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Columbus Capricorn was cross, crabbed, crooked, carbuncled, and crusty.

Deborah Diligent danced delightfully with a droll and dexterous drummer.

Elizabeth Edmonson cooked eleven eggs with excellent edibles.
Frederic Firebrand fiercely fought a funny and fidgety fiddler.
Gregory Gobbleum gaped and gabbled like a goose or gander.
Hercules Hardhearted hit a hawk on the head with a hatchet.
Isaac Ingham inhabited an inclement and isolated island in Italy.
Jemima Juniper with joy did jump a jig in jeopardy.
Kate Kirkman kindly kissed her knowing kinsman.

Lem Lawless was a loudly, laughing, lounging, long, lean, lank, lazy loafer.

Maximilian Mettlesome magnanimously met a mutinous moun. taineer.

Nancy Nimble, with a nice new needle, netted neat nets.
Omar Overall ordered Oliver Ollapod to overawe Owen Oldbuck.

Professor Punch and Paulina Polk performed the Patagonia polka perfectly.

Quintuple Quorum quickly questioned a queer and quizzical quidnunc.

Roderic Random ran a ridiculous race on the Richmond railroad.

Sophonisba Scribblewell was superlatively and surprisingly sentimental.

Theophilus Talkative told tremendous, terrible, terrific, and tragic tales.

Ursula Urgent uninterruptedly and universally used an umbrella. Valentine Vortex victoriously vanquished a vindictive villager.

Wilhelmina Whirligig warbled with winning and wonderful witchery.

X-ecrable X-antippe x-hibited x-traordinary and x-cessive x-citability

Young Yankee, a youthful yeoman, yawned at Yarmouth. Zedekiah Zigzag was a zealous zoological zoophite in the frozen


5. Let not the student cease to exercise his voice and organs upon the elementary sounds and numerous examples of

difficult articulation, here presented, until his voice shall show a cultivation by its rich intonations, nor until his organs of speech have acquired a precision in articulation that shall af ford, not only a pleasure to himself, but secure the attention and admiration of his hearers.


1. Pitch of the voice in speaking, regards its de gree of elevation in reference to a musical scale.

2. Nature has a peculiar pitch of voice for her passions and emotions. Let the attentive observer note the variations of pitch in the voice of the child, when speaking under the influence of strong and varied emotion, and he will realize the truthfulness of this remark.

3. There are three departments of pitch in the human voice, common to both sexes, to wit: the high, the middle, and the low. When under the influence of strong and excited feelings, nature prompts us to use high notes of speech ; as in calling, screaming, shrieking, &c. The middle range of pitch is adapted to common, colloquial discourse. The low key or grave tone of voice is used in expressing sentiments of sublimity, awe, and devotion. No very definite rules can be given for its regulation in speaking. The nature of the sentiment, and discrim. inating taste must determine the appropriate key-note of delivery.


High Notes.

1. Art thou that traitor angel? Art thou he who first broke peace in heaven! 2. Fire! firal-the boat is on fire!


Middle Range, or Common Common Colloquial Key. 1. And thou hast walked about!-how strange a story! In Thebes' street, three thousand years ago.

Low key. 1. Speak then thou voice of God within, thou of the deep, low


2. Great ocean, too, that rolled the wild, profound, eternal bass in nature's anthem.

TIME. 1. Time in Elocution is the measure of sounds in regard to their duration, as used in reading and speaking

2. In this department of the science examples and directions can only point the pupil to nature that he may learn of her, for she is the great teacher, guiding and regulating the movements of the voice, as sentiment and feeling may inspire. Devotional and solemn discourse requires slow movement and long quantity in the utterance; unimpassioned conversation and narrative, a medium rate of movement; animated description, comic and lively expression, sudden passion, as joy, anger, &c., produce utterance, more or less rapid, according to the nature and intensity of the emotion. Let the pupil observe the impulses of his own feelings, and study to understand and feel the sentiment he is to deliver, and nature will serve as a kind regulator of the movements of his voice.


Quick Time. 1. O, come, father, come quickly, let us run—that's a good father catch me one.

Medium T'ime.

1. As soon as you are capable of reflection, you must perceivo that there is a right and wrong in human action. 2. Love has a potent, a magical token,

A talisman ever resistless and true.

Slow Time.

1. Slowly and sadly we laid him down.
2. O, when shall day dawn on the night of the gravel
3. 01 I have passed a miserable night!
4. One dead, uniform silence reigned over the whole region.



1. Force relates to the degree of loudness and ex ertion with which sounds are made in vocal delivery. It may be called the momentum of speech.

2. The division of Force most practical and comprehensive, consists of three degrees, to wit: little, medium, and greal force.

3. The nature of a few sentences is such, that they should be pronounced with a uniform degree of force, but usually it should be varied during the utterance of a sentence or paragraph. The sentiment sometimes requires that it should be gradually increased or diminished during the enunciation of a sentence. The best general rule that can be given is, that it should be varied according to the sentiment and the emotion.

4. Force, when applied to a syllable, is denominated stress. Stress is divided by some authors into radical, medium, final and explosive.


Little force. 1. Soft roll your incense, herbs, and fruits, and flowers. 2. Come, then, expressive Silence, muse His praise. 3. Awake n his slumbers, tread lightly around.

4. His great art was to soothe, and in this, he was mild and gen tle as the dews.

Medium Force. 1. I had a dream, which was not all a dream. 2. Music that might have charmed Calypso and her nymphs, was his.

Great Force.
1. Strike! till the last armed foe expires;
Strike! for


altars and your fires; Strikel for the green graves of your sires; God! and your native landi


1. The Rising Inflection ends higher than it begins; always rising by a continuous slide from a grave to an acute tone.

2. Inflections are natural language, that perform a very important office in the communication of thought.

3. The use of inflections is to show that an expression of sense is or is not complete. In counting five, consecutively, we use the rising slide until we pronounce five, which takes the falling slide, and makes the number conclusive; thus-one', two', three', four', five'. In this instance, the rising inflection makes the number to be counted uncertain, but the falling slide, in this and other instances, gives conclusion to the sen tence and sense.

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