would have the soft sound. The accent of this word may be a subject of doubt, as it is by some orthoepists placed upon the second, and by others upon the third syllable; but the correct sound of the 'g' cannot be doubted by any one who is at all conversant with the principles of the English language.

27. The beauty of language is sacrificed by omitting the sound of 'h' unaccented, in phrases such as 'pull him out,' 'take his arm,' spoken frequently as if written 'pullim out,' 'takis arm.'

28. It is an impurity of speech to run together the consonant at the end of a vowel with 'y' at the beginning of the next one, as in the phrases, not yet,' 'don't you go,' ' did you or did you not;' frequently spoken as 'no chet,'' don choo go,' 'dijoo or dijoo not,' &c. Front-door' sometimes sounds like 'frundoor,' 'cut down' like 'cud down.'

As to the question whether the long or the short vowel sound be preferable on the accented syllable in words like 'heroine,' 'prelate,' 'prebendary,' 'presage,' and many others of similar construction, it may be answered that neither sound should be looked upon as an error. Prelate is correct, and prelate is not less so; but there is a fluctuation in the fashion, as well in regard to pronunciation as in other things, even among those who are sticklers for the right way. And, to conform to the most approved usage of the day, I have no hesitation in choosing the short sound of the vowel, heroine, prelate, prebendary, &c. This conforms to the most accepted pronunciation in a multitude of words with different accented vowels, such as păgeant, tribune, nătional, rătional, redolent, pătent, privacy, Isolate, dynasty, dilatory, presage, and many others.

But when it is considered that but a small portion of the faults and imperfections of common speech have been noticed in the above category, it will perhaps appear that the exercises which commence these instructions are of some value. I know of no efficient remedy for all these errors and abuses but the diligent and persevering use of such exercises.

This chapter and the subject of Pronunciation will be concluded with a list of words, most of them in common daily use, which are frequently mispronounced by persons of considerable pretensions to learning. They are accentuated according to what the author esteems the most approved and correct modern usage.

PART II.

INTONATION.

CHAPTER I.

INFLECTION-PITCH-CADENCES.

RULE FOR ASCERTAINING KEY-NOTE OR NATURAL PITCH OF VOICE.

INTONATION is the term used to cover the whole ground of what relates to the song or melody of language. Under this general heading we are to consider the subjects of PITCH, INFLECTION, and CADENCES.

PITCH, abstractly considered, means elevation or depression of voice, as referred to the musical scale.

INFLECTION is the change of pitch which takes place in the utterance of a single syllable; and the CADENCE involves a change affecting both pitch and inflection.

The subject of Intonation being to some minds exceedingly difficult of apprehension, it will be necessary to render it as

simple or as intelligible as possible, by a separate consideration of pitch and inflection.

We use the term Pitch as applicable to the general tone of voice in which a discourse or a paragraph is read; and the elevation or depression of this pitch is determined by referring this average tone, to the scale of music; the note there, which most nearly corresponds to it, will indicate the pitch of voice in which the language is read.

There is a note of music for every one's voice, to which it will more nearly correspond in free and natural utterance, than to any other note in the scale. This note, which may be called the key-note of the particular voice, is somewhere intermediate between the extremes of elevation and depression of which that voice is capable.

He who regards correctness of pitch should endeavor, as early as possible in his practice, to ascertain where this average pitch or key-note is. There can be no difficulty in this, if he can practically separate his idea of pitch from that of inflection, and if he speak naturally and easily to himself,

If, from any cause, he has been in the habit of speaking in too high or too low a pitch of voice, he should form a new habit, by cultivating the pitch which to him would be a medium sound, between the extremes of the compass of his own voice. He will soon find his ease in speaking much increased, and at the same time the melody of his utterance will be improved.

The key-note, or pitch of voice, upon which a composition is spoken or read, is more easily determined by a listener in an adjoining room, than by one present with the speaker;