William Shakespeare - "The First Part of Henry the Fourth"

Jack London - "The Red One"

Langloh Parker - "The Euahlayi Tribe A Study of Aboriginal Life in Australia"

W. D. Howells - "Roman Holidays and Others"

Sanders\' Union Fourth Reader

C >> Charles W. Sanders >> Sanders\' Union Fourth Reader



Produced by David Garcia, Tonya Allen, Charles Franks,
and the Distributed Proofreaders




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 Diaresis is placed over the latter of two vowels, to show that they
belong to two distinct syllables; as, aerial.

-

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_.

Copyright (c) 2007. topbookz.net. All rights reserved.