Archive

p. 126

II. 87; remov'd love Pas. III. 29; Pas. III. 87; lov'd Epit. II. 11. rove Gulliver IV. 19.

I. 13. | Gulliver II. 51. groves El. A. 231; loves Ep. A. 29; strove E. S. II. 74; above Fab. Dry 41. Epit.

Waller: • above Jove M. 1; approve love M. 66; grove love Dedic; M. 42; Jove love M. 2; Ep. 4; grove move M. 57; love approve M. 44; love grove M. 56; love move M. 9; 19; 22; 29; 32; Ep. 12; love prove Ep. 2; move love M. 46; C91; Ep. 2; Ep. 6; Ep. 27; Div.

p. 14

Double pauses. Va- • 24-29 30-34 IV. Alliteration. Expletives. Unfinished lines. 34-37 V. ― Summary. 37-40 Part Second: Rhymes.

p. 34

(Inn Album 1.208-217) On all too few occasions it can sweep into the full organ with tones not unworthy of Milton at some moments, as in the passage in Aristophanes' Apology which ends: What if thy watery plural vastitude, Rolling unanimous advance, had rushed, Might upon might, a moment,-stood, one stare, Sea-face to city-face, thy glaucous wave Glassing that marbled last magnificence,- Till fate's pale tremulous foam-flower tipped the gray, And when wave broke and overswarmed and, sucked To bounds back, multitudinously ceased, Let land again breathe unconfused with sea, Attiké was, Athenai was not now! (20-29) And perhaps on too many occasions it can fall into feeble, high-pitched pipings like those of the Pope: Civilization and the Emperor Succeed to Christianity and the Pope.

We tell thee “Take Guido's life, sapped society shall crash, Whereof the main prop was, is, and shall be -Supremacy of husband over wife!” (R&B 10.2023-29) It slides from such elephantine lines as: He hath watched hunt with that slant white-wedge eye.

p. 19

You have right of trove to these novel effects of rhythm."29 He paid loving tribute to her for these criticisms, and his whole spirit might best be shown by this passage from one of his letters to her: "For the criticism itself, it is all true, 27 Ibid, I, p. 6. 28 Letters, especially Vol. I, pp. 148, 268, 138-9. 29 Ibid. Vol. I, p. 253.

p. 137

ADDITIONS AND CORRECTIONS PAGE: 29, line 1. 20. 31. 32, 44. 30. --- INSTEAD OF: RELD: ou page on page Cäsureinfinden: Casur pinion: firs tvolume first wolnie estosterminos este Wern Perhaps the strongest testimony TT II proparoxytonie value of these i.cms 1 : man who uses them as sun is a can be no two opis.

p. 135

ADDITIONS AND CORRECTIONS PAGE: 29, line 1. 20. 31. 32. 30. INSTEAD OF: READ: ou page on page Cäsureinfinden: Cäsur einfinden : firs tvolume first volume estosterminos estos terminos Perhaps the strongest testimony in favor of the proparoxytonic value of these forms is given by the man who uses them as such in a passage where there can be no two opinions as to how the poet himself counted them.

p. 20

I (XIII) (xxIII) (XVIII) (XIV) occurs 5 times. 4 27 "" 33 34 34 99 29 99 22 29 3 د. 2 2 2 ลง I 1 I "" I 99 72 "" "" "" 22 99 I ", 29 (XXVIII) This list, with the addition of one purely Arabic ode in Arabic metre, accounts for the 573 ghazals which, with 69 Rubáiyát and a considerable number of other poems, long and short, form the published Divan of Hafiz.

p. 19

J -- 1 1 (VI, XI) I 1 - J (v, x, xv, xxII) (VIII, XVI, XIX) v- | (VII, XVII) (xx) T (IV) (III, XXIV) 100 (IX) v- (XXVI) (XXI) (I, II, XXV) (XII) (xxvII) Occurs 159 times. "" 99 39 "9 99 "29 "" 99 25 "" "" "" 142 29- 79 40 27 21 II "" 10 "" "9 23,9 99 "" 99 99 34 9 " 8", 5 ",

p. 3

Cases of Impediment Consultations and Conferences 29 30 31 25 26 32

p. 29

29 Round thy indignant shores. Next, shrin'd in light, In constellated glories clad, divine !

p. 125

When, therefore, as in certain of these lyrics, she got hold of a rare story or suggestion, she made an artistic poem ; all are stamped with her sign-manual, and one or two are as lovely as anything on which her fame will rest.

p. 440

Troubadour Period, 359; and see Pre- dramatic period, 24, 25; not adventurous, Chaucerian Verse, etc. 25; great advance in poetry as an art, 25, Tupper, Martin Farquhar, 256, 278. 26; its effects upon the minor poets, 28; Turner, Charles (Tennyson), 270. longing for novelty, 29, 31; dilettante- ism, 29; multitude of verse-makers, 29; UNCONVENTIONALISM, 333. leaders and representative poets, 30, Under the Microscope, Swinburne's, 402 – 31; the end already indicated, 31, 32, 404. 342; promise for the future, 32; method Undertones, Buchanan's, 348. of, 34; has produced the greatest female Unities, the classical, 387. poet, 115; specially represented by Ten- nyson, 154; resemblance to Alexandrian VARIAN, Mrs.

p. 125

When, therefore, as in certain of these lyrics, she got hold of a rare story or suggestion, she made an artistic poem; all are stamped with her sign-manual, and one or two are as lovely as anything on which her fame will rest.

p. 520

Adams's, 257. phases, 17; skepticism, 17, 18; both Vivisection, Browning's skill in, 321, transitional and creative, 21; tran- 337. sitional in thought and feeling, 22; Voice, 382, 383. creative in style and form, 22; crit- Voice from the Nile, A, Thomson's ical and scholarly, 23 ; restrictions 457 to ideality : journalism, 23, novel- Volapûk, the new language, 466. writing, 23, 25, over-refinement, 23, Voltaire, 36, 273. over-restraint, 24, high breeding, 24, impassibility, 24 ; not a dramatic WADE, THOMAS, 256. period, 24, 25; not adventurous, 25; Wagner, Browning compared to, 341 great advance in poetry as an art, and see 443. 25, 26; its effects upon the minor Wallenstein, 41, 310. poets, 28; longing for novelty, 29, Waller, Edmund, 272, 273. 31 ; dilettanteism, 29; multitude of Waller, John Francis, 259. verse-makers, 29; leaders and rep- / Warren, John Leicester, 283, 445.

p. 250

.): cited, 21; analysis of 23-4; a villain-hero play, 24; weak tragic effect of, 24; influence of upon later dramatists, 29; compared with Webster's tragedy, 239; Appius: a villain-hero, 24; characteristics, 24; lustful- ness, 24; (by Webster): date, 239; no tragic emotion aroused by, 240; Appius: the hero, 239; characteristics, 239-40; no admirable traits, 240; arouses no sympathy, 240 Aristotle, on the emotional effect of making a villain the hero, 2, 5; definitions questioned by G.

Noyes, 3; on the character of the villain, 5; on the character of the hero, 5, 230; example of good hero cited by, 6; on pity and fear as tragic emotions, 6, 230; list of tragedies approved by, 13; his theory of tragic emotion examined, 85-8, 91, 94 See also Tragic emotion Atheist's Tragedy, subordinate part played by avenger, 165; combination of types, 165-6; revenge play with ambitious hero, 167; the moral of the play, 166; situations not con- vincing, 170; elements of chance, 170; lack of tragic emotion, cause of, 171; compared with Spanish Tragedy and Jew of Malta, 103; D'Amville: ambitious villain-hero, 165; emotions aroused by, 171; character: revealed in soliloquy, 165; Machia- vellian traits, 167-8; not a complete Machiavellian, 168; ambition not political, 167; intellectual ability, 169; be- comes grotesque, 169; compared with Barabas, 167 Atreus, see Thyestes Audience, attitude of towards The Devil's Disciple, 7; as judge of what constitutes a violation of moral law, 8; sanction of moral law by, in Macbeth, 192; impression made upon, as test of character, 197 Barabas, see Jew of Malta Barnes, Barnabe, see Devil's Charter Bosola, see Duchess of Malfi Cæsar Borgia, character of, II; alluded to, 38 See also Devil's Charter Cambyses, cited, 21; analysis of, 24-5; a villain-hero play, 25; no tragic emotion aroused by, 25; influence upon later dramatists, 29 Catiline, date, 178; compared with Sejanus, 178, 182; influence of Seneca, 178; influence of Gentillet, 179; tragic emotion, 179-81; failure as tragedy due to undramatic construction and lack of unity, 180-2, 221; Catiline: Machiavellian traits, 178-9; other traits, 182; emotions aroused by, 179, 182

p. 29

ENGLISH PLAYS BEFORE MARLOWE 29 undertook to present as their hero a villain actuated solely by lust.

p. 340

But we shall fee him worse treated in Vcrfes 29. and 30. Te tollente animam, fubit$ exanimata recurrunt In cinerern: iifpirante anirnam te denzu, fNrgit Ill co Jao une u ejbolis geerofa prpago, Et defolatasgens incolit aureaterran.

p. 348

( 348 i. ejfe'w Words, is by you reckoned, on other Occalions, among that Author's greatest PerfeEtions. (29.) We are now, at length, arrived at the laftVerfe of this Psalm.

p. 196

It is contended [Bryant, p. 140], that amenufcd, in Le. z8, has been put by mistake for an:eufJeth; and adented [Ibid. p. iSz], by a like mistake, for adentetb in G. 29; and that the mif- take in both inflances has arisen from the Ms. having had a mixture of Saxon characters, and- the transcriber having taken the Saxon th (6) for a common d (b). But, in the first place, here is no proof at all of any mistake in either of these words; for the passage in Le. 28 remains as hard to be understood after the proposed alteration, as it was before; and the passage in G. 29 was as easy to be underiRood without the proposed alteration as with it.

p. 135

I have never met with any one, who had examined that Facsim;ile with the least atten- tion, who was not satisfied that the archetype was a forgery (29). Of the two other fragments, one contains the " Epitaph on Robert Canyoge," and the other the 36 first verses of the " Storie of Wil. liam Canyrge."

An engraving of that too, that a manner of writing so contrary to modern prac- tice would have the appearance of being antient; as in ge- neral he seems to have thought, with respect to words and things, that whatever was not modern, was ancint. (29) Though the Dean has been pleased to declare roundly [p. 429], " that this Facjimile does not do justice to the original," he has not attempted to point out any inflance of deficiency, redundance, or variation in it.

p. 31

VIRGIL'S GEORGICS AND THE BRITISH POETS. 29 may be compared with Geor. i. 272, "balantumque gregem fluvio mersare salubri", and Geor. ii. 6-8 : " spumat plenis vindemia labris ; hue, pater o Lenaee, veni, nudataque musto tingue novo mecum dereptis crura cothurnis."

p. 9

The phrase "smit with the love of sacred song", iii. 29, is often quoted to illustrate Geor. ii. 476, " ingenti percussus amore ".

p. 25

SENTENCES. 25 29. x W[U] ]² (~w w[ʊ 0} U[+; 3IYT_II 2071 Sfos ] @IY Đ] OJ+YO; Taft wrestwie ] wipitore Jx + 30.

p. 48

We tire ourselves with play, and go to bed; We never know how long we are asleep; I'm sure we should be hungry if we were awake. 29. I get some lessons, now and then, to say; Verses and stories which I learn by heart; And keep remembering by repeating what I know. 30.

p. 68

Third Edition, Price 4s. THE ELOCUTIONARY MANUAL: A Text-Book of Principles and Exercises. New Reader and Speaker, pp. 432, Price 3s. 6d. THE STANDARD ELOCUTIONIST: Classified Readings and Recitations, with Principles, abridged from the "Manual." Illustrated Nursery Book, Price ls. LETTERS AND SOUNDS: An Introduction to Reading on an entirely new plan.

p. 29

29 such a manner that his Sons, not having heard them, so uttered them as to surprise me by the extremely correct echo of my own voice.

p. i

MELVILLE BELL, F.E.I.S, F.R.S.S.A., PROFESSOR OF VOCAL PHYSIOLOGY, LECTURER ON ELOCUTION IN UNIVERSITY COLLEGE, LONDON, AUTHOR OF PRINCIPLES OF SPEECH AND CURE OF STAMMERING," " ELOCUTIONARY MANUAL, * STANDARD ELOCUTIONIST,' 'EMPHASIZED LITURGY,' * REPORTER'S MANUAL,' &c., &c.

p. 136

The Principles of Elocution, condensed from the Elocutionary Manual,” with Relative Exercises, are prefixed; and the Extracts are classified in the following Sections : 1.

II, EXPRESSIVE READING AND GESTURE- Reprints from the First Edition of the “ Elocutionary Manual,” consisting of Passages marked for Emphasis, Inflexion, &c.

The Complete System, price Half-a-Crown. THE REPORTER'S MANUAL, AND VOCABULARY OF LOGOGRAMS.-Containing the whole system, from its Alphabetic Rudiments to the Development of Principles adapted for Verbatim Roporting.

p. 638

And Haluendele, half part, half, 8. 29. See Halfdelle. Halwe, ger. to consecrate, b. 15. 557.

Handen, pl. hands, i. e. manual labour, 1. 222. See Hond. Handidandi. See Handydandy.

p. 451

"Parallel Extracts from 29 MSS. of Piers Plowman, with comments," &c. § 3.

Conclusion of the Poem; remarks by Prof. Morley. § 29. Dialect of the Poem. § 30. Metre of the Poem. § 31.

PAGE ix K1 ... ... ... ... 2 27 ... ... ... ... 29 ... 41 ... ... ... 42 ... 54 ... ... ... 56 ... ... ...

p. 92

Ash, Mr. Entick, \IMr. 3a!cy. i Mr. Sliciidan, and Nl-. \\a]!K.L, place the accent on the firll fT-ylllble of this word, lwhich feelis per'clr able on ac- coulit of tile veib being ac- cented on the lli. ; l, 1)D-.

p. 130

Behavior; Breeding; Morals. MANUAL, a. performed by the Hand. To MANUFACTURE, v. to form by Work- manship.

p. 38

Now physical recreation is of the nature of a rest, and recruits the tired brain-worker as cessation from manual employment recruits the tired hand-worker.

p. 29

INTRODUCTION. 29 quite impracticable. Unless the memory acts promptly to call up the plan and matter of discourse, the speaker will not only hesitate, but will also be subjective in the effort to call up what is needed, and thus fail in uttering the thought to the audi- ence. (6.)

p. 252

To some field of labor, mental or manual, every idler should hasten, as a chosen, coveted field of improvement. 7.

p. 14

CORRELATIVES. 19. b, as in babe, web; b stops with the light sound of p. 20. d, 66 66 dead, had, bed; " t. gag, dog, wag; k. wedge, badge, judge; " ch. 66 valve, wave, live; f. thee, thou, breathe; th. zeal, ooze, size; pleasure, azure, measure; 27. n 28. m, 29. ng, 66 66 66 66 66 66 66 (6 66 66 as in 66 66 66 66 LIQUIDS. hill, shall, well, all. 66 66 66 66 NASALS. nun, one, on, moon. maim, home, me, come. bring, thing, singing, sting.

p. 9

Many of them are new and appear for the first time in such a manual. The author is under great obligation to many firms and authors for the use of copyrighted selections.

p. 309

Adams, Q 128 Deems, D 290 Demosthenes, M 31 Dewey, D 254 Dickens, M 46, 52; Q 119, 129; R 223; D 291 Dobson, R 179 Eliot, R 168 Emerson, M 26, 42 ; D 269 Frye, D 249, 250 Barrie, M 36 Bates, Q 133 Benton, M 33 Blackmore, M 48; Q 83 Blouet, Q 101 Boker, M 22 Boucicault, R 210 Branch, D 251 Bright, Q 89 Brougham, D 257 Browning, E., Q 103; D 252 Browning, Q 85, 106, 134; R 161, 162, 169, 176, 191,213;D 264, 265 Bryant, R 157 Bulwer, R 188, 189 Burdette, M 29 Burke, M 22 Burton, M 40; D 266 Byron, D 244 Gilman, M 41 Gordon, D 290 Gosse, R 180 Grady, Q.90 Grattan, M 29; Q 91 Gray, R 176 Griggs, M 22, 23 Carlyle, M 32; D 251, 259 Chapman, R 173 Chatham, R 159 Cicero, M 29, 32 Clay, R 172 Cochran, R 165; D 262 Coleridge, R 174; D 246 Cornwall, M 28 Craik, D 267 Crothers, R 222 Curtis, R 159 Hawthorne, R 160, 172 Henry, M 23, 63 Herrick, R 175 Hogg, R 157 Holmes, I.

p. 29

Fathers that, like so many Alexanders, Have in these parts from morn till even fought, And sheathed their swords for lack of argu- ment. *** 3 29

p. 154

Make it a rule to attack short "i" with a touch of acute "e.' 29 154

p. viii

viii Contents PAGE FLUCTUATING QUALITIES. 25 LIFELESS TONE 27 FALTERING BREATH PRessure "SPLINTERY" TONE 28 29 FOGHORN QUALITIES 31 DETERIORATION OF BREATH CURRENTS 32 A CRAMPED MOUTH 34 BREATHY ATTACK • 36 SAGGING TONES 37 Too CLOSED, or Veiled TonES 39 SHOUTING HIGH NOTES 40 FRAYED TONE 4I UNCERTAIN PRODUCTION 42 43 44 46 THICK TONES THE VIBRATO THE VOWEL "I" WHEEZY TONE A VOCAL TWANG A THROATY CONSONANT MELODRAMATIC "UGH!"

p. 3

The Laws of Physiology and Anatomy 27 Chapter VI. VI. The Vocal Organ 29 Chapter VII. The Vocal Chords 35 Chapter VIII.

p. 29

The following illustration gives a very exact picture of the lungs, the air tube and the larynx. All these parts 29

p. 10

Is the fifth cranial a small or a large nerve ? 29. Name the expiratory nerves. 30. What is the effect of exciting these nerves ?

p. 29

The Nervous System. 29 apt to be the case when a register, especially the chest register of the female voice, has been carried beyond its proper limits.

p. 29

[ 29 ] ing with the holiow roof of the mouth. The muſcles of the tongue and cheek being active in the other vowels, but not in "" ſhows why this is the eaſieſt per- formed, and therefore feems in high fa- vour with my eafe-loving compatriots; who fo far furpafs the Laconians that I fuppofe they would be afhamed of having exerted three muſcles, when they might have expreffed their meaning with two.

p. 30

[ 30 ] may be for want of uſe, nor ſhould I de- fpair, if it were worth while, to bring my- felf in a week's time to do it currently and fmoothly, 29 u, It will be proper to remark here, that in founding the vowels "1" and " we can raiſe the under jaw and tongue fo as to ftraiten the paffage for the breath, without changing the letter, but only giv- ing it a little ſharper note; in this manner we perform thofe dipthongs which are written with a "w" or "y," and then by a jerk or fudden fall of the jaw, we proceed to the other vowel of the dip- thong; this enables us to make a dipthong of one vowel repeated in its two feveral notes, as "1" in "rild, yield; ris, yes; "u" in "uūd, woo'd uŭd, wood."

p. 166

166 fraude 122 hauteyn 122 journee 108, 115 fruit 126 Hebraic 58 joye 128 frye 87 Helen 161 jug(g)e 46, 124 fumeterre 71 heraud 122 juparti 91, 153 funeral 33 heritage 85 Jupiter 157 furnace 108 heron 74 jurdanes 57 futur 33 heronsewes 122 just 110 fyn 87 hidous 94 juste, vb. 112 Fynysterre 71 hoche-pot 45 justise 87 honest 27, 153 ,j u wise 88 gable 56 honestee 26 galianes 57 honour 6, 7, 102 Kaukasus 158 galingale 57 hoost 97 kerchief 143 gallant 63 hostel 82 krone 97, 146 galoche 45 galoun 29 hostelrye 143 hostiler 144 labour 27, 58, 102 Gaunt (Ghent) 158 gaunt 64 hotch-potch 45 houre 102 large 66 las 59 geaunt 31, 7'.) geeste (feat) 73 general 68 howpe 106 huge 46 humble 110 la(n)terne 39, 65 launde 62 laure 122 gentilesse 81, 149, 151 humilitee 33 lavour 27, 58 gerlond 36, 80 Huwe 161 If-liour 27, 44 giant 31, 79 (h)ypocrite 6, SS lege (liege) 43 gise 87 glorie 27, 32, 101 glose 96 gourde 39 ignoraunce 149, 151 impossible 89 impendent 22 legemle 27, 37, 48, 88 legioun 31 Leonard 159 leopard 3S, Sf> governe 39 impudence, -nt 22 leoun 31, 79 gowne 104 in- 138 lessoun 29 grace 54 grante 61, 63 iniquitee 75 insolence, -nt 22 libel 30, 90 licence 30, 48, 90 graunge 61 instrument 94 licorys 88 grayn 116 intresse 81 licour 94 greesse 72 ire 93 li. -go 43, 44 gn-rv' (grii'vo) 76 Grisilde 159 grudge 41, 46 Isawdo 161 isle 87 Itaylle 161 lodge 41, 45 logik 27 lord 38 guise 87 Loy 162 habit 27, 67 jade 57 lucre 35, 12(5 haire 115 jalousye 29, 67 Lucrece 160 Hanybal 158 Jame(s) 160 lure 127 hard 37 jaunt 64 haste 60 Jerusalem 157 maat 59 hauberk 122 Jerai '

p. 27

27 me"tal D 1064, 4, 201, 9, 29 tabard A 20 clirree 1 (claret) A 1471 glorie A 2239 sery e G (argument) < AF serie < L series A 3067 taric (to tarry) A 3409 c&tel A 373, B 27, 4017 C 594 m ^ g ik A 416, F 1125, 1202 chapel A 171 lo'gik A 286 ve'ssel B 3338, 3416, 3418 r glik A 701, LOW 321 jiatent sb.

Cp. vessel, abbey. See also p. 29 (bottom). 2 The ModE vacillation points back to ME and e, of which the latter, if it existed, was a spelling-pron.

p. 144

EXAMPLES: (1) The following instruction is given under the head of “Business Correspondence”: When a firm is the addressee, the salu. tatory phrase should be “Gentlemen:" or "Dear Sirs:'' —“A Manual for Writers,” Manly and Powell (2) “Good!”

p. 153

Your problem is to arrive at a meaning for each word through the syllables. primeval prima facie punctuate punctilious pedal pedometer linguistic magnify confident fidelity Genesis generate definite finite emigration Eugene sacrament mensuration mermaid commensurate abrupt interruption eruption Sacramento sacrifice sacrilegious stellar constellation stelliform migration immigration capital decapitate caption maritime portal porter portage portico deportment potential potentate impotent incredible creed credit cordial cordate manual amanuensis manipulate jurisdiction adjudicate judiciary factory facsimile de facto

p. 217

INDEX 217 Grief, 170 Gums, 66, 118 Gymnastics, 8, 24, 29, 31 Habits, bad, 10, 20, 96 Hamlet, 157 Hands, 175, 178 Harmony, 135, 149, 163 Health reform, 9, 96 Heels, 22 Hiawatha, 93 Hum, 43, 79 Humour, 197, 213 Huskiness, 9, 11 Hyoid bone, 67 muscles, 68, 85 Iambic, 151 Imitation, 205, 206 Infant, 22, 66, 95, 136 Inflexion, 95, 133, 136, 137, 138, 154, 183 Inhalation, 47, 48, 49, 54, 69, 123, 195 Intercostals, 42 Johnson, Dr., 61 Julius Cæsar, 166, 175 Key, 78, 92, 95, 99, 102, 103 Kinesiology, 173 "La bella voce," 4 Language, 77, 107, 109, 128, 175, 191, 194, 199, 202, 206 English, 3, 127 Laryngitis, 11 Larynx, 42, 62, 64, 65, 67, 79, 82, 83 Laughing, 66 Leisure, 17 Lingual muscles, 67 Lips, 63, 79, 111 Literature, 107 Liver, sluggish, 33 Locke, 107 Loudness of voice, 42, 43 Lung power, 8 Lungs, 28, 44, 46, 49, 53 Macaulay, 182 Maestro, 5, 97 Malformation of vowels, 81 Manner, 135, 164, 166, 213 Matter, 135 Metre, 149, 151 Mezzo-soprano, 11, 99 Milton, 140, 202 Mind, 77, 149 concentration, 14 Monotony, 135 Motion, 149 Mouth, 41, 64, 68, 69, 74, 79, 80, 82, 85 exercises, 73, 74, 75 Muscle, 22, 28, 29, 31, 39, 78 - abdominal, 23, 25, 28, 33, 38, 42, 49 - builders, 27 exercise, 37, 51 lingual, 67, 68 strength of, 18 vocal, 97 Music, 42, 63, 142, 149, 150, 191 Nature, 8, 27, 31, 72, 137, 149 Neck, 23, 31, 38, 39 Newspaper, 107

p. 218

218 INDEX Nostrils, 41, 47, 48, 53, 51, 69, 75, 79, 123 Nostrums, 10 Oratory, 18, 107, 133, 135, 153, 165, 166, 167, 168, 172, 182, 191, 198, 200, 204 Organ, church, 44, 77 Painting, 154, 164, 192 word, 203, 204, 207 Palate, 64, 72, 114, 122 "Paradise Lost," 141 Pause, 157, 158 Pharynx, 42, 48, 63, 64, 65, 66, 68, 73, 80, 82 Phonation, 77, 78, 80, 81, 85, 111, 122 Phonograph, 12 Physical condition, 14, 22 exercises, 37, 38 - laws, 26 - training, 7 Piano, 150 Pitch, vocal, 4, 45, 63, 77, 79, 95, 96, 97, 98, 101, 103, 135, 183, 208 Pitt, William, 182 Plasticity, 51 Poetry, 150, 191 Poise, 13, 18, 19, 20, 24, 25, 35, 36, 37, 38, 49, 110, 133, 173, 181 Political, 207 Portamento, 102 Posture, 134 Power, lung, 8 vocal, 42, 88 Pronunciation, 6, 127, 128 Prosody, 151 Public speaking, 134, 168, 172, 196, 200 Quintillian, 108, 134, 164, 175 Reform, health, 9 Registers, 79, 91, 93, 97, 101, 136, 137, 138 Resonating chambers, 42, 47, 65 Respiration, 24, 25, 26, 28, 41, 47, 48, 49, 75, 198 Rhetoric, 135, 157, 158, 159, 174, 183 Rhythm, 135, 149, 150, 151, 152, 154, 155 Ribs, 27, 28, 30 Romans, 134 Ruskin, 41 Satyrus, 165 Scapula, 34, 38 Sculptors, 19, 198 Senses, 149 Shakespeare, 61, 93, 95, 138, 143, 149, 153, 157, 163, 166, 202 Shoulders, 34, 38 Shouting, 66, 102 Singers, 29, 180 Singing voice, 101 Slang, 127 Sleep, 48 Slouch, 29, 32, 33 Social, 207 Socrates, 7 Sonant, 110 Sophists, 165 Soprano, 99, 101

p. 29

THE NERVE SYSTEM p. 29

p. xvii

ILLUSTRATIONS THE DIAPHRAGM THE LUNGS THE CHEST FRAME SHOWING THE POSITION OF THE LUNGS AND HEART • THE NERVE SYSTEM THE GOVERNING PLEXUSES OF THE BODY THE RESONATOR VARIOUS VIEWS OF THE Larynx FIVE DIFFERENT VIEWS OF THE VOCAL CORDS THE CONNECTION OF THE ELEMENTS · • • · • • • THE VOCAL DISK THE FRAME OR SKELETON SHAPE OF THE FRAMEWORK FROM TIGHT LACING OR WRONG BREATHING SHAPE OF THE FRAMEWORK FOR NATURAL OR COR- RECT BREATHING CONTRACTION, DIAPHRAGM THE RETONING AND RESONATING CAVITIES AND TISSUES TWO COMPLEMENTARY HALVES OF THE SPEAKING • · • • • · • · • EXPANSION AND COLLAPSE OF THE · · · • PAGE 13 17 • 18 29 39 47 57 61 67 69 177 178 178 VOICE SENSATION OF VOCAL TONE OCAL Those of the illustrations that are not my own original drawings I have adapted from James Lickley, Lennox Browne's Kuss and Germack and Huxley's physiology, to which works I am greatly indebted.

p. 8

Perhaps one of the very best general exercises for the complete and partial relaxation or "decomposing " of the various muscles of the neck, trunk, and limbs, is what the author of this work calls, in his "CALIS- THENIC EXERCISES" (a small manual published some time ago), "THE INDIAN DANCE."

p. 8

Perhaps one of the very best general exercises for the complete and partial relaxation or "decomposing " of the various muscles of the neck, trunk, and limbs, is what the author of this work calls, in his "CALIS- THENIC EXERCISES" (a small manual published some time ago), "THE INDIAN DANCE."

p. 181

These pages, therefore, make no claim what- ever to be regarded as a manual of singing. They aim only to communicate and extend a knowledge of the latest discoveries and advances in the domain of vocal art, and to protest against and correct prevailing prejudices and errors in regard to this art, as well as to engage the atten- tion of thos«?

p. 60

It was objected to the results of niy observa- tions, that such an action of the glottis "was only possible by means of cartilages and muscles, but that such cartilages and muscles as could render an action of that kind possible were not known, nor was there any reference to them to be found in any manual of anatomy." While I fully admitted the soundness of this objection, I was, after repeated observations, more and more convinced of the correctness of my own statements.

p. 4

-Medical Review. "The most practical manual on voice production that we have seen, and therefore the most helpful."

"We warmly welcome this practical and useful manual." Modern Language Teaching. Full of valuable suggestions and good illustrations."

p. 87

Beerbohm 72 Trunk, Division of 5 Tuning-fork 16 Uvula, Rolling 46 Ventricles of Morgagni 36, 38, 40 Development of 41 Ventricular Bands 38, 40 Vibration, Sympathetic 18 Viëtor, Prof. 29 Vocal Cords 37, 63 False 38, 40 Vocal Ornaments 69 Vocalisation, Test of 22 Voice, Growth of 41 Quality of 20 Range of 71, 74 Singing 60 Voice-Development, Time neces- sary for 62 Vowel, Change of 29 Definition 15 Vowel Overtones 16, 63 Vowel Triangle 30 Vowels, Blending of 30 English 3r Pronunciation of 55 Short 32 Thin 29 Whispered 17 Walking, Analogy of 49 Wave-length 72 Wreck of French ship 6 of mill 19 Yawn, Freedom from 26

p. ii

THE SCIENCE OF SPEECH. An Elementary Manual of Phonetics for Teachers. By B. DUMVILLE, M.A. 2s. 6d.

p. 23

TIIE BREATHING APPARATUS. 23 the breathing of repose, and the second action in the breathing for action and for voice. a 29. Breathing of Physical Education.—Teachers of Physical Education make use of a form of breathing, which they call “ deep breathing." deep breathing."

p. 133

The palms and fingers only convey fine Fig. 27. Fig. 28. Fig. 29. expression ; there is no more expression in the back 1 of the hand than in the back of the head!

Then follow on with different emotions till you come to the open hand; what horror it expresses ! (Fig. 29.) The thumb indicates intelligence and power.

p. 380

And then they'd trace upon the wall A sort of grim sign manual,- A cross-with their crimsoned hands, to show That the house was ours.

p. 45

PERMANENT EXPANSION 29 easier to establish their breath control by maintaining an expanded thorax.

p. 11

Lowndes, (The Bibliographer's Manual, London, 1857-64, X, revised 1881-'85, X, p. 2791) that the Essay on Epic Poetry was published in London in 1726 and secondly that it was published together with the Essay on the Civil Wars of France, in French and in English in 1727.

p. 166

T., The Bibliographer's Manual. London, 1857-64; London, 1881-85. Magasin encyclopédique, 1807.

p. 66

HISTORY of the FAIRCHILD FAMILY; or, The Child's Manual: being a Collection of Stories calculated to show the Importance and Effects of a religious Education : illustrated with a suitable Frontispiece.

p. 29

A FRAGMENT. 29 our commands. We are, therefore, bound by the ties of honour and gratitude to study the laws of their realm, in order to establish such habits as shall become a second nature, and prevent the crime, too common, of rebel- lion against that system of harmony, which has, in such an unexpected manner, been ren- dered the subject of my contemplation. . . .

p. 29

AND THE CONTRARY. 29 VULGAR. Mart'n Mitt'ns Munch'n Pat'n Plat'n Slov'n Sudd'n Sudd'nly Sudd'ness Syr'n Tick'n Wom'n Wooll'n Burdensome Chasten Birchen Christen Christening Fallen Fasten Fastening Gardener Gardening Harden Harken Heaven Heathen Lessen Listen Moisten Often Quicken E CORRECT.

p. 26

26 CONTRACTED VULGARITIES, 29 Another vulgar contraction (which was, how- ever considered elegant about fifty years ago) is the leaving out of the "th" in the word "them."

p. 2

рк 1081 мыз 1432285 OLC 9-29-71

p. 29

29 I and II. Ariyá and Gíti. 1 2 3 4 כן 1st 2nd ·· 1st Ariya, | C - ככ Pathy, Vipula, Capalá, ....... 2nd 1st {2nd 1st 2nd 1st {2nd Mukhacapalá,.... { Jaghanacapalá, 1st {2nd 1st ·· 2nd دا == 5 6 7 ככ == כככ כככככ כככ כככ C | C 1st Gíti,. {2nd Upagíti, Uggíti, Ariyágíti, ...... 1st {2nd 1st {2nd 1st {2nd པཔ°པཔཔ་ C C ככ сс ככון C 21 11 כככ ככ

p. 387

Surgeon, sår'jån. s. one who cures by manu- al operations. [manual operations. Surgery, sår'jêr-è. s. the act of curing by Surgy, sur'jè. a. rising in billows.

p. 257

Mantuamaker, mån'tù-må-kår. s. one who makes gowns for women. Manual, mân'u-âl. a. performed by the hand. Manual, mân'ù-ål. s. a small book.

p. 29

11.] 29 JOURNALIST (1841-1850) men from the demon of intemperance."

Ambition, Brother Jonathan, January 29, 1842; 4. Death of the Nature Lover, same, March, 1843; 5.

p. 175

Works: early prose, 26-29, 30; early prose, 29. See also American Primer, Calamus, Democratic Vistas, Diary in Canada, Drum-taps, Franklin Evans, Leaves of Grass, Mem- oranda of the War, Old Age Echoes, Specimen Days, Two Rivulets, The Wound Dresser. of life, 85; A thought of Whittier, 2, 16, 46, 49.

p. 9

PREFACE. 9 how to CARE for it; also, a manual devoted exclusively to gestures and attitudes, and to the general bearing of the body, accord- ing to the Delsartean theory.

p. 87

The author of the poem, at one time in conversation with the author of this manual said, "I do not know what to call the famine;' it is not blank verse, nor can it be called poetry, though it may be said to embrace both.”

p. 41

«/>/ ii/ 22/ 3 3/ o 3a. a a , a a , a a , a a , ar ar', at at , e e , e e ; er er , &e. 13 3 4 5 6 j.l 1/11 2/22 3/33 4/44 5/r. 5 «/>/«rtflr» n 4tn. a' a a, a a a, a a a, a a a, ar ar ar, at at at, esc. 13 3 4 5 6 ►^■1 11/1 22/2 SS/3 44/4 5 5/5 H/»6r>/6p p otn. a a a, a a a, a a a, a a a, ar ar ar, at at at, (fee. 13 3 4 5 6 /-»,!

p. 154

The three divisions are severally manuals on Vocal Culture, Calisthenics, and Gymnastics.

Gym- nastics, embraces the more advanced manual exercises that are to be exe- cuted with apparatus.

p. 142

AFI-lz, Ach- z. Aflid d, Az7ltun. 3a z. b h, 13e'ci bUb. Eliha, E-iICs. H 1 gar, A gn r. 0!..

p. 151

A or An. An wer. A. B. or 3A Bat- chelor of Arts. Abp. Archbishop. A. D. /lino D;m.in;, or, in tne Ye:ir of onr Lrd.

p. 29

Thy wonders, in that godlike age Fill thy recording sister's page- 'Tis said, and I believe the tale, Thy humblest reed could more prevail, Had more of strength, diviner rage, Than all which charms this laggard age, Even all at once together found, Cecilia's mingled world of sound- Oh, bid our vain endeavors cease, Revive the just designs of Greece; Return in all thy simple state; Confirm the tales her sons relate! 29

p. 116

The heart of the sleeper beats high in his breast; Joy quickens his pulse-all hardships seem o'er; And a murmur of happiness steals through his rest: "Kind Fate, thou has blessed me; I ask for no more." 29 Ah! what is that flame which now bursts on his eye?

p. 233

FORMATION OF TENSES, 109. GENDER, 29, 64. - GRAMMATICAL RELATIONS synop- sis of, 230, 231.

PREPOSITIONS, 42 - list of, 43-syn tax of, 182. ―― PRONOUNS, 29 declension of, 68 properties of, 60— relative, 119 compound, 121 - syntax of, 161.

PARTS OF SPEECH, 27. PERSON― of nouns, 29, 60 -- of verbs, SUBSTITUTES Vowel, 19. 85. RELATIVE PRONOUNS, 119- - parsing of, 120. - pare SENTENCES - declarative, exclama tory, imperative, 27 - simple, 27 compound, 130. - ― SPELLING SUBJECT, 23, 33, 34- modified by an adjective, 37-modified by noun or pronoun, 42-modified by an adjunct, 42.

p. 20

A syllable is a word, or such a part of a word as is uttered by one articulation. 29. A word of one syllable is termed a monosyllable: of two syllables a dissyllable; of three syllables, a trisyllable; of more than three syllables, a polysyllable.

p. 1

BOSTON: PUBLISHED BY BROWN, TAGGARD & CHASE, 25 AND 29 CORNHILL. 1860.

p. 38

Analyze the following sentences according to the models on page 29. Select the nouns, and tell whether they are common or proper; if collective, abstract, verbal, or complex, mention it in addition.