Heaven, or the esteem of the world, cultivate the love of truth; in all your proceedings be direct and consistent."

122. Indirect questions, or those commencing with an adverb or pronoun, and which cannot be grammatically answered by a simple yes or no, generally take the falling inflection; and so do the answers to such questions; as, "Where is he going?" "I don't know`." "Which was the wiser man?"- “I

cannot say`."

If the question form an exclamation, it will sometimes require the rising Inflection; as, "Where shall we go'?"—" What shall we do'?"