A system of elocution, with special reference to gesture, to the treatment of stammering, and defective articulation ...

Front matter

M4 t li^

Glass.

Book.

Part I. Vocal Gymnastics

Vocal Gymnastics 15

Elements of the English Language 18

Classification of the Elements 19

The Vowels 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 Voice 46

Inflections 47

Melody 52

Modulation 53

Time 63

Part II. Gesture

Postures of the Body .... 69

Postures unfavourable to Vocal Delivery 70

Vlll CONTENTS.

Postures favourable to Vocal Delivery 71

Demonstrating on the Black-board 71

Manner of Holding the Book 72

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 Gesture. 113

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

Grace 131

Synoptical Arrangement of the Notation Letters 134

Application of the Notation Letters 136

Questions to be answered by the Pupil 159

PRACTICAL ELOCUTION.

PART I.

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

Exercises in Articulation, Pitch, Force, Time, and Gesture . . 167

Table of the Elements of the English Language 167

Emphasis Melodies 172

Interrogative Sentences 174

Modulation 176

Tremour 177

Time and Gesture .- 178

Method of Beating Time with the Dumb-Bells 178

Syllable Rhythm 179

Poetry Rhythm 179

First Period of Gesture 182

Second Period of Gesture 183

Pronunciation 184

Declamation 184

Method of Teaching Declamation 185

Speech of Satan to his Legions, with Gestures 185

The Miser and Plutus, with Gestures 192

CONTENTS. IX

PART II.

EXERCISES IN READING AND DECLAMATION.

Account Current Anonymous 358

Adams and Jefferson Wirt 353

An Address to a Young Student Knox 356

Antony's Oration over~Csesar's Body Shakspeare 252

Apostrophe to Light Milton 228

Apostrophe to the Queen of France Burke 209

Battle of Hohenlinden Campbell 204

Battle of Warsaw Campbell 210

Battle of Waterloo Byron 211

Brutus's Oration on the Death of Ceesar Shakspeare 250

Casabianca Mrs. Hemans 338

Cato's Senate Addison 235

Cato's Soliloquy Addison 248

Character of Pitt Robertson 286

Childe Harold's Address to the Ocean Byron 206

Clarence's Dream Shakspeare 287

Darkness Byron 232

Declaration of Independence Jefferson 306

Douglas's Account of Himself Home 304

Edward and Warwick 221

Elegy written in a Country Churchyard Gray 300

Extract from a supposed Speech of John Adams, in support of

American Independence Webster 363

Genius Akenside 321

God Derzhavin 267

Greatness Akenside 322

Hamlet's Soliloquy Shakspeare 249

Happy Freedom of the Man whom Grace makes Free. Cowper 279

Hyder Ali Burke 230

Hymn to the Deity Thomson 262

Industry necessary to the Attainment of Eloquence Ware 333

Knowledge De Witt Clinton 364

Lines supposed to have been written by Alexander Selkirk, during his solitary abode on the Island of Juan Fernandez Cowper 179

Lochiel's Warning Campbell 217

Lochinvar Scott 336

Marco Bozzaris Halleck 213

Mariner's Hymn Mrs. Southey 298

Meeting of Satan, Sin, and Death Milton 339

Moses Smiting the Rock Van Vranken 326

Motives to the Practice of Gentleness Blair 329

Night Thoughts Young 315

X CONTENTS.

Ode on the Passions Collins 256

Ossian's Address to the Sun 203

Paper Franklin 325

Perpetual Adoration Moore 294

Pitt's Reply to Walpole 319

Reception of Columbus on his return to Spain W, Irving 349

Scene from Pizarro Kotzebue 295

Schemes of Life often Illusory Dr. Johnson 359

Sincerity Tillotson 343

Speech of Cicero against Verres 244

Speech of Lord Chatham 225

Speech of Patrick Henry 259

Speech of Rolla R. B. Sheridan 205

Speech of Satan to his Leg-ions Milton 201

Speech of Satan, with Gestures 185

Toll's Address to the Mountains Knowles 203

Thanatopsis Bryant 241

The American Flag Drake <$■ Hallcck 328

The Burial of Sir John Moore Wolfe 281

The Chameleon Merrick 275

The Exile of Erin Campbell 280

The Destruction of Senacherib Byron 335

The Grave of Franklin Miss C. H. Waterman 305

The Heavens and the Earth show the Glory and Wisdom of

their Creator Goldsmith 282

The Hermit Beattie 220

The Importance of Order in the Distribution of our Time Blair 331

The Invocation Mrs. Hemans 278

The Journey of a Day Dr. Johnson 311

The Land that we Live in C. W. Thomson 31G

The Mariner's Dream Dimond 265

The Miser and Plutus Gay 138

The Miser and Plutus, with Gestures 192

The Rose Cowper 181

The Three Warnings Mrs. Thrale 272

The Union of the States Webster 345

Time Van Yranken 327

To the Ursa Major Ware 200

Without God in 'the World Rev. Robert Hall 270

Wolsey's Farewell to Cromwell Shakspeare 318

Wolsey's Soliloquy Shakspeare 317

Woman R. II. Townsend 255

Woman Campbell 342

Introduction

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. _3 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 gymnastics properly so called."

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12 INTRODUCTION.

These exercises, when commenced in youth, develope the muscles, give agility to the limbs, and promote the various functions 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 genera] 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 hopeful 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, vaiy 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 :

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.

ELOCUTION.

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,

4. Ti

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.

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

Section I. 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 represented 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 resuits. 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, th 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.

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

a arm, farm, arme, gaz, gaze.

a all, law, for,

& an, man, idea, aller.

b eve, see, deed, tie.

£ end, met, err, elle.

i He, %, pine,

1 in, pin, i\.

6 old, no, more, eau.

6 lose, too, move, vowte.

6 on, lock, not, ecole.

vl tabe, few, pwpil,

ti up, her, hart, JGarope.

u full, pull, wolf, ou.

ou owr, now, flowr,

vailing. There are thirty-eight elements in the English 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 &nd 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.

SUBVOWELS. English. French.

b as heard in bow, orb, barb, and in bon.

d day, bid, did, Dieu.

S gay, %. g'*gi gai.

1 light, all, lull, Zoup

m mind, storm, maim, mon.

n no, on, nine, non.

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

r roll, war, rare, roue.

th THen, wiTH,

v rile, liue, value, vi\.

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

y yoke, yonder, yacht.

i zone, his, prism, zone.

2 azure, enclosure ,/ardin.

ASPIRATES.

f fame, if, drift, /emrae.

h hut, hence,

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 A; and s ; in example, the combined sounds of g and z in zone ; in anxious, the combined sounds of k and sh. In Xenophon, x has the sound of z in 2one.*

*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 so pronounce it.

Chapter II. The Vowels

The vowels are divided into Monothongs, Diphthongs, 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 :

crm, all, an, eve, end, in, on, wp, 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, tie, lose, tube.

The diphthong a, as well as i, has a characteristic sound for its radical, and the monothong, 1, 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 w, 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, owr.

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 constituent of these triphthongs.

The following scheme is an analysis of the diphthongs and triphthongs. The reader will observe that the letters which are employed to represent the diphthongs and triphthongs, are used under the head, Constituents, to represent their radicals only.

1 1— 1 u u — w

Triphthongs. Constituents. a* k —1— 6 ou ou — 6 — 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 — i

Triphthongs. Constituents, ay k — i — e.

uoy 6 — I — h

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 aperture of the mouth in the utterance of the mono-

* I have said that a 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 iv, 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, shows 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 ii, at the moment of their separation.*

When B is doubled, as in rabbit, the second constituent of the first B is omitted. When B is whispered, the second constituent only is heard. When words in which B is doubled are whispered, the first B is mute.

D consists of a vocal sound and an aspirate. The first constituent is formed with the tip of the tongue

* Care should be taken not to make the second constituent vocal.

pressed against the gums of the upper incisory teeth ; the second, by aspirating the vowel u at the moment of its removal.*

When D is doubled, as in addition, the second constituent of the first D is omitted. When D is whispered, the second constituent only is heard. When words in which D is doubled are whispered, the first D is mute.

G consists of a vocal sound and an aspirate. The first constituent is formed with the root of the tongue pressed against the curtain, or vail of the palate ; f the second, by aspirating the vowel u at the moment of its removal.*

When G is doubled, as in haggard, the second constituent of the first G is omitted. When G is whispered, the second constituent only is heard. When words in which G is doubled are whispered, the first G is mute.

L is a vocal sound, made with the tip of the tongue pressed against the gums of the upper incisory teeth.

M is a nasal sound, made with the lips closed.

N is a nasal sound, formed with the tip of the tongue pressed against the gums of the upper incisory teeth.

NG, as in song, is a nasal sound, formed with the root of the tongue pressed gently against the curtain of the palate.

R is a vocal sound, of which there are two varieties. The first is called the trilled R, and is made by causing the tongue to vibrate against the gums of the upper incisor teeth, while the breath is propelled through the mouth ; the second is called the smooth R, and is made with the tip of the tongue elevated towards the centre of the roof of the mouth. R should be trilled when it precedes a vowel, as in roll, crush, &c,; but when it follows a vowel, as in air, orb, &c, it should be made smooth.

I have met with a number of individuals who could not trill the R, and others who did it with difficulty. Those who cannot trill it

* Care should be taken not to make the second constituent vocal. f In the language of anatomy, velum pendulum palali.

in a graceful manner, had better not attempt it in public ; let such, however, not despair — their vocal organs may be rendered flexible by frequent and energetic exercise.

TH, as in then, is a compound of vocality and aspiration, formed with the tip of the tongue resting against the inner surface of the upper incisory teeth.

V is a compound of vocality and aspiration. It is formed with the under lip pressed against the edge of the upper incisory teeth.

W is a vocal sound, formed with the lips contracted as in the act of whistling.

Y is a vocal sound, formed with the lips and teeth a little separated.

Z, as in zone, is a buzzing sound, a compound of vocality and aspiration. It is formed by pressing the tip of the tongue gently against the gums of the upper incisors, and forcing out the breath.

Z, as in azure, is a compound of vocality and aspiration. It is formed with the tip of the tongue nearly in the same position as is z in zone, though drawn a little further back, and somewhat widened, so as to enlarge the aperture formed by its upper surface and the roof of the mouth, through which the breath is forced.