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LESSON XXIV.

Articulation.-Continued.

The Vowels.- Continued.

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We have now gone through the list of simple vowelsounds; all other vowels are combinations of some of these. I is 9-1 blended, thus, ah-e; ow in now is 917; oi in oil is 13-1; is 1-17, except when it follows r, when it has the sound 17 alone, as in rule, true. Careless speakers often say "floot" when they mean flute, "dooty" for duty, and so on. No one, however, says "poo" for pew, nor "foo" "foo" for few, though there is equally good reason for such pronunciation. One of the marks of a well-educated person is his careful enunciation of this much-abused vowel u. When a vowel occurs in an unaccented syllable, it is not pronounced with such care and exactness as when it receives the accent; for instance, we say syl-la-bl, not syl'-la-bel. The vowels in the second and third syllables here are said to be obscure, because it is not always easy to determine which sound is

given. If our example were spelt "syllibul," it would make scarcely a perceptible difference in the sound of the word. These obscure sounds are generally indicated in dictionaries by a single dot under the vowel.

The only rule for the pronunciation of obscure vowels is to make the sound as nearly like the full sound as is possible without seeming stilted.

The articles, personal pronouns, conjunctions, and short prepositions like of, to, from, and for, are always obscure, except when they are emphatic. Thus, when we say, "give it to me," we give the e in me its obscure sound (2d vowel), like i in pin; but when we say "give it to me," we give it its long sound (1st vowel). Nor do we say to (tōō), but almost tu (11th vowel). Treat such words, as regards pronunciation, exactly like the unaccented syllables in words. To be over exact and pedantic would often alter the meaning of the sentence, as in the illustration above.

The Consonants.

The consonants are formed by the action of the tongue, palate, and lips. The following consonants are made by compressing the lips and then separating them by a quick recoil and relaxation, b, p. Do not give the consonants their name-sounds in practising, thus: bē, pē.

Combine these and all following consonants with each of the seventeen vowel-sounds.

TO THE TEACHER :-Rhythmical exercises like the following will be found useful in attaining flexibility and accuracy in the use of the agents of articulation:

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In common time : Bà bà bà, bà bởi bà, bà bà bà, bởi. Repeat three times, sustaining the last b a full beat, making a succession of three triplets and a quarter note; the last time sustain the final ba as long as possible.

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In common time: Bà bởi bà bà, bà bắt bởi bà. bởi bộ bài bài, bởi, gas if there were three groups of sixteenth notes, and a quarter note. Distinguish carefully between successions of ba aud of üb, på and äp. Careless practice will result in something like äb ä bä bä bä bä, etc. This caution applies to many other combinations.

LESSON XXV.

The Head.

The head has gestures and attitudes. The gestures of the head are few but full of meaning. The common ones are the nod, meaning yes; the shake of the head, meaning no; and a contemptuous fling of the head to one side, which latter, like a shrug of contempt, which it usually accompanies, is to be avoided, except when absolutely necessary to the expression.

The attitudes or positions of the head are more numerous and important than are its gestures. Wc find nine fundamental positions of the head.

I.-The Head Erect. (Fig. 8.)

This is the attitude of simple attention without sympathy. We find it in the attitude of Respect (Lesson VI.). As a bearing or habit, it indicates strong vitality, consciousness of power. Be careful that the position of the body, either in sitting or standing, corresponds to that of the head, so far as your knowledge goes.

II.-The Head Bowed. (Fig. 9.)

FIG. 8.

This indicates one of two conditions: Either the mind is so occupied that the attention is drawn away from surrounding things; or, we are submitting ourselves to some one or something more powerful than ourselves; we say, for instance, "man must bow to the inevitable."

This, then, is the expression of reflection, thought,

FIG. 9.

mental concentration, or of respect and submission. As a bearing, the bowed head might indicate a thoughtful character, or a very humble, abject person. What would be the difference in the bearing of the hips and chest?

The ordinary bow means that you place yourself at the service of the person you salute. You are, for the time, his "humble servant." The attitude of the body will vary with the condition you wish to represent.

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III.-The Head Lifted. (Fig. 10.)

The head is lifted in joy, animation, exultation, vehemence, expressions of pride, superiority, and the like, and, as a bearing, would indicate similar mental characteristics.

IV. The Head Pivoted. (Fig. 11.) The head pivoted or turned toward an object or person shows a feeling of attraction; turned from, that is, in an opposite direction, the pivot indicates dislike, repulsion, aversion. This is not a bearing; people do not go about habitually with the head turned to one side.

EXAMPLES.

The train from out the castle drew,

But Marmion stopped to bid adieu.

FIG. 11.

[Speaker's Position.]

"Though something I might 'plain," he said,

Of cold respect to stranger guest

Sent hither by your king's behest,
Part we in friendship from your land

And noble earl, receive my hand."

II. [But with coldness.]

-Scott.

My liege, your anger can recall your trust,
Annul my office, spoil me of my lands,
Rifle my coffers; but my name, my deeds,

Are royal in a land beyond your sceptre.-Bulwer Lytton.

This selection would be begun in the attitude of conscious power (I.), and gradually develop into

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