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.

[Transcriber's Note: Advertising page of other Sanders' Readers removed.]

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]

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.

⇒

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.

¶

The Paragraph denotes the beginning of a new subject. It is chiefly used in the Bible; as, ¶ The same day came to him, etc.

§

The Section is used to divide a book or chapter into parts; as, §45.

* † ‡

The Asterisk, the Obelisk, the Double Dagger, and sometimes other marks, [Footnote: For instance: the Section mark, §, 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 ¶ 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.†
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.—— ⇒ Washington feared and hon-
14 ored God.
15 § Section, ‡ Double Dagger, and || Parallel, are also used
16 for reference to the margin.

* Proverbs xix. 5 and 9. † 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.

[!-- Marker --]

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.

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 sail.
au " gauge.
ay " lay.
ea " great.
ei " deign.
ey " they.

For Flat A.

au as in daunt.
ea " heart.
ua " guard.

For Broad A.

au as in pause.
aw " law.
eo " George.
oa " groat.
o " horn.
ou " sought.

For Short A.

ai as in plaid.
ua " guaranty.

For Intermediate A.

ai as in hair.
ea " bear.
e " where.
ei " their.

For Long E.

ea as in weak.
ei " seize.
eo " people.
ey " key.
ie " brief.
i " pique.

For Short E.

a as in any.
ai " said.
ay " says.
ea " dead.
ei " heifer.
eo " leopard.
ie " friend.
ue " guess.
u " bury.

For Long I.

ai as in aisle.
ei " sleight.
ey " eye.
ie " die.
oi " choir.
ui " guide.
uy " buy.
y " try.

For Short I.

e as in English.
ee " been.
ie " sieve.
o " women.
u " busy.
ui " build.
y " symbol.

For Long O.

au as in hautboy.
eau " beau.
eo " yeoman.
ew " sew.
oa " boat.
oe " hoe.
ou " soul.
ow " flow.

For Long Slender O.

oe as in shoe.
ou " soup.

For Short O.

a as in was.
ou " hough.
ow " knowledge.

For Long U.

eau as in beauty.
eu " feud.
ew " dew.
ieu " adieu.
ou " your.
ue " cue.
ui " suit.

For Short U.

e as in her.
i " sir.
oe " does.
o " love.
ou " young.

For Short Slender U.

o as in wolf.
ou " would.

For the Diphthong OI.

oy as in joy.

For the Diphthong OU.

ow as in now.

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 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-ry
reg'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 for af-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.

1. Bd, as in rob'd; bdst, prob'dst; bl, bl and, able; bld, hum-bl'd; bldst, troubl'dst; blst, troubl'st; blz, crumbles; br, brand; bz, ribs.
2. Ch, as in church; cht, fetch'd.
3. Dj, as in edge; djd, hedg'd; dl, bridle; dld, riddl'd; dlst, handl'st; dlz, bundles; dn, hard'n; dr, drove; dth, width; dths, breadths; dz, odds.
4. Fl, as in flame; fld, rifl'd; flst, stifl'st; flx, rifles; fr, from; fs, quaffs, laughs; fst, laugh'st, quaff'st; ft, raft; fts, wafts; ftst, grft'st.
5. Gd, as in begg'd; gdst, bragg'dst; gl, glide; gld, struggl'd; gldst, haggl'dst; gist, strangl'st; glz, mingles; gr, grove; gst, begg'st; gz, figs.
6. Kl, as in uncle, ankle; kld, trickl'd; kldst, truckl'dst; klst, chuckl'st; klz, wrinkles; kn, black'n; knd, reck'n'd; kndst, reck'n'dst; knst, black'n'st; knz, reck'ns; kr, crank; ks, checks; kt, act.
7. Lb, as in bulb; lbd, bulb'd; lbs, bulbs; lch, filch; lcht, belch'd; ld, hold; ldst, fold'st; ldz, holds; lf, self; lfs, gulfs; lj, bulge; lk, elk; lks, silks; lkt, milk'd; lkts, mulcts; lm, elm; lmd, whelm'd; lmz, films; ln, fall'n; lp, help; lps, scalps; lpst, help'st; ls, false; lst, call'st; lt, melt; lth, health; lths, stealths; lts, colts; lv, delve; lvd, shelv'd; lvz, elves; lz, halls.
8. Md, as in doom'd; mf, triumph; mp, hemp; mpt, tempt; mpts, attempts; mst, entomb'st; mz, tombs.
9. Nch, as in bench; ncht, pinch'd; nd, and; ndst, end'st; ndz, ends; ng, sung; ngd, banged; ngth, length; ngz, songs; nj, range; njd, rang'd; nk, ink; nks, ranks; nkst, thank'st; nst, wine'd; nt, sent; nts, rents; ntst, went'st; nz, runs.
10. Pl, as in plume; pld, rippl'd; plst, rippl'st; plz, apples; pr, prince; ps, sips; pst, rapp'st; pt, ripp'd.
11. Rb, as in herb; rch, search; rcht, church'd; rbd, orbd; rbdst, barb'dst; rbst, disturb'st; rbz, orbs; rd, hard; rdst, heard'st; rdz, words; rf, turf; rft, scarfd; rg, burg; rgz, burgs; rj, dirge; rjd, urg'd; rk, ark; rks, arks; rkst, work'st; rkt, dirk'd; rktst, embark'dst; rl, girl; rld, world; rldst, hurld'st; rlst, whirl'st; rlz, hurls; rm, arm; rmd, arm'd; rmdst, harm'dst; rmst, arm'st; rmz, charms; rn, turn; rnd, turn'd; rndst, earn'dst; rnst, learn'st; rnz, urns; rp, carp; rps, harps; rpt, warp'd; rs, verse; rsh, harsh; rst, first; rsts, bursts; rt, dart; rth, earth; rths, births; rts, marts; rtst, dart'st; rv, curve; rvd, nerv'd; rvdst, curv'dst; rvst, swerv'st; rvz, nerves; rz, errs.
12. Sh, as in ship; sht, hush'd; sk, scan, skip; sks, tusks; skst, frisk'st; skt, risk'd; sl, slow; sld, nestl'd; slz, westles; sm, smile; sn, snag; sp, sport; sps, lisps; spt, clasp'd; st, stag; str, strike; sts, rests; sw, swing.
13. Th, as in thine, thin; thd, breath'd; thr, three; thst, breath'st; thw, thwack; thz, writhes; tl, title; tld, settl'd; tldst, settl'dst; tlst,settl'st; tlz, nettles; tr, truuk; ts, fits; tw, twirl.
14. Vd, as in curv'd; vdst, liv'dst; vl, driv'l; vld, grov'l'd; vldst, grov'l'dst; vlst, driv'l'st; un, driv'n; vst, liv'st; vz, lives.
15. Wh, as in when, where.
16. Zd, as in mus'd; zl, dazzle; zld, muzzl'd; zldst, dazzl'dst; zlst, dazzl'st; zlz, muzzles; zm, spasm; zmz, chasms; zn, ris'n; znd, reas'n'd; znz, pris'nz; zndst, impris'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 his acts?
   Will he attempt to conceal his sacks?
2. The man had oars to row her over.
   The man had doors to row her rover.
3. Can there be an aim more lofty?
   Can there be a name more lofty?
4. The judges ought to arrest the culprits.
   The judges sought to arrest the culprits.
5. His ire burned when she told him her age.
   His sire burned when she told him her rage.
6. He was awed at the works of labor and art.
   He was sawed at the works of labor an dart.
7. He was trained in the religion of his fathers.
   He was strained in the religion of his fathers.

MISCELLANEOUS EXAMPLES.

1. Bravely o'er the boisterous billows,
   His gallant bark was borne.
2. Can craven cowards expect to conquer the country?
3. Click, click, goes the clock; clack, clack, goes the mill.
4. Did you desire to hear his dark and doleful dreams?
5. "Firm-paced and slow, a horrid front they form,
   Still as the breeze; but dreadful as the storm."
6. The flaming fire flashed fearfully in his face.
7. The glassy glaciers gleamed in glowing light.
8. How high his honors heaved his haughty head!
9. He drew long, legible lines along the lovely landscape.
10. Masses of immense magnitude move majestically through the vast empire of the solar system.
11. Round the rough and rugged rocks the ragged rascal ran.
12. The stripling stranger strayed straight toward the struggling stream.
13. She uttered a sharp, shrill shriek, and then shrunk from the shriveled form that slumbered in the shroud.
14. For fear of offending the frightful fugitive, the vile vagabond ventured to vilify the venerable veteran.
15. Amidst the mists, with angry boasts,
    He thrusts his fists against the posts,
    And still insists he sees the ghosts.
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.

[!-- Marker --]

SECTION II.
ACCENT AND EMPHASIS.

ACCENT and EMPHASIS both indicate some special stress of voice.

Accent is that stress of voice by which one syllable of a word is made more prominent than others; EMPHASIS is that stress of voice by which one or more words of 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 the Primary Accent; and the less forcible, the Secondary 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.