T ble pupils now in the school of their divine or adds a meaning, that is most absurd or Master, will converse with far nobler thoughts, ridiculous. It is distressing even to think of and loftier language "in the bright world some mistakes, that have been made in readabove." But it is extremely difficult for using the word of God. To prevent or cure this evil, read slowly, cautiously and frequently in the hearing of others, who may be able to correct you, or give you a hint, to correct yourself; and especially, endeavor to under turning what you read into nonsense or absurdity. The exercise of spelling, pronouncing words for spelling, or studying lessons preparatory, may conduce to accuracy in reading. 3 now to adapt the conversation manner to such exalted thoughts and expressions, so very much above what we are accustomed to utter and to hear. It is very difficult to imagine, at least, with regard to many express-stand what you read. By this, you may avoid ions in our great poems, how they should be uttered in conversation; and perhaps no person can read a page of them, so as to make it appear perfectly natural. And yet let us not be discouraged. Something may be done, though much may remain undone. Scarcely any thing is easier, than to rise above that grossly unnatural and almost unintelligible manner, that is so common and so disgustful. And by close attention and rigorous efforts, O you may, ere long, be able to read, at least a ps goodly number of select passages of our most gifted bards, to the edification and delight of" his yourself and others. 66 Despair of nothing which you would attain; ess Unweari'd diligence your point will gain." Good instruction will greatly accelerate your nd progress, and you may press upward to atdtainments higher and higher, more and more ad delightful. ed. Direction VI. Distinctly articulate every sound. Strictly speaking, articulation may be considered as a part of pronunciation. But the importance of the subject may render it proper to consider it under a distinct head. "A good articulation," says Sheridan, consists in giving every letter in a syllable, its due proportion of sound, according to the most approved custom of pronouncing, and in making such a distinction between the syllables, of which words are composed, that the ear shall, without difficulty, acknowledge their member, and perceive at once, to which syllable each letter belongs. A good articuTo view the subject a little more closely.lation is to the ear, what a fair and regular Though many of their phrases are uncom-hand is to the eye in writing; and exactness mon, and may seem far above the common habits of speech, yet much the greater part to are common, the very talk of our childish days. To these, the natural manner may be easily applied, and then gradually extended to those less common, until it is in a good nd measure, applied to the most uncommon and difficult. This, however, cannot be effected without much labor; and a single sentence may cost the toil of half an hour. to ald the he ald m. For some persons, the above directions and remarks may be sufficient and more than sufficient. Others, however, and by far the greater number, may need farther directions, and such as are more particular in their "application. A few more of this character, e. then, I proceed to add. Some of them may have been incidentally mentioned already.. he in sounding the words rightly, corresponds to propriety in spelling. In both cases, the understanding comprehends what is offered to it, with ease and quickness, without being obliged to have recourse to painful attention." "It is a disgrace to a gentleman to be guilty of false spelling, either by omitting, changing or adding letters, contrary to custom. Yet it shall be no disgrace to omit letters, or even syllables, in speaking, and so to huddle his words together, as to render them utterly unintelligible. Yet surely exactness in the latter is a point of much more importance, than in the former, in whatever light, we view it."* Here it may be useful to mention a few of the most common instances of bad articula tion. Broad a is often pronounced like grave a. Thus, in the words all, ball, hall, call, small, tall, squall, &c. the a is sounded like a in part, art, cart. Short o is transformed much in the same manner, in such instances as arder for order, barder for border, card for cord, recarder for recorder, fallow for follow, hallow for hollow, barrow for borrow, sarrow for sorrow, tomarrow for tomorrow. The following words are often mispronounced in the *Sheridan on Elocution. w, |colny for colony, Febuary for February, articlation for articulation, particlar for particular, abomible for abominable. Very few indeed of those who speak our language, are probably free from this fault, not to mention others of less importance. The grand practical question is, how to cure them. This is generally among the greatest difficulties, appertaining to the acquisition of this art, whether we teach or learn. The ex our schools, may be greatly conducive to this end. It is this, perhaps, that gives the greatest value to the spelling book. This book might be much more useful, if special attention were paid to articulation. Pronouncing words for others to spell, may be still more useful. It seems, therefore, in general, doub teacher of this toilsome task. For curing particular faults, it may be desirable to pronounce words much more slowly, and to sound each letter much more forcibly, than propriety would require. same manner, coffer, coffin, college, collar, column, conduct, contract, common, &c. Another fault in pronouncing the same class of words is substituting the sound of short u for short o, as cullege, knullege for college, knowledge. The letters c, t, p, s, are often substituted for g, d, b, %, respectively, as cood for good, tark for dark, pad for bad, seal for zeal. The sound of n is often made to supply the place of that of ng, as workin for working, noddin for nodding, sellin for selling, Washinton for Wash-ercise of spelling, as generally practised in ington. The letters ow, in which the w is silent, and the o long, are often sounded like er, as holler, waller, yeller, winder, shadder, widder, for hollow, wallow, yellow, window, shadow, widow. The dipthong oi is frequently sounded like i long, as ile, pint, disappint, jint, anint, for oil. point, disappoint, joint, anoint. Many omit the sound of h in words beginningly desirable, that the pupils should relieve the with wh, as witch, wen, wot, wite, wile, wip, ware, for which, when, what, white, while, whip, where. One of the most common and obstinate faults of articulation, is sounding long i or y, like ai, as bai, dai, flai, lai, mai, nai, pai, for by, die, fly, lie, my, nigh, pie; and rai, sai, tai, vai, for rye, sigh, tie, vie. A fault, much less frequent, is substituting v for and wfor v, as vent,vine, for went, wine; and wane, wanily, wexation for vain, vanity, vexation. The sound of t is often omitted, when it comes between f and s, as lifs, gifs, sifs, for lifts, gifts, sifts; and rafs, wafs, grafs, for rafts, wafts, grafts. The omission of ts after s, is still more common, as jes, tes, res,nes, for jests, tests, rests, nests, But the greatest fault of articulation, and the one, with which the ear of taste is most tortured in New England, is a certain manner, or rather two manners, of sounding the dipthong ou. It seems to consist in inserting a sharp or e long, before the diphthong, as na ow or ne-ow for now, ca-ow or ke ow for cow, ha-ow or he ow for how. It is peculiarly unhappy, that as this fault is the greatest, it is the most difficult to be cured. The best way to effect this, is to pronounce the elementary sounds of the dipthong very distinctly, at some distance from each other, and then gradually nearer and nearer together, till the dipthong is pronounced in its usnal time, as it should be. The pronunciation of ke-ing for kind, skei for sky, ge-ard for guard, &c. seem to be a fault of the same kind; and the only reason, that it is not equally disgustful, is, that it is in some places fashionable. To some, however, it does appear like the superfluity of naughtiness. But the faults of omission appear to be the most common, especially in conversation. It is a fault, which many commit in almost every sentence, as evry for every, enmy for enemy, For curing the faults of other persons, probabiy the best, and by far the best, method is to let them repeat words and phrases after you, without seeing them at the time. If your pupil sees them at the time of repeating, it will have a great tendency to plunge him into his old bad habits, which are so closely associated with the appearance of the words. It is often astonishing, and no less delightful, to see the progress, that the pupil will make by this exercise, in a very short time. Begin with an individual. Let him repeat a word at a time, till he has repeated several in succession. Let a number more, perhaps the whole class in succession, go through the same operation. Then exercise the whole, by giving a word to one, a word to the next, &c. Afterwards, two may pronounce the same word, at the same time. Thus, let them exercise by pairs; then three together, &c. &c. till the whole perform in concert. This will be a very great saving of time, and in some respects, it may be more. useful to each one, than repeating alone. Individual repeating, however, must still be practised in some measure, to detect and give the faults of each. Yet with regard to this as well as every thing else, the discretion and ingenuity of the teacher must often lead him to deviate from the best rules he can receive, and from time to time, to deviate from him. self. He will probably find it expedient, how ever, gradually to increase the length of the portions, repeated at once, until they are ex tended to fifteen or twenty syllables. Per haps he may find it useful to begin with the ELEMENTARY ENGLISH SOUNDS. 1. Sound of a long, as in bane, lane, pain. 2. Sound of a short, as in bad, lad, had. 3. Sound of a broad, as in call, fall, hall. 4. Sound of a grave, as in bar, car, dart, art. 5. Sound of a sharp, as in care, dare, fare. 6. Sound of b, as in ball, bell, garb, orb. 7. Sound of d, as in dark, den, din, add. 8. Sound of e long, as in be, me, tree, eat. 9. Sound of e short, as in met, get, debt. 10. Sound of f, as in fate, full, laugh, calf. 11. Sound of g, as in gay, get, gall, egg. 12. Sound of h, as in hay, he, high. 13. Sound of i short, as in bin, din, chin, fin. 14. Sound of j, as in joy, just, jest, jesture. 15. Sound of k, as in can, cup, king, keg. 16. Sound of l, as in lay, lee, ell, bell, cell. 17. Sound of m, as in may, me, my, am, em. 18. Sound of n, as in nay, knee, nigh, no. 19. Sound of o long, as in Job, robe, roll, 20. Sound of o middle, as in coat, none, 21. Sound of o short, as in not, sot, plot, cot. 22. Sound of oo, as in boon, noon, loom. 23. Sound of p, as in pay, pea, pie, Po, pew. 24. Sound of r, as in ray, pray, stray, war. 25. Sound of s, as in say, see, sigh, so, sue. 26. Sound of t, as in take, tack, ate, mate. 27. Sound of u short, as in run, son, one, 28. Sound of u broad, as in pull, full, busk. 29. Sound of v, as in vile, vain, view, vast. 30. Sound of w, as in way, wane, would. 31. Sound of y, as in yard, year, ewe, 32. Sound of z, as in zeal, zest, zone, lazy. 33. Sound of z rough, as in azure, osier. 34. Sound of ch, as in chain, chin, chide. 35. Sound of sh, as in she, shame, share. 136. Sound of th soft, thank, thatch, thaw, 37. Sound of th hard, as in they, thee, thy. 38. Sound of ng, as in sang, song, tongs. ENGLISH DIPHTHONGS. 1. Sound of i long, compounded of grave a and e long, closely pressed together, as in pine, nine, wine, vine, bind, kind, mind, height, sleight. 2. Sound of ai, compounded of grave a and e long, uttered at a perceptible distance from each other, as in Sinai, Micaiah, Seraiah, Delaiah. 3. Sound of ou, compounded of broad a and oo, as in cow, Dow, how, mow, thou, clown, down, frown, gown, noun, town, bound, found, hound, mound, pound, sound, wound. 4. Sound of oi, compounded of broad a and i short, as in coin, join, loin, joint, point, cloy, joy, alloy, destroy, toy, employ. 5. Sound of u long, compounded of long e and oo, as in blew, due, few, grew, hew, Jew, lieu, mew, new, pew, true, fume, illume, assume, beauty, duty. According to Mr. Walker, we have 26 simple sounds. Four, that I have mentioned, namely, a sharp, j, o middle and ch are omitted from his list. Long i and long u, that I consider dipthongs are found among his simples. He afterwards acknowledges, however, that i long and u long are dipthongs, and that j represents the sound of g soft, so that in reality he seems to be incorrect in but three points, namely the sounds, which I would represent by a sharp, o middle and ch. It is peculiarly desirable, that the pupil should be well exercised in repeating these examples, to discipline his voice and to discover, whether there are not some sounds, that he finds it peculiarly difficult, or even impossible, to utter correctly. Upon these, if such are found, he may be drilled most thoroughly. If more than one, are found faltering upon the same sound, they may form a little class, to be drilled together, and to drill one another, upon scores of words, selected for the purpose. If the pupils can select these, so much the better. This will be bringing the remedy directly to the disease, instead of making the same application to a dozen different maladies. To improve articulation in yourself, ascertain, as exactly as possible, how every elementary sound is formed. These sounds in our language, as we have seen, are 38 in number. The human voice is capable of forming more. Other articulate sounds we sometimes hear. Others are used in some other languages. But ours are 38 only. These are formed by the breath, or air from the lungs, passing through the organs of speech, or modified by them. As the organs of speech are placed in different positions, different sounds are uttered. Wrong sounds are often uttered; because the organs are wrongly placed. And the wonder is not, that such mistakes often occur, but that they are not ten. times more frequent, especially in little children. This is doubtless among the most astonishing achievements, that human nature can boast. The little child, with all his disadvantages of ignorance, imbecilty and inexperience, in the short period of 20 or 30 months, acquires the art of forming 38 different sounds, by varying the position of his organs, and forcing his breath through them, so that in a moment, he can form any one of them-can form any number of them in the very order he should; and all this, quick as the moments fly-all this, with scarcely a conscious thought. At this almost miraculous phenomenon, we cease to wonder; because it is so common. But surely this should raise our wonder more. admit five different answers, according as it is uttered in different ways. If the chief stress of voice is laid upon you, the answer may be, No, another person will give you one; if upon give; No, I will lend it to you? --if upon me ?-No, but to your brother ;-if upon The organs of speech are those parts of the great ;-No, but my small one; if upon bible. human body, which are particularly used in No, but my testament. Still, at each time, speaking. If any of these are destroyed or each word is used almost exactly in the same injured, speech will be destroyed or impaired. sense; and the question has constantly very They are the lungs, windpipe, throat, larynx, nearly the same general meaning, besides the glottis, palate, teeth, tongue, lips and nostrils. adventitious ideas alluded to. How shall we The larynx is the upper part of the windpipe, know, to what adventitious idea the author consisting of four or five cortilages or gristly would allude?—or whether to any? The substances. The glottis is a small opening difficulties are so many and so great, that it at the top of the larynx, through which, the may seem astonishing, that any one should breath is conveyed. The palate is the upper ever overcome them. And perhaps no one evpart of the mouth. The other organs are er did entirely overcome them, for ten pages sufficiently known. By attending to the po- together, upon any subject not mathematical. sitions and operations of these organs, we It is doubtful, whether any man can read a may be assisted, to see how the sounds are volume, even though written by himself upformed. In this way, we may be greatly aid-on such a subject, and take exactly the ideas, ed in correcting and improving the articulations of ourselves and others, and, also to preserve and improve the vocal powers themselves. Direction VII. Endeavor to understand what you read. It may, indeed, be possible sometimes to read a phrase with propriety, that we do not understand; but not often. There is scarcely a phrase in the language of more than two words, but may convey different meanings, as read in different ways. It is sometimes the case, that by variations in reading, a sentence may convey as many meanings, as it contains words. It must be a mere chance, then, if the reader happens to convey the meaning, that he does not perceive. But among different meanings, how shall we determine, which the author intended? This presents a difficulty, which is often great indeed, and sometimes insurmountable. In the first place, it is often difficult for an author to find words, that are suited to express his thoughts exactly. Even if he is perfectly successful in this, still we have other difficulties to surmount, in order to gain his meaning. Almost every word he uses, has different meanings; and some have several. To the word hand, Johnson has assigned more than 50 meanings; to look, 25; to loose, 18; to love, 19; to low, 23; to make, 70. How shall we know, what signification the author meant to attach to each word? Even if the precise meaning of each word is determined, a sentence may convey different ideas, according as different circumstances are alluded to. Thus the question, Will you give me your great bible? may have five meanings, in some respect different, and that he meant to communicate, and no more. Indeed, it is probable, that many men do not know, what they mean themselves at the very time they are writing. When a sermon or an oration is addressed to 1000 people, probably no two of them understand it exactly alike, nor any one receives just the ideas, intended by the speaker. It is probable, that most readers, especially young readers, do exceedingly misjudge, with regard to their understanding of what they read. A youth of 14 or 16, who has hastily perused the Night Thoughts, may rejoice in believing, that he has understood almost every sentence of that great and admirable poem, when it may be, that from one half, he has taken scarcely any definite idea, and misunderstood half the remainder. Had he studied and recited it, as he would the pages of Virgil and Homer, the case would be widely different, and doubt less much better. I have suggested these hints, not to discourage, but to stimulate. No person will make an effort, unless he feels, that he has something to do. To the student, who is rereally willing to take fast hold of this branch of instruction, the following hints may afford some assistance. RULES FOR UNDERSTANDING AN AUTHOR. 1. Keep your dictionary at hand, and see, that you understood the principal meaning or meanings of every word.t + Webster's great dictionary, in two quarto volumes, is probably much better for this purpose, than any other, or than all others. 2. Endeavor clearly to understand the | no less than the other faculties. Converse grammatical construction of every phrase. 3. Ascertain, if possible, whether the principal words are used literally or figuratively. Words are often used figuratively in senses not found in any dictionary. It may often be difficult, and sometimes impossible, to ascertain this point with certainty. The general rule is, to consider an expression literal, when thus considered it does not appear absurd. 4. If any expression seems obscure, pay particular attention to the connection, immediate and remote. 5. Consider the subject, of which the author is treating. 6. Consider the author's object-the end or design, he wished to accomplish. 7. In case of difficult compositions, such as Paradise lost, the Night Thoughts, the Essay on Man, the Seasons, the Task, &c. endeavor to ascertain the history of the author, and the history of the poem. 8. Consider, as far as practicable, the condition, character, and circumstances of the persons, for whom, the work was designed. Upon this important and difficult subject of Hermeneutics or Interpretation, see Watts's Improvement of the Mind, Chap. VIII. and also for understanding the Scriptures, Evangelical Primer, p. 68, published 1828, or later. Direction VIII. Endeavor to feel what you read. Most compositions are intended and suited to excite feelings, as well as to communicate thoughts. In this respect, however, there is great diversity in different compositions. We should endeavor to receive the exact impression, that the words are suited to make; and then it will be comparatively easy to speak them out, as expressive of our own feelings. In such cases our tones, our looks, our gestures, our every action, will be suited to convey the impression intended. We should not, however, affect to feel, when we are really cold. Scarcely any thing will render us more ridiculous and disgustful. Nor should we attempt to excite in ourselves, more feeling, than suits the subject. To over act is worse, than to fall short. But how shall we make ourselves feel? How shall we kindle within us, those emotions, which we must have, in order to do justice to a pathetic composition. Two or three directions may here be acceptable to the young reader. 1. Endeavor to improve your taste to the utmost. Learn to feel, and to feel more and more exquisitely. Taste may be improved, with the beauties and sublimities of nature and art-of matter and mind. Read, and read again, and endeavor to understand and relish, the finest descriptions by the most gifted bards. Read and study the best authors on taste and criticism, such as Blair, Gerard, Kaims,† &c. If practicable, converse much and freely with persons of taste upon topics relating to this subject. Write poetry if you can. It will have a happy influence to improve your taste, and prepare you to kindle a flame at another's fire. Most earnestly and devoutly study the most striking passages of the Scriptures. Even for such a purpose as this, there is none else to be compared with these words of fire. But all this is the work of years; and you wish to commence the business of reading immediately. Immediately you may commence it, agreeably to the next (rule; and then with all possible speed, go on unto perfection, with the utmost aid you can derive from every source. 2. By silent reading or otherwise, become familiarly acquainted with what you would read to others. 3. Endeavor to realize the scene, connected with what you read. This applies more particularly to speeches and written addresses, whether to individuals, to assemblies, to particular classes of men or to nations. Consider well, who and where and what, was the speaker or 'writer, and who and where and what, were the persons addressed, as well as what was said and the particular occasion. Let the eye of imagination paint to the fancy, as far as may be, every important object, and most striking circumstance; and then, let your mental eye affect your heart. Would you read the sermon on the mount, go in imagination to Immanuel's land. Behold the Savior ascending the eminence. The crowd give way, to allow him a passage. With what simple dignity he takes his seat. His eyes beem forth love and compassion. His countenance speaks, while his mouth is shut.. His disciples are at his feet. The multitudes. cover the hill. Every eye is fixed upon him.. All is silence, attention and the deepest solemnity. And now, the holy lips unclose. Listen to his gracious words. Do you not seem to hear him say, "Blessed are the poor in spirit-Blessed are they that mourn-Blessed are the meek?"-and thus proceed from Bles- † Alison on Talta is a good production, a work of uncommon ingenuity; but unquestionably incorrect in theory, and of little practical utility. |