The Art of Writing & Speaking the English Language by Sherwin Cody (ereader for comics .TXT) 📕

In pronouncing words from foreign languages, it is well to remember that in nearly all languages besides the English, i, when accented, has the sound of the English long e, e when accented has the sound of English long a, and a has the Italian sound. The English long sounds are seldom or never represented in foreign words by the corresponding letters. The sound of English long i is represented by a combination of letters, usually, such as ei.

We may also remember that in Teutonic languages g is usually hard even before e, i, and y, but in Romance languages, or languages derived from the Latin, these vowels make the g and c soft.

Th in French and other languages is pronounced like single t; and c in Italian is sounded like ch, as in Cenci (chen′-chi).

Cultured Pronunciation.

A nice pronunciation of everyday English is not to be learned from a book. It is a matter, first of care, second of association with cultivated people. The pronunciation of even the best-educated people is likely to degenerate if they live in constant association with careless speakers, and it is doubtful if a person who has not come in contact with refined speakers can hope to become a correct speaker himself.

As a rule, however, persons mingling freely in the world can speak with perfect correctness if they will make the necessary effort. Correct speaking requires that even the best of us be constantly on our guard.

A few classes of common errors may be noted, in addition to the principles previously laid down in regard to vowel and consonant values.

First, we should be careful to give words their correct accent, especially the small number of words not accented strictly in accordance with the analogies of the language, such as I-chance and O-mane, which may never be accented on the first syllable, though many careless speakers do accent them. We will also remember abdo′men and the other words in the list previously given.

Second, we should beware of a habit only too prevalent in the United States of giving syllables not properly accented some share of the regular accent. Dickens ridicules this habit unmercifully in “Martin Chuckle.” Words so mispronounced are ter′-ri-to′-ry, ex′-act′-ly, isn′t-best, big-cle, etc. In the latter word this secondary accent is made to lengthen the y, and so causes a double error. The habit interferes materially with the musical character of easy speech and destroys the desirable musical rhythm which prose as well as poetry should have.

Third, the vowel a in such syllables as those found in command, chant, chance, graft, staff, pass, clasp, etc., should not have the flat sound heard in as, gas, etc., nor should it have the broad Italian sound heard in father, but rather a sound between. Americans should avoid making their a's too flat in words ending in ff, ft, ss, st, sk, and sp preceded by a, and in some words in which a is followed by nce and nt, and even nd, and Englishmen should avoid making them too broad.

Fourth, avoid giving u the sound of oo on all occasions. After r and in a few other positions we cannot easily give it any other sound, but we need not say soot′-a-ble, soo-per-noo-mer-a-ry; nor noos, stoo, etc.

Fifth, the long o sound in words like both, boat, coat, etc., should be given its full value, with out being obscured. New England people often mispronounce these words by shortening the o. Likewise they do not give the a in care, bear, fair, etc., and the e in where, there, and their, the correct sound, a modification of the long a. These words are often pronounced with the short or flat sound of a or e (căr, thěr, etc.).

Sixth, the obscured sound of a in wander, what, etc., should be between broad a as in all and Italian a as in far. It is about equivalent to o in not.

Seventh, a, e, i, o (except in accented syllables), and u are nearly alike in sound when followed by r, and no special effort should be made to distinguish a, o, or a, though the syllables containing them have in fact the slightest possible more volume than those containing e or i followed by r. Careless speakers, or careful speakers who are not informed, are liable to try to make more of a distinction than really exists.

In addition to these hints, the student will of course make rigorous application of principles before stated. G and c will be soft before e, i, and y, hard before other vowels and all consonants; vowels receiving the accent on the second syllable from the end (except i) will be pronounced long (and we shall not hear au-dă′-cious for audā′-cious); and all vowels but a in the third syllable or farther from the end will remain short if followed by a consonant, though we should be on the lookout for such exceptions as ab-stē′-mious, etc. (As the u is kept long we will say _tr_ŭ′-cu-lency [troo], not _tr_ŭ_c′-u-lency,_ and _s_ū′-pernu-merary, not _s_ŭ_p′-ernumerary,_ etc.).

These hints should be supplemented by reference to a good dictionary or list of words commonly mispronounced.

The method of using the following story of Robinson Crusoe, specially arranged as a spelling drill, should include these steps:

1. Copy the story paragraph by paragraph, with great accuracy, noting every punctuation mark, paragraph indentations, numbers, and headings. Words that should appear in italics should be underlined once, in small capitals twice, in capitals three times. After the copy has been completed, compare it word by word with the original, and if errors are found, copy the entire story again from beginning to end, and continue to copy it till the copy is perfect in every way.

2. When the story has been accurately copied with the original before the eyes, let some one dictate it, and copy from the dictation, afterward comparing with the original, and continuing this process till perfection is attained.

3. After the ability to copy accurately from dictation has been secured, write out the story phonetically. Lay aside the phonetic version for a week and then write the story out from this version with the ordinary spelling, subsequently comparing with the original until the final version prepared from the phonetic version is accurate in every point.

The questions may be indefinitely extended. After this story has been fully mastered, a simple book like “Black Beauty” will furnish additional material for drill. Mental observations, such as those indicated in the notes and questions, should become habitual.

THE STORY OF ROBINSON CRUSOE.
 (For Dictation.)

(Once writers of novels were called liars by some people, because they made up out of their heads the stories they told. In our day we know that there is more truth in many a novel than in most histories. The story of Robinson Crusoe was indeed founded upon the experience of a real man, named Alexander Selkirk, who lived seven years upon a deserted island. Besides that, it tells more truly than has been told in any other writing what a sensible man would do if left to care for himself, as Crusoe was.)

1. A second storm came upon us (says Crusoe in telling his own story), which carried us straight away westward. Early in the morning, while the wind was still blowing very hard, one of the men cried out, “Land!” We had no sooner run out of the cabin than the ship struck upon a sandbar, and the sea broke over her in such a manner that we were driven to shelter from the foam and spray.

Questions and Notes. What is peculiar about writers, liars, know, island, straight, foam, spray? (Answer. In liars we have ar, not er. In the others, what silent letters?) Make sentences containing right, there, hour, no, strait, see, correctly used. Point out three words in which y has been changed to i when other letters were added to the word. Indicate two words in which ea has different sounds. Find the words in which silent e was dropped when a syllable was added. What is peculiar about sensible? cabin? driven? truly? Crusoe?

To remember the spelling of their, whether it is ei or ie, note that it refers to what they possess, theyr things—the y changed to i when r is added.

2. We were in a dreadful condition, and the storm having ceased a little, we thought of nothing but saving our lives. In this distress the mate of our vessel laid ho a boat we had on board, and with the help of the other men got her flung over the ship's side. Getting all into her, we let her go and committed ourselves, eleven in number, to God's mercy and the wild sea.

(While such a wind blew, you may be sure they little knew where the waves were driving them, or if they might not be beaten to pieces on the rocks. No doubt the waves mounted to such a height and the spray caused such a mist that they could see only the blue sky above them.)

3. After we had driven about a league and a half, a raging wave, mountain high, took us with such fury that it overset the boat, and, separating us, gave us hardly time to cry, “Oh, God!”

Questions and Notes. What words in the above paragraphs contain the digraph ea? What sound does it represent in each word? What other digraphs are found in words in the above paragraphs? What silent letters? What principle or rule applies to condition? having? distress? getting? committed? eleven? What is peculiar about thought? lives? laid? mercy? blew? pieces? mountain? league? half? could? Compare ei in height and i alone in high. Think of nothing as no thing. To remember the ie in piece, remember that pie and piece are spelled in the same way. Separate has an a in the second syllable—— like part, since separate means to “part in two.” You easily the word PART in SEPARATE, Observe that ful in dreadful has but one l.

4. That wave carried me a vast way on toward shore, and having spent itself went back, leaving me upon the land almost dry, but half dead with the water I had taken into my lungs and stomach. Seeing myself nearer the mainland than I had expected, with what breath I had left I got upon my feet and endeavored with all my strength to make toward land as fast as I could.

5. I was wholly buried by the next wave that came upon me, but again I was carried a great way toward shore. I was ready to burst with holding my breath, when to my relief I found my head and hands shoot above the surface of the water. I was covered again with water, and dashed against a rock. The blow, taking my breast and side, beat the breath quite out of my body. I held fast by the piece of rock, however, and then, although very weak, I fetched another run, so that I succeeded in getting to the mainland, where I sat me down, quite out of reach of the water.

Questions and Notes. In what words in the preceding paragraphs has silent a been dropped on adding a syllable? In what words do you find the digraph ea, and what sound does it have in each? How many different sounds of ea do you find? What is the difference between breath and breathe—all the differences? How many l's in almost?

In what other compounds does all drop one l? Why do we not have two r's in covered? (Answer. The syllable containing er is not accented. Only accented syllables double a final single consonant on adding a syllable.) What rule applies in the formation of carried? having? endeavored? buried? taking? although? getting? What is peculiar in toward? half? water? stomach? wholly? again? body? succeeded? of?

To remember whether relief, belief, etc., have the digraph ie or ei, notice that e just precedes f in the alphabet and in the word, while the i is nearer the l; besides, the words contain the word lie. In receive, receipt, the e is placed nearest the c, which it is