Compound. A-le, I-ce, O-ld, Ou-r, Oi-l, U-se (the verb).* 'Subtonics.' [So denominated by Dr. Rush, because of their inferior susceptibility of intonation, when compared with the 'tonic' elements.] L-u-ll, M-ai-m, N-u-n, R-ap, Fa-r,† Si-ng, B-a-be, D-i-d, G-a-g, V-al-ve, Z-one, A-z-ure, Y-e, W-oe, Th-ine, J-oy. Atonics.' [So called from their deficiency as to capacity for intonation.] P-i-pe, T-en-t, C-a-ke, F-i-fe, C-ea-se, H-e, Th-in, Pu-sh. Combinations. Bl-ame, Cl-aim, Fl-ame, Gl-are, Pl-ace, Sl-ay, Spl-ay, Br-ave, Cr-ave, Dr-ain, Fr-ame, Gr-ain, Pr-ay, Spr-ay, Tr-ace, Str-ay, Shr-ine, Sm-all, Sn-arl, Sp-ace, St-ay, Bo-ld, E-lf, E-lk, E-lm, He-lp, Fa-lls, Fau-lt, E-lve, Mai-m'd, Glea-ms, A-nd, Gai-ns, Ba-nk, Da-nce, A-nt, Ba-rb, Ba-rb'd, Ha-rd, Ha-rk, Ma-rk'd, A-rm, A-rm'd, Ea-rn, Ea-rn'd, Hea-rse, Da-rst, Ba-rs, Ma-rt, Ca-rve, Ca-rv'd, Cha-sm, Rea-s'n, A-sp, Va-st, Pa-ss'd, Ma-kes, A-ct, Wa-k'd, Wa-ft, Qua-ff'd, A-pt, Su-pp'd, O-p'n, Ta-k'n, Sa-dd'n, Gra-v'n, Brigh-t'n, Ca-ll'st, A-rm'st, Ca-nst, Du-rst, Mi-dst, Hea-rd'st, A-rm'dst, Lea-rn'dst, A-ble, Trou-bl'd, Am-ple, Top-pl'd, Cra-dle, Bri-dl'd, Ma-rl, Wo-rld, Ri-ngs, Ha-ng'st, Wro-ng'd, Wro-ng'dst.§ The elementary sounds and combinations contained in the preceding tables, should be repeated till they can be enuncia * For explanation of the few points of difference in arrangement, between the above table and that of Dr. Rush, see statements in the volume on Orthophony. †The five elements at the beginning of the above table, may, from their comparative approach to vocality, be termed 'pure subtonics.' The combinations of elements is, in every case, indicated by italics. Every combination should be repeated separately, after pronouncing the word in which it occurs. For a list of common errors in articulation, see American Elocu tionist. ted with perfect exactness and well-defined character, in the full style of public speaking. Distinctness of enunciation will be much promoted by a careful, slow, exact, syllabic and literal analysis of selected words, read with special precision and force, for the purpose of practising a clear, firm, well-marked articulation. This exercise is rendered still more conducive to its intended effect, if lines or sentences are read in inverted order, so as to detach them from their ordinary associations of sound. A useful exercise for the purpose of securing a critical knowledge of orthoëpy, and a strict accuracy of habit in pronouncing, is to read aloud several columns, daily, from Worcester's edition of Johnson and Walker's dictionaries, as combined by Todd, while close attention is paid to observe whether the sounds of the voice correspond precisely to the notation of the orthoëpy. A copious list of words commonly mispronounced, even in the pulpit, formed a part in the original plan of the present work. But the extent of the list rendered it impracticable to introduce it without swelling the size of the volume beyond its limited extent. It may be sufficient, perhaps, to refer here to the tables presented in the Elocutionist, as a specimen of the classes of words whieh are most liable to mispronunciation, and as an indication of the importance of the exercise suggested in regard to the use of the dictionary. The pulpit, in our day, and in this country, is so generally regarded as the standard of accuracy in pronunciation, that more than usual attention to this branch of elocution is justly required of ministers. But some young preachers, in particular, are too prone to shrink from their proper responsibleness as scholars, and to accommodate their own style to mere popular usage, while others, from a fastidious anxiety about bare exactness, adhere to the letter of the law of nicety, and even transcend its requirements. Hence we hear, in some American pulpits, the pronunciations-airth, maircy, pairfect, from speakers who follow literally Walker's notation of orthoëpy, but do not pay attention to his own qualification of it. The former class of errors, however,—that which arises from accommodation to mere negligent common usage,—is the more prevalent, and particularly in New England. Hence the many broad and obsolete and peculiar sounds which characterize the pulpit pronunciation of this region. It would seem to be an axiom of education, that in an extensive country like the United States, all young persons should be everywhere trained to do their part in preserving the unity of language and the refinement of custom. A liberal education should enable every young man to fill with propriety the office of public speaker, in any part of his native country. But the fact is quite otherwise. Our young New England clergy usually carry with them their marked local peculiarities of usage in pronouncing, and throw an unnecessary impediment in the way of their own acceptation as speakers elsewhere. A few months or years, it is true, usually suffice to rub off such points. But a seasonable attention would prevent their existence. The pulpit orators of our Middle and Western States are very generally chargeable with gross negligence and improprieties in pronunciation, which a little study in early years would have sufficed to correct. The pulpit cannot command the respect of any but the illiterate, while it tolerates a slovenly inaccuracy and low taste, in the use of language, or in the manner of pronouncing the most ordinary forms of expression. The minister, as an educated, or, at least, a reading man, should ever feel that he is looked to as a model in this particular, and that his influence in this, as in other things, is either upward or downward. This quality of voice belongs to moderate, soft, and subdued utterance, as in the expression of pathos, repose and solemnity, when not accompanied by grandeur or sublimity. The object in view, in the practice of such passages as the following, is, to secure the power of moulding the voice into perfectly clear, pure, and smooth sound, as the true and proper habit of utterance, but particularly important in all passages of tender and softened effect. This mode of voice characterizes the appropriate reading of some of the Psalms, many of the most affecting hymns, and all the subdued appeals of direct address, in discourses from the pulpit. Pure tone is of as much service to the public reader and speaker as to the singer. It renders the emission of vocal sound at once clear, easy, natural, and agreeable, and enables the performer to exert his organs without fatigue. The following, and all other exercises, should be repeated till a perfect vocal execution is attained. To secure fully the quality in view, the 'tonic' elements should be repeated in the same style. The ear and the voice will thus become: perfectly attuned to the effect. Pathos. Ode to Peace.-Cowper. 'Come, peace of mind, delightful guest!! Once more, in this sad heart! 'Where wilt thou dwell, if not with me, And pleasure's fatal wiles?— The great, the gay, shall they partake That murmurs through the dewy mead, For thee I panted; thee I prized; Whate'er I loved before ;— And helpless, hopeless, hear thee say- Repose. Invocation to Evening.-Cowper. 'Come, Evening, once again, season of peace; With matron step slow moving, while the night On bird and beast, the other, charged for man Come, then; and thou shalt find thy votary calm, Placid Emotion.* Books-Addison. 'Aristotle tells us, that the world is a copy, or transcript, * Conversational passages, essays, lectures, and discourses, when read in the study or the parlour, the conference or the lecture-room, may, par |