Comstock's elocution and model speaker ...

Front matter

J

[>t:lr

II n in mmm b o

Part I. Yooal Gymnastics

Yocal Gymnastics 15

Elements of the English Language 18

Classification of the Elements 19

The Yowels 21

The Sub-vowels , 23

The Aspirates 25

The Postures of the Mouth 27

Defective Articulation 30

Lisping 32

Stammering ■ • • ■ 33

Keys of the Speaking Yoice 46

Inflections 47

Melody 52

Modulation 53

Time 63

Part II. Gesture

Postures of the Body 69

Postures unfavorable to Yocal Delivery 70

Postures favorable to Yocal Delivery 71

6 CONTENTS.

Demonstrating' on the Black-board 71

Manner of holding 1 the Book *?2

Notation of Gesture 73

Positions of the Feet and Lower Limbs 76

Positions, Motions, and Elevations of the Arms 84

Postures and motions of the Hands 93

The head, the Eyes, the Shoulders, and the Body 104

The Stroke and Time of Gesture 105

The Classification of Gesture 108

The Preparation, Transition, and Accompaniment of

The Frequency, Moderation, and Intermission of Gesture. 123 The Qualities of Gesture, and the Gesture suited to

different modes of Public Speaking 125

Significant Gestures 129

Complex Significant Gestures 131

Grace 147

Synoptical Arrangement of the Notation Letters 150

Application of the Notation Letters 152

Question to be Answered by the Pupil 175

PRACTICAL ELOCUTION.

PART I.

EXERCISES IN ARTICULATION, PITCH, FORCE, TIME, AND GESTURE.

Exercises in Articulation, Pitch, Force, Time, and

Table of the Elements of the English Language 1 83

Emphasis Melodies 188

Interrogative Sentences 190

Modulation 192

Tremour 193

Time and Gesture 194

Method of Beating Time with the Dumb-Bells 194

Syllable Rhythm 195

Poetry Rythm 195

First Period of Gesture 198

Second Period of Gesture 199

Pronunciation 200

Declamation 200

Method of Teaching Declamation 201

Speech of Satan to his Legions, with Gestures 201

The Miser and Plutus, with Gestures 208

CONTENTS. *l

PART II.

EXERCISES IN BEADING AND DECLAMATION.

Abou Ben Adhem Leigh Hunt. 459

Account Current Anonym ous. 374

Aclams and Jefferson , Wirt. 369

Alexander's Feast Dry den. 403

An Address to a Young Student Knox. 372

Annabel Lee Edgar A . Poe. 440

Antony's Oration over Caesar's Body. , Shakspeare. 368

A Psalm from Life Longjellow. 461

Apostrophe to Light Milton. 244

Apostrophe to the Queen of France Burke. 225

Barbara Frietchie J. G. Whittier. 510

Battle of Hohenlinden Campbell. 220

Battle of Warsaw Campbell. 226

Battle of Waterloo Byron. 227

Beautiful Snow Watson. 467 ^-

Bernardo Del Carpio Mrs. Hemans. 399

Bingen on the Rhine Mrs. Norton. 508

Bridge of Sighs Hood. 502

Brutus's Oration on the Death of Csesar Shakspeare. 266

Bugle Song Tennyson. 442

Casabianca Mrs. Hemans. 354

Cato's Senate Addison. 351

Cato's Soliloquy A ddison. 364

Charge of the Light Brigade Alfred Tennyson. 419

Character of Pitt Robertson. 302

Childe Harold's Address to the Ocean Byron. 222

Clarence's Dream .- Shakspeare. 303

Darkness Byron. 248

Declaration of Independence Jefferson. 322

Douglas's Account of Himself Home. 320

- Drifting T. Buchanan Read. 524

Dying Christian to his Soul Alexander Pope. 462

Edward and Warwick From the French 337

Elegy Written in a Country Churchyard Gray. 316

Evelyn Hope Robert Browning. 457

Extract from a supposed Speech of John Adams, in

support of American Independence Webster. 379

Extract from a Speech of Robert Emmet, Esq., Before

Lord Norbury, on an Indictment for High Treason. . . 381

8 CONTENTS.

Gambler's Wife Coates. 417

Genius . . Akenside. 337

God Derzhavin. 283

Greatness Akenside. 338

Hamlet's Soliloqu}' Shakspeare. 265

Happy Freedom of the Man whom Grace makes Free.

Cowper. 295

Horatius Macaulay. 436

Hy der Ali Burke. 246

Hymn to the Deity Thomson. 278

Industry necessary to the Attainment of Eloquence.

Ware. 339

Invocation to the New Year Tennyson. 442

Knowledge De Witt Clinton. 380

Lady Clare Tennyson. 552

Lament of the Irish Emigrant Dufferin. 532

Liberty and Union Webster. 499

Lines supposed to have been Written by Alexander Selkirk, during his solitary abode on the Island of

Juan Fernandez Cowper. 195

" Little Jim." Anon. 434

Lochiel's Warning Campbell. 233

Lochinvar Scott. 352

Love Coleridge. 549

Marco Bozzaris Halleck. 239 -£•

Mariner's Hymn Mrs. Southey. 314

Maud Muller J. G. Whittier. 512

Meeting of Satin, Sin, and Death Milton. 355

Milton on his Loss of Sight E. Lloyd. 421

Morning Hymn to Mount Blanc Coleridge. 562

Moses Smiting the Eock Van Vranken. 342

Motives to the Practice of Gentleness Blair. 345

New Year's Eve Anon. 539

Night Thoughts Young. 341

Nothing to Wear Butler. 470

Ode on the Passions Collins. 276

Oh, why Should the Spirit of Mortal be Proud Knox. 500 X^

Ossian's Address to the Sun Ossian. 219

Othello's Apology Shakspeare. 425

Over the Kiver - Anon. 469

Parrhasius and Captive Willis. 427

Paper Franklin. 341

Paul's Defence Before King Agrippa Testament. 397

Perpetual Adoration Moore. 310

Pitt's Keply to Walpole Lord Chatham. 335

Reception of Columbus on his return to Spain. W. Irving. 365

CONTENTS. 9

Eienzi's Address M. R. Mitford 358

Scene from Catiline Croly. 568

Scene from Pizarro Kotzebue. 311

Schemes of Life often Illusory Dr. Johnson. 375

Scott and the Veteran Bayard Taylor. 505

Shamus O'Brien the Bold Boy of Glingall. A Tale of '98.

Sheridan Lefanbr. 516

Sheridan's Eide T. Buchanan Read. 522

Sincerity Tillotson. 359

Skipper Ireson's Ride J. G. Whittier. 472 jf

Softly Murmur Philip Lawrence. 433

Spartacus to the Gladiators at Capua Elijah Kellogg. 410

Speech of Cicero Against Verres Cicero. 260

Speech of Lord Chatham. . Chatham. 241

Speech of Patrick Henry „ Patrick Henry. 275

Speech of Rolla R. B. Sheridan. 221

Speech of Satan to his Legions Milton. 217

Speech of Sergeant Buzfuz Dickens. 544

Speech of Satan, with Gestures Milton. 201

Tell's Address to the Mountains Knowles. 21 9

Thanatopsis . Bryant. 257

The American Flag Drake and Halleck. 344

The Angels of Buena Yista J. G. Whittier. 465

The Battle of Ivry Macaulay. 390

The Bells Edgar A. Foe. 490

The Black Regiment. Port Hudson, May 27, 1863.

Geo. H. Boker. 542 ,

The Burial of Sir John Moore Wolfe. 297 ^

The Chameleon Merrick. 291

The Chestnut Horse Anon. 413

The Curse of Regulus A non. 478

The Destruction of Senacherib Byron. 351

The Diver Schiller. 557

The Dream of Eugene Aram Thomas Hood. 443

The Drowned Mariner Mrs. Smith. 555

The Dying Gladiator Lord Byron. 54^

The Exile of Erin Campbell. 296

The Frenchman and the Rats Anon. 393

The Ghost Anon. 526

The Grave of Franklin Miss C. H. Waterman. 321

The Heavens and the Earth show the Glory and Wisdom

of their Creator Goldsmith. 298

The Hermit Beattie. 236

The High Tide on the Coast of Lincolnshire (1571.)

Jean Ingelow. 450

10 CONTENTS.

The Hour of Prayer Mrs. Remans. 389

The Importance of Order in the Distribution of our Time.

Blair. 347

The Inquiry -. Charles Mackay. 548

The. Invocation Mrs. Herman*. 294

The Journey of a Day , Dr. Johnson. 327

The King of Denmark's Ride Caroline Norton. 565

The Land that we Live in C. W. Thomson. 332

The Launching of the Ship Longfellow. 480

The Maniac ; Mad-House Lewis. 420

The Mariner's Dream Dimond. 281

The Miser and Plutus Gay. 154

The Miser and Plutus, with Gestures Gay. 208

The Mother Perishing in a Snow-Storm Anon. 431

The Nation's Dead Anon. 459

The Nature of True Eloquence Daniel Webster. 414

The Old Clock on the Stairs Longfellow. 406

The Parting of Marmion and Douglas Walter Scott. 395

The Patriot's Song Philip Lawrence. 434

The Pauper's Death-Bed Caroline Bowles Southey. 418

The Quarrel of Brutus and Cassius Shakspeare. 385

The Raven Edgar A. Poe. 484

The Ride From Ghent to Aix Browning. 506

The Rose Coiuper. 197

The Seminole's Defiance G. W. PaHen. 534

The Smack in School * Anon. 529

The Song of the Shirt Thomas Hood. 455

The Three Warnings Mrs. Th rale. 288

The Union of the States Webster. 361

The Vagabonds J. T. Trowbridge. 535

The Village Blacksmith Longfellow. 408

The Wife's Appeal Grace Greenwood. 476

Time Van Vranken. 343

To Rosabelle. . . Philip Lawrence. 432

To the Ursa Major Ware. 306

Vat you Please Anon. 403

Vulture and Infant Anon. 423

"Warren's Address Rev. John Pierpont. 4 ! 5

What I Live for G. Linnaeus Banks. 474

What Might be done Charles Mackay 476

Without God in the World Rev. Robert Hall. 2h'6

W r olsey's Farewell to Cromwell Shakspeare. 334

Wolsey's Soliloquy Shakspeare. 333

Woman Campbell. 358

Wounded William E. Miller. 530

Introduction

^3 A N is designed for action. Nature has so constituted him, that both body and mind require daily exercise to develope their powers, and maintain them in a vigorous and healthy condition.

The truth of this remark is manifest from constant observation and experience — those who lead active, bustling lives, conjoined with temperance and prudence, commonly possess robust frames, and healthy constitutions; while the sedentary and the indolent are enervated and sickly.

We find the same results from the exercise of the mental faculties. He whose mind is constantly employed in the acquisition of knowledge, usually retains his mental faculties unimpaired to the last. But not so with the man of ease and indolence. After the meridian of life, the powers of his mind, with those of the body, become weaker, and weaker, and he finally leaves the world as he entered it — a child.

The health and strength of the body, therefore, mainly depend on the number of muscles that are frequently called into action, and the degree of rational exercise through which they pass. Now there are few, if any, whose daily avocations are so varied as to bring into requisition all the muscles of the body : hence the necessity of gymnastic exercises.

The term, gymnastics, in its widest sense, signifies all bodily exercises ; in a more limited sense, " exercises systematically adapted to develope the physical powers, and preserve them in perfection, which constitutes the art of gym* nasties properly so called."

12 INTRODUCTION.

These exercises, when commenced in youth, develope the muscles, give agility to the limbs, and promote the various mnctions of the animal system: in this way they impart strength and consistency to the body, and lay the foundation of lasting health : and even when commenced in manhood, they invigorate the frame, and brace it against the infirmities of age.

By the frequent and energetic exercise of the muscles, they are brought completely under the control of volition, which is a powerful auxiliary to every variety of action. Hence Gymnastics are not only useful because they exert a healthful influence upon the body ; but because they lay a good foundation for the easy acquisition of every mechanic art.

From what has been said of Gymnastics in general, it may readily be conceived that very important advantages may be derived from vocal gymnastics.

By the term, Vocal Gymnastics, may be understood the principles of the human voice as employed in speech and song, as well as the training of the organs by which this voice is produced. The principles are the science of the voice — the training, the exercise of the organs, necessary to develope their powers, and enable them to act with rapidity, precision, and effect.

Vocal Gymnastics give the pupil complete command of the muscles of articulation, extend the compass of the voice, and render it smooth, powerful, and melodious. They not only call forth all the energies of the vocal organs, correct stammering, lisping, &c. ; but they invigorate the lungs, and, consequently, fortify them against the invasion of disease.

All the blood, in the course of its circulation, passes through the lungs, where it undergoes a change, not only essential to health, but also to life. Whenever their function, therefore, is interrupted by debility, or disease, the blood is deteriorated, and the whole system suffers; in fact, the very citadel of life is sapped, and nothing but a restoration of these organs to their natural condition, will effect a return of general health. Indeed, the lungs are of so much impor-

INTRODUCTION. 13

tance in the animal economy, that the complete suspension of their office is followed by speedy dissolution.

Hence such healthful measures should be adopted as are calculated to invigorate the pulmonary apparatus, and enable it to maintain its integrity. One of the most kopefu! expedients for this purpose, is a well-regulated and persevering course of vocal gymnastics.

Were we to exercise our voices a few minutes, every day, according to just principles, the number of deaths from pulmonary affections, especially consumption, I have no doubt, would be greatly diminished.

While Vocal Gymnastics give a keenness to appetite, they are a powerful means of promoting digestion. A young clergyman entered my Vocal Gymnasium, for the purpose of improving his elocution as well as his health. He laboured under dyspepsia which was attended with loss of appetite, general debility, languor, and dejection of spirits. But in twelve days after he commenced the exercises, there was a radical change in his mental and physical condition : he had become very cheerful ; and, to use his own words, his appetite was ravenous. Nor is this a solitary case — numerous others might be cited with the like happy result.

My pupils have frequently told me that they always feel invigorated by the exercises. A gentleman who was formerly a pupil of mine, and who had been in the practice of resorting to a common gymnasium for the benefit of his health, assured me that he derived more advantage from his vocal, than from his athletic exercises. Let the individuals, therefore, who visit those gymnasia, designed only for the exercise of the limbs, not neglect the equally important gymnastics of the pulmonary organs. 2

PRELIMINARY OBSERVATIONS.

As Elocution is intimately connected with the voice, and as every reader may not be prepared to enter upon a minute development of its various principles, the following Preliminary Observations may be of some advantage.

Voice is sound, produced by the agitation of air when forcibly expelled from the lungs.

The attributes of the voice, are general and special. The general attributes are pitch and force, and are common to all voices. The special attributes are those peculiarities which render one voice more agreeable, or disagreeable, than another, as sweetness, harshness, &c.

The acuteness and gravity of the voice depend on the contractions and dilatations of the vocal tube.

The degree of loudness of the voice, is in proportion to the expulsive effort, and to the resistance which the air meets on its passage through the glottis.

When air is forcibly expelled from the lungs, and not sufficient resistance given to its egress to produce what is generally understood by the term voice, an aspirated, or whispered sound is the result.

From voice articulated by the motions of the lips, tongue, and other parts of the mouth, is produced oral language. Hence oral language is not inaptly termed articulated voice.

There are two varieties of oral language — song, and speech. In several respects they resemble each other. Thus the notes, both of song, and speech, vary in pitch, force, and time. The most striking difference between them, is this : a note of song is maintained in one range of pitch from its commencement to its termination ; but a note of speech is varied in pitch during its prolongation. If you prolong the letter a, in one range of pitch, thus:

a

you will have an example of a note of song. If you utter it interrogatively, and affirmatively, thus :

a 1 d.

you will have two varieties of the note of speech : the voice in the interrogation, moving from a grave pitch to one more acute ; in the affirmation, from acute to grave.

Perhaps enough has been said by way of preliminaries. The principles here mentioned, together with the various others, are methodically presented, fully discussed, and diagramically illustrated, in the course of the work.

ELOCUTIOiN.

LOCUTION is vocal delivery.

It may be said to comprise both a science, and an art. The science embraces the principles which constitute the basis of reading and speaking ; the art, the practical application of these principles.

Elocution is naturally divided into two parts ; namely, Vocal Gymnastics, and Gesture.

Vocal Gymnastics is the philosophy of the human voice, as well as the art of training the vocal organs in speech and song.

Gesture is the various postures, and motions, employed in vocal delivery.

PART I.

VOCAL GYMNASTICS.

OCAL GYMNASTICSisthe

philosophy of the human voice, as well as the art of training the vocal organs, in speech and song.

Vocal Gymnastics is subdivided as follows :

1. Articulation, 3. Force,

2. Pitch, 4. Time.

Articulation is the act of forming, with the organs

of speech, the elements of vocal language.

Pitch is the degree of the elevation of sounds.

ELOCUTION.

Force is the degree of the loudness of sounds. Time is the measure of sounds in regard to duration.

theu

SECTION L

ARTICULATION.

RTICULATIONistheactof

forming, with the organs of speech, the elements of vocal language.

These elements may be formed separately, as in the utterance of the letters of the alphabet, as well as conjunctively, as in the pronunciation of words.

By the utterance of the letters of the alphabet is not meant the

pronunciation of the mere names of the letters, but the formation

of the various sounds which the letters represent.

A good articulation is the perfect utterance of the elements of vocal language.

The first step towards becoming a good elocutionist, is a correct articulation. " A public speaker, possessed of only a moderate voice, if he articulates correctly, will be better understood, and heard with greater pleasure, than one who vociferates without judgment. The voice of the latter may indeed extend to a considerable distance, but the sound is dissipated in confusion. Of the former voice not the smallest vibration is wasted, every stroke is perceived at the utmost distance to which it reaches ; and hence it has often the appearance of penetrating even farther than one which is loud, but badly articulated.

" In just articulation, the words are not to be hurried over, nor precipitated syllable over syllable ; nor, as it were, melted together into a mass of confusion : they should not be trailed, or drawled, nor permitted to slip out carelessly, so as to drop unfinished. They should be delivered from the lips as beautiful coins newly issued from the mint, deeply and accurately impressed, neatly struck by the proper organs, distinct, in due succession, and of due weight."*

Without good articulation, it is impossible to be & correct reader, or speaker. Those who have been ac customed to pronounce their words in a careless or slovenly manner, will find it difficult, even with their best efforts, to utter them distinctly. The organs of articulation, for the want of proper exercise, become, as it were, paralyzed. The pupil, therefore, at the very commencement of his studies, should be conducted through a series of exercises, calculated to strengthen the muscles of articulation, and render them obedient to the will. The best method for effecting these purposes, is to exercise the voice on the elements of speech ; first, on each element separately ; f secondly, on various combinations.

Under the head, Practical Elocution, will be found a variety of Exercises on the Elements of the English language, which are calculated to develope the voice, increase its compass, and give flexibility to the muscles of articulation. In that part of this work which consists of Exercises in Reading and Declamation, most of the sounds liable to be omitted or imperfectly articulated, are re* presented by italic letters. Hence the reader, if he pay proper attention to the subject, will have no difficulty in correcting all ordinary defects in his utterance.

The value of vocal gymnastics cannot be duly appreciated by those who have not experienced, or witnessed, their beneficial reeults. But, I feel confident, the time is not far distant when these exercises will be considered, by all intelligent persons, an essential part of primary instruction.

* Austin's Chironomia, p. 37, 38.

f " When the elements are pronounced singly, they may receive a concentration of the organic effort, which gives them a clearness of sound and a definite outline, if I may so speak, at their extremes, that make a fine preparative for a distinct and forcible pronunciation in the compounds of speech." — Rush's Philosophy of the Human Voice.

Chapter I. The Elements Of The English Language

The Elements of vocal language are the Sounds of which words are composed. These sounds are represented by graphic characters, called letters.

The number of letters in the English language, is twenty-six ; but the number of elements is thirty-eight. Hence, as the number of elements exceeds the number of their literal signs, the same letter is employed, in different situations, to represent different sounds. Thus a represents four different sounds ; e, two ; i, two ; o, three ; u, three ; z, two ; and there are six sounds, each of which is represented by two letters — ou, ng, sh, wh, ih in then, and th in thin. (See p. 19 and 20.) If we had a perfect alphabet, every elementary sound would be represented by its appropriate character.*

* That men have accomplished much by furnishing the world with literature, art, and science, will be conceded by all. Nor will it be denied by any that there remains much to be done to carry all human institutions to their acme of excellence. Among- the numerous proofs that our institutions have not attained their highest possible degree of perfection, is the fact that the world is now furnished with as much genius for contrivance, wisdom for invention, and judgment for application, as at any former period. He, therefore, who advocates the doctrine of present perfection in human productions, suggests, at least, the possibility that that amount of mind which is unnecessary to the successful application of the present principles, means, and inventions to their respective purposes, is rendered a redundancy by the want, of appropriate subjects upon which to operate. The English language, though by no means far advanced in years, has already been the subject of much concurrent, and individual action ; yet there is hardly one part of it which is not marred with defect, or deficiency. Even the English alphabet suffers from both these imperfections. To attain perfection in any thing, is, perhaps, beyond the power of man, especially in the medium of communicating his ideas. But although perfection in language can hardly be expected, yet, there is a degree of excellence which is not so difficult of attainment as to render all exertion una-

The elements, as well as the letters by which they are represented, are usually divided into two classes. Vowels and Consonants. A more philosophical division, however, is into three classes, Vowels, Subvowels, and Aspirates.

The vowels are pure vocal sounds ; their number is fifteen.

The subvowels have a vocality, but inferior to that of the vowels ; their number is fourteen.

The aspirates are made with the whispering breath, and, consequently, have no vocality ; they are nine in number.

Classification of the Elements,

VOWELS. English. French.

k as heard in ale, day, fate, and in ete.

a arm, farm, arme, gaz, gaze.

k all, law, for,

a an, man, idea, aller.

e eve, see, deed, lie.

£ end, met, err, elle.

1 ile, fly, pine,

1 in, pin, il.

6 old, no, more, eau.

6 lose, too, move, voute.

6 on, lock, not, ecole.

ft tube, few, pupil, '

a up, her, hurt, .Europe.

ii full, pull, wolf, ou.

oa our, now, flour,

vailing. There are thirty-eight elements in theEnglish alphabet, and, to represent these elements by appropriate characters, we should have thirty-eight letters. There is, then, a deficiency in our alphabet of twelve letters — and he who shall supply this imperfection, will be one of the greatest benefactors of the human race. This work must be done before our orthography can be rendered consistent, our pronunciation natural and uniform, and our language easy of acquisition. Until this is accomplished, words must be spelled one way, and pronounced another — indeed, two languages must be learned, instead of one. Should the English language, as some confidently expect, become the language of the world, the advantages in which a complete alphabet would result, can be conceived by those only who have duly reflected upon the subject.

ITUBVOWELS. English. French,

b as heard in bow, orb, barb, and in ion. d day, hid, did, Dieu.

1 light, all, lull, Zoup

m wind, storm, maim, wion.

n no, on, nine, non.

ng song-, think, ag-neau (nearly).

r roll, war, rare, roue.

th THen, with,

v rile, lire, value, »il.

w wo, went, world, oui (nearly).

y yoke, yonder, yacht.

i zone, his, prism, zone.

2 azure, enclosure, ,/ardin.

ASPIRATES.

f /ame, if, dri/t, yemme.

h hut, Aence, — —

p pit, up, papa..

s sin, nice, crisp, sceur.

t tin, it, tart, four.

th thin, truth, months,

wh what, when, which,

The reader may ask why C, J, Q, and X, have not been classed with the elements. These letters have no sounds which are not represented, in the above scheme, by other letters. C has three sounds — the sound of k, as in cat; that of s, as in cedar, and that of sh, as in ocean. J expresses the combined sounds of d and z in azure. Q has the sound of k. X, as in exercise, expresses the combined sounds of k and s ; in example, the combined sounds of g and z in zone ; in anxious, the combined sounds of A; and sh. In Xenophon, x has the sound of z in zone.*

*Xin Xenophon was pronounced by the ancient Greeks as we pronounce x in exercise, thus — Ksenophon; and I am informed by Mr. Castanis, a native of the island of Scio, that the modern Greeks bo pronounce it.

ARTICULATION. SHI

Chapter II. The Vowels

The vowels are divided into Monothongs, Diph thongs, and Triphthongs.

The Monothongs consist of one kind of sound throughout their concrete movement, and consequently are simple elements ; they are represented by the italics in the following words :

arm, all, an, eve, end, in, on, up, full.

The Diphthongs consist of two vowel sounds, which coalesce so intimately that they appear like one uniform sound ; they are represented by the italics in the following words :

ale, He, lose, tube.

The diphthong a, as well as 1, has a characteristic sound for its radical, and the monothong, f, for its vanish. These diphthongs, under certain circumstances (for instance, when they are carried through a wide range of pitch, as in interrogation with surprise), are converted into triphthongs, the third constituent being the monothong, e.

The diphthong 6, as well as u, has a characteristic sound for its radical, and the subvowel to, for its vanish.

The Triphthongs consist of three vowel sounds which coalesce so intimately that they appear like one uniform sound ; they are represented by the italics, in the following words :

old, our.

The first constituent of 6, as well as that of ou, is a sound characteristic of this element ; and the diphthong 6 constitutes the second and the third constitu ent of these triphthongs.

The following scheme is an analysis of the diphthongs and triphthongs. The reader will observe that

ELOCUTION.

the letters which are employed to represent the diphthongs and triphthongs, are used under the head, Constituents, to represent their radicals only.

Diphthongs. Constituents, k 4—1

1 1—1 u u — w

There is one diphthong, and three triphthongs, besides those already noticed; they are represented by the italics, in the following words : oil, ay, boy, buoy.

But, as all their constituents are to be found among the fifteen vowels before enumerated, they do not increase the number of the elements. This may be seen by the following analysis :

Diphthong. Constituents. oi k — 1

Triphthongs. Constituents. ay k — 1 — e

oy k — 1 — h

uoy 6 — 1 — b

During the utterance of a monothong, the aperture of the mouth remains stationary ; but during that of a diphthong, or triphthong, the aperture is gradually diminished till the commencement of the last constituent; it then remains stationary till the sound is ended. This is illustrated by the following diagrams :

Diagram 1.

Diag. 2.

Diag. 3.

The opening of the tube (Diag. 1,) represents the v^erture of the mouth in the utterance of the mono-

* I have said that k and 1 are sometimes diphthongs, and sometimes triphthongs ; hence, above, they appear under both heads.

thong a, and the length of the tube represents the duration of the sound.

The large end of Diag. 2 represents the aperture of the mouth in commencing the utterance of the diphthong 6 — the portion of the figure between 6 and w f shows the gradual diminution of the aperture of the mouth during the utterance of the first constituent, and the remaining portion shows the stationary position of the aperture of the mouth during the utterance of the second constituent.

The large end of Diag. 3, represents the aperture of the mouth in commencing the utterance of the triphthong 6 — the portion of the figure between 6 and 6, Bhows the gradual diminution of the aperture of the mouth during the utterance of the first constituent — the portion between 6 and w, shows the gradual diminution of the aperture of the mouth during the utterance of the second constituent ; and the remaining portion of the figure, the stationary position of the aperture of the mouth during the utterance of the third constituent.

Chapter III. The Subvowels

. B consists of a vocal sound and an aspirate. The first constituent is formed with the lips closed ; the second, by aspirating the vowel u, at the moment of their separation.*