Unsegmented source body · Part 2

54. _What letter is the sonorous counterpart of S?_ The letter Z.--_Cyclopedia._

55. _What is spelling of Z in England?_ Zed, and also Izzard.

56. _What language has two letters representing the sound of Z?_ The Russian.

57. _When was the letter W first used?_ About the end of the Seventh Century.

58. _What changes the sound of a vowel from long to short?_ The absence of the accent.

59. _In what situation is gh always silent?_ After i in the same syllable.

60. _How many words of two syllables are changed from nouns to verbs by accent?_ About eighty.

61. _What word contains a consonant Tetragraph?_ Phthisic.

62. _What is Philology?_ The science of language.

63. _When is ue final, silent?_ After g and q; as fatigue and oblique.

64. _What are the elements of spoken language?_ Vocal and articulate sounds.

65. _What are Hybrid words?_ Mongrel compounds.

66. _What is Terminology?_ A treatise on technicalities.

READING AND ELOCUTION.

1. _What is Reading?_ Silent perusal or distinct utterance of thought and feeling, as seen expressed in written language.

2. _How many kinds of Reading are there?_ Two.

3. _What are they?_ Silent and Audible.

4. _What is Silent Reading?_ The perusal of Language without utterance.

5. _What is Audible Reading?_ The utterance of thought and feeling, as seen expressed in written Language.

6. _What is Elocution?_ The science and art of the delivery of composition.

7. _How many kinds of Delivery are there?_ Three.

8. _What are they?_ Speaking, Declamation, and Oratory.

9. _What is Speaking?_ The utterance of thought and feeling without reference to the written page.

10. _What is Declamation?_ The delivery of another's composition.

11. _What is Oratory?_ The delivery of one's own composition.

12. _How many kinds of Oratory are there?_ Two.

13. _What are they?_ Prepared and Extempore.

14. _What is Prepared oratory?_ That which has been studied previous to delivery.

15. _What is Extempore oratory?_ That which is accomplished simultaneously with the delivery.

16. _What is Vocal Culture?_ The training of the organs of speech for effective delivery.

17. _What should be the primary object in Audible reading?_ To convey to the hearer the ideas and sentiments of the writer.

18. _In order to accomplish this, what should the Reader do?_ Endeavor to make the feelings and sentiments of the writer his own.

19. _What are some of the essential qualities of a good Reader?_ To read slowly, observe the pauses, give proper inflections, read distinctly, and with expression.

20. _What is Enunciation?_ The utterance of words.

21. _Under how many Divisions should the subject of reading be treated?_ Six.

22. _What are they?_ Articulation, Inflection, Accent, Emphasis, the Voice, and Gesture.

23. _What is Articulation?_ Distinct utterance of the elementary sounds, and of the combinations.

24. _Name four common faults in Articulation._ Omitting an unaccented vocal, dropping the final sound, sounding incorrectly an unaccented vowel, and omitting syllables.

25. _What is Inflection?_ Sliding of the voice upward or downward.

26. _How many kinds of Inflection are there?_ Two.

27. _What are they?_ Rising and falling.

28. _What is the Rising inflection?_ An upward slide of the voice.

29. _What is the Falling inflection?_ A downward slide of the voice.

30. _Are the rising and falling inflections both ever given to the same sound?_ They are.

31. _How is such inflection marked?_ By the Circumflex.

32. _How many kinds of Circumflex?_ Two.

33. _What are they?_ Rising and falling.

34. _What is the Rising Circumflex?_ The sliding of the voice downward and then upward on the same sound.

35. _What is the Falling Circumflex?_ The sliding of the voice upward and then downward on the same sound.

36. _What is a Monotone?_ Reading without sliding the voice either upward or downward.

37. _Give Rule 1 for falling inflection._ Propositions which make complete sense require the falling inflection.

38. _Does Emphasis ever reverse this rule?_ It does sometimes.

39. _Give Rule 2._ Emphasis generally requires the falling inflection.

40. _Where the sense is dependent, what inflection is generally used?_ The rising.

41. _Does Emphasis ever affect this rule?_ Relative emphasis sometimes reverses it.

42. _What kind of inflection should be used at the end of an interrogative sentence?_ Falling, if it cannot be answered by yes or no.

43. _Negative sentences require what kind of inflection?_ Rising.

44. _Does Emphasis ever affect this rule?_ It does; often reversing it.

45. _Imperative sentences have what inflection?_ Usually the falling.

46. _What kind of words require opposite inflection?_ Words or members expressing antithesis or contrast.

47. _What is a Series?_ A number of particulars following one another in the same construction.

48. _How many kinds of Series?_ Two.

49. _What are they?_ Commencing and Concluding.

50. _What is a Commencing Series?_ One that commences a sentence.

51. _What is a Concluding Series?_ One that concludes a sentence.

52. _What inflection is given to the members of a commencing series?_ The rising.

53. _What inflection is given to the members of a concluding series?_ The falling.

54. _Are there any exceptions to these rules?_ There are.

55. _What causes the exceptions?_ Emphasis.

56. _What is a Parenthesis in reading?_ A sentence, or clause, set off by curves from the context.

57. _How should the Parenthesis be read?_ In a lower tone and more rapidly.

58. _What is the use of the Circumflex?_ To express irony, or sarcasm.

59. _What meaning is always suggested by the Circumflex?_ Doubtful or double meaning.

60. _What is the use of the Monotones?_ To produce an effect in grave and solemn subjects.

61. _What is Accent in reading?_ Increase of force on certain syllables of a word.

62. _Give an example of Emphatic accent._ This corrup'tion must put on in'terruption.

63. _What does Pitch signify?_ The place in the musical scale on which an element is sounded.

64. _What is Force?_ That property of the voice which relates to loudness of sound.

65. _How many different kinds of Force?_ Five.

66. _What are they?_ Suppressed, subdued, ordinary, energetic, and vehement.

67. _To what does Stress relate?_ Different modes of applying force.

68. _How many kinds of Stress?_ Three.

69. _What are they?_ Expulsive, Explosive, and Vanishing.

70. _What is meant by Quantity?_ Length of time the voice dwells on a word.

71. _What is Quality?_ That property which relates to the kind of voice.

72. _What is Movement?_ The degree of rapidity with which the voice moves from one word to another.

73. _How many kinds of Movement?_ Six.

74. _What are they?_ Very slow, slow, moderate, lively, rapid, and very rapid.

75. _What does Expression comprehend?_ The practical application of all the principles of reading and elocution.

76. _What is Cadence?_ The natural dropping of the voice at the end of a sentence, denoting completeness of thought.

77. _What is a Rhetorical pause?_ A suspension of the voice for rhetorical effect.

78. _What is Emphasis?_ Giving force and energy to certain words.

79. _How many kinds of Emphasis?_ Two.

80. _What are they?_ Absolute and relative.

81. _What is Absolute emphasis?_ Emphasis made without any contrast with other words.

82. _What is Relative emphasis?_ Emphasis used where there is antithesis either expressed or implied.

83. _Is a whole Phrase ever made emphatic?_ It is often.

84. _For what purpose?_ To give it great force.

85. _What is the Emphatic pause?_ Pause made for emphasis.

86. _What is Antithesis?_ Two or more words opposed to each other in meaning.

87. _What is a Climax?_ A series of particulars increasing in importance to the last.

88. _What is Anti-climax?_ A series of particulars decreasing in importance to the last.

89. _What is meant by Transition?_ Any sudden change in reading.

90. _What is Emphatic repetition?_ Words repeated for emphasis.

91. _What is an Interrogation?_ A statement, or assertion, put in the form of a question.

92. _What is an Exclamation?_ A statement denoting strong emotions.

93. _What is Personation?_ One person imitating the actions and manners of some other person or persons.

94. _How many kinds of style in reading?_ Five.

95. _What are they?_ Description, Argument, Narration, Persuasion, Exhortation.

96. _What should be characteristic of the Descriptive style?_ The Speaker should use the same manner that he would if he were actually describing the thing spoken of.

97. _What should be characteristic of the Argumentative style?_ Directness and earnestness.

98. _What should characterize the Narrative?_ The Reader should proceed as though relating his own experience.

99. _What the Persuasive?_ Those tones, looks, and gestures which bring conviction to the hearer.

100. _What should characterize the Exhortative?_ The performer should appeal, beseech, and implore, as the case may require.

101. _What is the Slur?_ The smooth gliding of the voice in parenthetic clauses, etc.

102. _How are Emphatic words distinguished?_ By different styles of printing.

103. _How many kinds of letters are used to denote emphasis?_ Three usually.

104. _What are they?_ Italics, small capitals, and capitals.

105. _What is Antithetic emphasis?_ Same as Relative.

106. _What is Modulation?_ Variation of the voice in speaking and reading.

107. _What is Pure tone?_ A clear, flowing sound, with moderate pitch.

108. _What is the Orotund?_ Pure tone intensified.

109. _For what is it adapted?_ To express sublime and pathetic emotions.

110. _What is the Aspirated tone?_ An expulsion of breath, the words being spoken in a whisper.

111. _What is the Guttural quality?_ Deep undertone.

112. _What does it express?_ Hatred, contempt, loathing, etc.

113. _What is the Trembling tone?_ A constant waver of the voice.

114. _What does it express?_ An intense degree of suppressed excitement, or personates old age.

115. _What are Pauses?_ Suspensions of the voice in reading or speaking.

116. _How many kinds of pauses are there?_ Two.

117. _What are they?_ Grammatical and Rhetorical.

118. _What is Suspensive quantity?_ Prolongation of the voice at the end of a word without making an actual pause.

119. _What does Quantity embrace?_ Force and rate.

120. _What quality of voice is mostly used in speaking and reading?_ Pure tone.

121. _What is meant by Prose?_ All composition which is not written in verse.

122. _What are some of the varieties of Prose?_ Letters, Essays, Travels, History, and Discourses.

123. _What is a Letter as a variety of prose?_ A written communication addressed by the writer to some other person.

124. _What is an Essay?_ A written discourse on some special subject.

125. _What are Travels?_ Records of journeys.

126. _What is History?_ A record of past events.

127. _What is a Discourse?_ A performance read or spoken to an audience.

128. _Should the voice agree in style with the different varieties of prose?_ It should, and the performer should endeavor to produce the exact sentiments of the writer.

129. _What is Poetry?_ A discourse written in verse and metrical language.

130. _What is a Verse?_ A single line of metrical language.

131. _Is it correct to use the term verse in speaking of a division of prose?_ It is not.

132. _What should we call such division?_ Paragraph or Division.

133. _What is a Stanza?_ A number of metrical lines, or verses, combined according to a regular system.

134. _How many kinds of metrical language?_ Two.

135. _What are they?_ Rhyme and Blank Verse.

136. _What is Rhyme?_ That language in which the concluding syllables of the verses have a similarity of sound.

137. _How many kinds of Rhyme?_ Two.

138. _What are they?_ Perfect and imperfect.

139. _What is a Perfect rhyme?_ Where the vowels have the same sound.

140. _What is an Imperfect rhyme?_ Where the vowels have a different sound.

141. _What is Blank Verse?_ A kind of metrical language in which there is no similarity of sound.

142. _What is the Cæsura pause?_ A rhythmic pause occurring in a verse.

143. _How many rules should be observed in the use of the Cæsura?_ Three.

144. _Give Rule 1._ The pause should be near the middle of the verse.

145. _Give Rule 2._ It should never divide a word.

146. _Give Rule 3._ Should not separate words from their modifiers, as adjectives from nouns, adverbs from verbs, etc.

147. _Do all verses have the Cæsura pause?_ They do if over three feet in length.

148. _What is meant by a Foot in verse?_ A certain portion of a line divided according to accent.

149. _When melody comes in contact with accent, which should yield?_ Accent.

150. _Is there any other rhythmic pause than the Cæsura?_ There is; the demi-cæsura is sometimes used.

151. _How many kinds of Poetry are there?_ Seven.

152. _What are they?_ Epic, Dramatic, Lyric, Elegiac, Didactic, Satiric and Pastoral.

153. _What is an Epic poem?_ A poetical recital of some great and heroic enterprise.

154. _Are there many Epic poems?_ There are not; most nations have one.

155. _Name the three Epics of greatest note._ Homer's Iliad, Virgil's Æneid, and Milton's Paradise Lost.

156. _What language were these poems written in?_ The Iliad in Greek, Æneid in Latin, and Paradise Lost in English.

157. _What does the Iliad describe or narrate?_ The downfall of Troy, which was the most memorable event in the early history of the Trojans and Greeks.

158. _What does the Æneid narrate?_ The perils and labors of Æneas, who was the reputed founder of the Roman race.

159. _What does Paradise Lost describe?_ The downfall of not only the Human but of the Angelic host.

160. _What is a Dramatic poem?_ One similar in many respects to an Epic.

161. _Name some point of difference._ Epic relates past events; the Drama represents events as taking place at the present time.

162. _Name the greatest Dramatic writer of the English._ Shakespeare.

163. _What is a Drama called that is set to music?_ An opera.

164. _What is a Melodrama?_ A dramatic poem some parts of which are spoken and some are sung.

165. _What is Lyric Poetry?_ It is the oldest kind of poetry, and was originally intended to be sung to the accompaniment of the lyre.

166. _What are Sonnets?_ A kind of Lyric Poems.

167. _What is an Elegy?_ A poem of a mournful kind, usually celebrating the virtues of some person deceased.

168. _What is an Epitaph?_ A short Elegy inscribed on a monument, or written in praise of any one.

169. _What is a Pastoral poem?_ One that describes country life.

170. _What is a Didactic poem?_ One the aim of which is to give instruction.

171. _What is Meditative Poetry?_ A kind of Didactic poetry.

172. _Name two noted Didactic poems._ Bryant's "Thanatopsis," and Campbell's "Pleasures of Hope."

173. _What is a Satire?_ One that holds up the follies of men to ridicule.

174. _Is a Satire personal?_ It is not.

175. _What is a Lampoon?_ A poem that attacks individuals.

176. _What is Gesture?_ Expression given to language by movements of the body, limbs, etc.

177. _What kind of Gesture is most appropriate?_ That which is natural.

178. _What attitude should be used in reading and speaking?_ Standing.

179. _Which hand should hold the book?_ The left, if possible.

180. _Should a Reader keep his eyes on the book constantly?_ He should not; but cast the eyes away from the page as often as possible.

181. _Should a gesture be made while the eyes are looking on the book?_ It should not.

182. _In what kind of language are gestures inappropriate?_ Didactic or unimpassioned discourse.

183. _Should a Speaker begin to gesticulate as soon as he begins his discourse?_ Very seldom, before he has entered fully into the discourse.

184. _How many positions are recognized for the hand when not used in gesticulating?_ Three.

185. _What are they?_ Hanging naturally at the side; resting upon the hip with the elbow thrown backward; and resting on your bosom.

186. _What are Descriptive gestures?_ Those used in describing objects.

187. _What are Significant gestures?_ Those which have special signification.

188. _Name some Significant gestures of the head._ It drops in grief and shame, and nods in assent; shakes in dissent, and leans forward in attention.

189. _Name some Significant gestures of the eyes._ Raised in prayer, weep in sorrow, burn in anger, and are cast on vacancy in thought.

190. _Name some of the passions of the mind._ Love, anger, joy, sorrow, fear, and courage.

191. _What tone of voice should be used in the expression of Love?_ Soft, smooth, and languishing voice.

192. _What tone of voice should be used to express Anger?_ Strong, vehement, and elevated voice.

193. _Where is the best place to practice elocution and reading?_ In the open air, or in a well ventilated room.

194. _Should a Reader or Speaker pay strict attention to the rules of elocution?_ He should not, but study nature rather.

195. _What is the Soul of Oratory?_ Emotion.

196. _What is meant by the Compass of the voice?_ The range in which it can be properly controlled.

197. _How may the Compass of the voice be increased?_ By continued practice on a very low and very high key.

198. _Should a Reader or Speaker drink any liquid while exercising the voice?_ He should not, for it is injurious to the vocal chords.

199. _What effect does Tobacco have on the voice?_ It enfeebles the nervous system and breathing organs, and makes the voice dry, harsh, and ungovernable.

200. _What effect do Stimulants have on the voice?_ Irritate and inflame the vocal organs, which results in hoarseness and produces too high a key, which terminates in a squeaking tone.

201. _In faulty articulation what sounds are usually mispronounced?_ The vowel sounds of the unaccented syllables.

202. _What Consonants are often incorrectly dropped?_ The final consonants.

203. _How may distinct Articulation be acquired?_ By continued practice of the elementary sounds.

204. _What are the most prominent Elements of all words?_ The vowels.

205. _Which sounds should be practiced first?_ The vowels; as they are the most easily uttered.

206. _Can the sounds of the Consonants be given alone?_ They can by practice.

207. _What is the source of the greatest defect in Articulation?_ Improper sounding of the consonants.

208. _What kind of Inflection is generally given to words of great emphasis?_ The falling; unless the sentiment requires the rising.

209. _When is the Inflection of a question changed from the falling to the rising?_ When it is repeated or made emphatic.

210. _In the introductory part of a sentence, where the sense is incomplete, what inflection is used?_ Unless great emphasis is required, the rising should be used.

211. _The names of persons addressed in formal speech require what inflection?_ The falling should always be used in such cases.

212. _General statements require what inflection?_ The falling.

213. _For the sake of harmony, what principle should govern the reader?_ When a sentence ends with the falling inflection, the rising should precede it.

214. _When sentences commence with verbs, what inflection is required?_ Mostly the rising.

215. _What is meant by an Echo in reading?_ Interrogative exclamations, where the question is repeated.

216. _Give an example of Echo._ What's the trouble? What's the trouble? trouble enough.

217. _What inflection should be given to members of sentences connected disjunctively?_ First member, the rising; second member, the falling.

218. _When several Emphatic words or members come together, how should they be inflected?_ The most emphatic, the falling; and the others the rising.

219. _What is a Simple Series in reading?_ A series of particulars that is composed of single words.

220. _What is meant by a Compound Series?_ One that is composed of clauses is called compound.

221. _What determines Accent?_ The usage of our best speakers and writers of the present.

222. _To whom does it belong to determine and record such usage?_ The Lexicographers.

223. _Are there any cases in which we can trace the reason for the accent?_ There are; in discriminating accent where it is used to determine the parts of speech.

224. _Do we ever have two sets of Antitheses in the same sentence?_ We do; as each member may contain an antithesis.

225. _Give an example._ John was hurt; William escaped.

226. _How many sets of Antitheses may be used in one sentence?_ Often three; but seldom more.

227. _Should there be any difference in the tone of voice used in reading verse and prose?_ There should be a difference.

228. _What different style ought to be used?_ The monotone and rising inflection are more frequently used in verse than in prose.

229. _What is the greatest difficulty met with in reading or declaiming poetic selections?_ In giving it that measured flow which distinguishes it from prose, without falling into a continued monotone.

230. _What is a good method to break up this habit?_ Reduce the selection to prose, and deliver it in an earnest, conversational style.

231. _Why should there be a short pause at the end of each line of poetry, even where the sense does not require it?_ In order that the measure of the poem may be more perceptible to the ear.

232. _What is it that constitutes the melody of a poem?_ The pauses and accents chiefly.

233. _What rule should govern the reader in the use of pauses and accents?_ Use variety, and not make them too prominent.

234. _What tone of voice should be used in reading a Simile in poetry?_ The simile should be read in a lower tone than the rest of the passage.

235. _What, with regard to the voice, is an important object to every speaker and reader?_ The important object is to have a full, even tone of voice.

236. _What key of the voice should be most diligently improved?_ The natural key, or that which is used most.

237. _What is meant by the natural key or pitch?_ That which is peculiar to the individual, and in which he can use most easily to himself, and most agreeably to others.

238. _How can the natural tone of voice be strengthened?_ By reading and speaking as loud as possible, without suffering the voice to rise into a higher key.

239. _What is the best method of strengthening the natural key?_ By speaking and reading strong, animated passages in a small room.

240. _How may low tones be acquired?_ By continued practice in a lower key than the natural.

241. _How may a high key be acquired?_ In the same manner as a low key; by pitching the voice first a little higher than the natural, and mastering that thoroughly, then still higher and higher.

242. _What is meant by Rotundity of the voice?_ That peculiar form of tone which the Romans called "Ore rotundo," which signifies "Round mouth."

243. _In what kind of sentences is the Rotundity of the voice exemplified?_ In the hailing of vessels, and is used especially by sailors and officers.

244. _Which is the most difficult: to raise the voice to a higher pitch, or to bring it to a lower?_ The lowering of the voice is more difficult, and requires great care and practice.

245. _What is a common fault with most public speakers?_ To run the voice into too high a key, and thus weary the hearers.

246. _What is a good rule by which to govern the voice?_ To start on a key lower than the natural, and thus avoid running too high.

247. _What are the principal styles of different reading selections?_ Descriptive, Narrative, Senatorial, Moral, Didactic, Dramatic, and Amusing.

248. _What tone of voice should be used in reading a Descriptive selection?_ The ordinary, natural tone, with a careful use of emphasis.

249. _What tone of voice is best adapted to the reading of a Narration?_ The conversational tone, with as little reference to the printed page as possible.

250. _What style is the best adapted to Senatorial reading?_ An imitative style and tone, being careful in the use of the emphatic pause.

251. _What tone is best adapted to the reading of Moral and Religious selections?_ Low and moderate tone, expressing feeling and sentiment, being careful not to read too fast.

252. _What style is best adapted to Didactic reading?_ That peculiar style which is best adapted to impart instruction, laying special stress on the important idea.

253. _What style and tone are best adapted to the reading of Dramatic selections?_ A style and tone which are entirely imitative in character.

254. _What tone or character of voice is best suited to the rendering of Amusing selections?_ That which will bring out the mirthful sentiment, to the exclusion of all rules for accent, emphasis, etc.

255. _Should all persons use the same tones of voice and style in reading selections?_ They should not; as individuals are differently constituted, so they have different ways of expressing their ideas and sentiments.

MISCELLANEOUS EXERCISES.

SPELLING ALPHABETICALLY ARRANGED.

1. Abaissement. 2. Abductor. 3. Abelmoschus. 4. Aberration. 5. Abies. 6. Ablepsy. 7. Abnormal. 8. Abouchement. 9. Abscess. 10. Abscission. 11. Absinthium. 12. Abstergent. 13. Abominable. 14. Aborigines. 15. Abridgment. 16. Absinthe. 17. Abstemious. 18. Abstrusely. 19. Abysmal. 20. Acacia. 21. Academician. 22. Acanthus. 23. Acarpous. 24. Acaulous. 25. Accede. 26. Accelerate. 27. Accessible. 28. Accessory. 29. Accomplice. 30. Accostable. 31. Accoutre. 32. Acephalous. 33. Acerbity. 34. Acescent. 35. Acetify. 36. Acetometer. 37. Ache. 38. Achievable. 39. Achromatic. 40. Acicular. 41. Acolyte. 42. Acoustic. 43. Acquiesce. 44. Acquittal. 45. Acreage. 46. Acrobat. 47. Acropolis. 48. Acrostic. 49. Actualize. 50. Aculeate. 51. Baa. 52. Bacchanal. 53. Backsheesh. 54. Baconian. 55. Bagatelle. 56. Balk. 57. Bandelet. 58. Barbican. 59. Baryta. 60. Barru. 61. Basalt. 62. Basic. 63. Basilica. 64. Basilisk. 65. Bastile. 66. Baccae. 67. Caboodle. 68. Cacoethes. 69. Cacophony. 70. Cadaverous. 71. Cadenza. 72. Caducus. 73. Caduceus. 74. Caique. 75. Caisson. 76. Cæcal. 77. Calaboose. 78. Calciferous. 79. Caffeine. 80. Calcined. 81. Caldarium. 82. Caligo. 83. Calorimeter. 84. Caltha. 85. Calx. 86. Catechu. 87. Cellular. 88. Chemosis. 89. Chiastre. 90. Chilblain.

91. Chymification. 92. Cilium. 93. Clematis. 94. Cochineal. 95. Codeia. 96. Contagious. 97. Coronoid. 98. Dacryoma. 99. Dahline. 100. Daphne. 101. Datura. 102. Deciduous. 103. Decollation. 104. Dactylology. 105. Dahlia. 106. Decumbent. 107. Degmus. 108. Dawdle. 109. Dengue. 110. Deltoid. 111. Debut. 112. Decastyle. 113. Deliquium. 114. Decennial. 115. Dentatus. 116. Dentagra. 117. Demesne. 118. Diaphysis. 119. Diastole. 120. Didym. 121. Desuetude. 122. Echinus. 123. Echinops. 124. Ecarte. 125. Ebullition. 126. Eclat. 127. Edacious. 128. Eclysis. 129. Ecphlysis. 130. Eider. 131. Eke. 132. Effete. 133. Elysian. 134. Egophony. 135. Empiric. 136. Empyrean. 137. Encaustic. 138. Enceinte. 139. Elaine. 140. Encore. 141. Encyclical. 142. Encysted. 143. Elephas. 144. Enmity. 145. Ensconce. 146. Facet. 147. Facetious. 148. Facial. 149. Factitious. 150. Falderals. 151. Falsetto. 152. Fantasia. 153. Fascicle. 154. Fauces. 155. Fauna. 156. Febrile. 157. Felly. 158. Felloe. 159. Fuzz. 160. Gala. 161. Gamboge. 162. Gamut. 163. Ganoid. 164. Gaol. 165. Garrote. 166. Gawk. 167. Gelatine. 168. Gelid. 169. Gemini. 170. Genial. 171. Geode. 172. Geognosy. 173. Geodesy. 174. Georama. 175. Hegira. 176. Heifer. 177. Helix. 178. Helve. 179. Hernia. 180. Hexahedron.

181. Hexastyle. 182. Hockle. 183. Hone. 184. Hookah. 185. Horologe. 186. Icarian. 187. Ibis. 188. Ibex. 189. Ichor. 190. Ichneumon. 191. Ichthyolite. 192. Ides 193. Idiom. 194. Idyl. 195. Ignescent. 196. Iguana. 197. Ileum. 198. Impede. 199. Impennate. 200. Indocile. 201. Inebriate. 202. Insidious. 203. Jabber. 204. Jacinth. 205. Jackal. 206. Jaconet. 207. Jalap. 208. Jaguar. 209. Janitor. 210. Jeer. 211. Jejune. 212. Jujube. 213. Junket. 214. Juno. 215. Kale. 216. Katydid. 217. Kistvaen. 218. Kyanize. 219. Lac. 220. Labyrinth. 221. Lachrymal. 222. Landwehr. 223. Limbo. 224. Llama. 225. Loo. 226. Mab. 227. Macaw. 228. Machinate. 229. Madrigal. 230. Magenta. 231. Monolith. 232. Nard. 233. Naphtha. 234. Nadir. 235. Naiad. 236. Niggard. 237. Nympha. 238. Obesity. 239. Obloquy. 240. Obverse. 241. Occiput. 242. Ochre. 243. Pabulum. 244. Palanquin. 245. Paletot. 246. Replevin. 247. Resuscitate. 248. Sabaoth. 249. Sacerdotal. 250. Sacrum. 251. Sadducee.

PROPER NOUNS TO SPELL.

1. Aaron. 2. Abdiel. 3. Abiezer. 4. Adolphus. 5. Albion. 6. Alexander. 7. Alonzo. 8. Alpheus. 9. Alvah. 10. Alwin. 11. Ammi. 12. Amos. 13. Andronicus. 14. Antony. 15. Apollos. 16. Aristarchus. 17. Artemas. 18. Azariah. 19. Augustus. 20. Asher. 21. Baldwin. 22. Barnabas. 23. Barnaby. 24. Bartholomew. 25. Basil. 26. Benedict. 27. Benoni. 28. Barnard. 29. Bertram. 30. Brian. 31. Bruno. 32. Cæsar. 33. Caleb. 34. Calvin. 35. Cephas. 36. Clarence. 37. Claudius. 38. Clement. 39. Cornelius. 40. Crispus. 41. Cyril. 42. Cyrus. 43. Daniel. 44. Darius. 45. Demetrius. 46. Denis. 47. Dionysius. 48. Donald. 49. Duncan. 50. Ebenezer. 51. Edgar. 52. Edwin. 53. Elbert. 54. Eleazer. 55. Elias. 56. Elisha. 57. Ellis. 58. Elnathan. 59. Eneas. 60. Enoch. 61. Enoz. 62. Erasmus. 63. Erie. 64. Esau. 65. Everard. 66. Erwin. 67. Fernando. 68. Festus. 69. Frederic. 70. Gamaliel. 71. Germanie. 72. Gershon. 73. Godfrey. 74. Gregory. 75. Guy. 76. Hannibal. 77. Heman. 78. Hercules. 79. Herbert. 80. Hezekiah. 81. Hillel. 82. Homer. 83. Hubert. 84. Hugo. 85. Immanuel. 86. Ingram. 87. Ivan. 88. Jabez. 89. Jairus. 90. Japheth. 91. Jason. 92. Jeremy. 93. Jerome. 94. Jess. 95. Joel. 96. Jonah. 97. Josiah. 98. Jotham. 99. Judah. 100. Julius. 101. Justus. 102. Justun. 103. Jonathan. 104. Kennett. 105. Marion. 106. Philip. 107. Philander.

WORDS TO SPELL AND DEFINE, ARRANGED PROMISCUOUSLY.

1. Sirup. 2. Skyey. 3. Proxy. 4. Piquant. 5. Pibroch. 6. Monkery. 7. Irascible. 8. Conceit. 9. Controllable. 10. Coquet (Verb). 11. Coquette (Noun). 12. Cyclopedia. 13. Fascine. 14. Steelyard. 15. Precious. 16. Seize. 17. Beeves. 18. Civilize. 19. Resuscitate. 20. Heinous. 21. Contemptible. 22. Transitory. 23. Conspiracy. 24. Feminine. 25. Petite. 26. Police. 27. Valise. 28. Verdigris. 29. Routine. 30. Douche. 31. Whorl. 32. Truffle. 33. Debut. 34. Cæsura. 35. Connoisseur. 36. Sumac. 37. Hymeneal. 38. Keelson. 39. Coterie. 40. Recipe. 41. Sapphire. 42. Cognac. 43. Restaurant. 44. Homicide. 45. Patricide. 46. Fratricide. 47. Regicide. 48. Suicide. 49. Matricide. 50. Infanticide.

WORDS TO BE MARKED DIACRITICALLY.

1. Sice. 2. Says. 3. Phthisic. 4. Ennui. 5. Vignette. 6. Cortege. 7. Myrrh. 8. Chamois. 9. Sergeant. 10. Boudoir. 11. Hiccough. 12. Bureau. 13. Again. 14. Discern. 15. Bijou. 16. Flambeau. 17. Said. 18. Croquet. 19. Salon. 20. Suave. 21. Shew. 22. Strew. 23. Bouffe. 24. Enough. 25. Suffice. 26. Squirrel. 27. Busy. 28. Cough. 29. Buoy. 30. Many. 31. Pretty. 32. Canon. 33. Chapeau. 34. Menage. 35. Once. 36. Cafe. 37. Colonel. 38. Cuirass. 39. Gunwale. 40. Dahlia. 41. Soiree. 42. Sapphire. 43. Cognac. 44. Sacrifice. 45. Escritoire. 46. Barege. 47. Soldier. 48. Fortune. 49. Nephew. 50. Lettuce. 51. Entree. 52. Regime. 53. Physique. 54. Protege. 55. Sleuth. 56. Blonde. 57. Coiffure. 58. Afghan. 59. Glebe. 60. Chenille. 61. Chasseur 62. Gyves. 63. Guy. 64. Banyan. 65. Lapel. 66. Kerchief. 67. Gnostic. 68. Corymb. 69. Chevron. 70. Eleve. 71. Touch. 72. Chintz. 73. Meerschaum. 74. Buhr-stone. 75. Camphene. 76. Cigar. 77. Deleble. 78. Polyglot. 79. Diamond. 80. Courier. 81. Sorcery. 82. Extirpate. 83. Gaseous. 84. Docible. 85. Alias. 86. Potpourri. 87. Soprano. 88. Apparel. 89. Palaver. 90. Anchovy.

91. Hygiene. 92. Alchemy. 93. Ascendant. 94. Syzygy. 95. Barbecue. 96. Proboscis. 97. Carbine. 98. Disown. 99. Forbade. 100. Farewell. 101. Resource. 102. Extol. 103. Diverge. 104. Contour. 105. Bourgeois. 106. Disarm. 107. Whither. 108. Water. 109. Larynx. 110. Soul. 111. Crypt. 112. Fleche. 113. Weevil. 114. Lacquer. 115. Phenix. 116. Roguish. 117. Wheyey. 118. Sachel. 119. Rhymer. 120. Psychic. 121. Ptisan. 122. Calker. 123. Depot. 124. Catarrh. 125. Condemn. 126. Bristle. 127. Wriggle. 128. Christen. 129. Naphtha. 130. Chalky. 131. Gherkin. 132. Fraught. 133. Qualm. 134. Vault. 135. Knob. 136. Papaw. 137. Gauging. 138. Cologne. 139. Quadrille. 140. Skyish. 141. Sorghum. 142. Survey. 143. Victuals. 144. Scissors. 145. Gnomon. 146. Ghastly. 147. Phlegm. 148. Gnarl. 149. Gnash. 150. Tertian. 151. Phantom. 152. Livre. 153. Lyrist. 154. Nuisance. 155. Scheme. 156. Chief. 157. Siege. 158. Keyed. 159. Caucus. 160. College. 161. Leather. 162. Caught. 163. Skein. 164. Coerce. 165. Policy. 166. Legacy. 167. Codicil. 168. Domicile. 169. Hypocrite. 170. Tortoise. 171. Mortise. 172. Porridge. 173. Eagle. 174. Greasy. 175. Pardon. 176. Poleax. 177. Deanery. 178. Mechanics 179. Dialogue. 180. Inveigher.

181. Solstitial. 182. Official. 183. Reprieve. 184. Barter. 185. Succeed. 186. Accede. 187. Salmon. 188. Verger. 189. Wooed. 190. Sausage. 191. Pigeon. 192. Chloral. 193. Balance. 194. Silence. 195. Fallible. 196. Prelacy. 197. Foretell. 198. Going. 199. Chyle. 200. Fascinate. 201. Secrecy. 202. Vacillate. 203. Paralyze. 204. Advertise. 205. Ecstasy. 206. Exertion. 207. Cynical. 208. Article. 209. City. 210. Busily. 211. Guttural. 212. Scholar. 213. Sibyl. 214. Abscess. 215. Guinea. 216. Voracity.

WORDS TO BE DEFINED.

1. Acts. 1. Ax. 2. Poll. 2. Pole. 3. Roe. 3. Row. 4. Gate 4. Gait. 5. Main. 5. Mane. 6. Bough. 6. Bow. 7. Hue. 7. Hugh. 8. Bear. 8. Beech. 9. Dear. 9. Deer. 10. Wright. 10. Write. 11. Right. 11. Rite. 12. All. 12. Awl. 13. Bay. 13. Bey. 14. Ark. 14. Arch. 15. Colonel. 15. Kernel. 16. Ruff. 16. Rough. 17. Might. 17. Mite. 18. Rode. 18. Road. 19. Seen. 19. Scene. 20. Corps. 20. Core. 21. Mold. 21. Mould. 22. Great. 22. Grate. 23. Sun. 23. Son. 24. Break. 24. Brake. 25. Dough. 25. Doe. 26. Night. 26. Knight. 27. Sweet. 27. Suite. 28. Four. 28. Fore. 29. Bier. 29. Beer. 30. Beat. 30. Beet. 31. Currant. 31. Current. 32. Viol. 32. Vile. 33. Sent. 33. Scent. 34. Sear. 34. Seer. 35. Lane. 35. Lain. 36. Able. 36. Abel. 37. Knot. 37. Not. 38. Raise. 38. Raze. 39. Hoard. 39. Horde. 40. Lyre. 40. Liar. 41. Symbol. 41. Cymbal. 42. Hawk. 42. Hough. 43. Sine. 43. Sign. 44. Rain. 44. Rein. 45. Lo. 45. Low.

46. Hie. 46. High. 47. Assent. 47. Ascent. 48. Lute. 48. Loot. 49. Lore. 49. Lower. 50. Sell. 50. Cell. 51. Sail. 51. Sale. 52. Lode. 52. Load. 53. Loan. 53. Lone. 54. Fete. 54. Fate. 55. Lien. 55. Lean. 56. Layer. 56. Lair. 57. Hay. 57. Hey. 58. Idle. 58. Idyl. 59. Hart. 59. Heart. 60. Bass. 60. Base. 61. Bale. 61. Bail. 62. Heel. 62. Heal. 63. Sight. 63. Cite. 64. Haul. 64. Hall. 65. Hale. 65. Hail. 66. Lac. 66. Lack. 67. Nay. 67. Neigh. 68. Altar. 68. Alter. 69. Day. 69. Dey. 70. Hair. 70. Hare. 71. Lye. 71. Lie. 72. Council. 72. Counsel. 73. Mean. 73. Mien. 74. Ate. 74. Eight. 75. Aught. 75. Ought. 76. Wrack. 76. Rack. 77. Reek. 77. Wreak. 78. Wreck. 78. Reck. 79. Rime. 79. Rhyme. 80. Ring. 80. Wring. 81. Wrote. 81. Rote. 82. Rest. 82. Wrest. 83. Hole. 83. Whole. 84. Leek. 84. Leak. 85. Wave. 85. Waive. 86. Week. 86. Weak. 87. Fort. 87. Forte. 88. Soul. 88. Sole. 89. Strait. 89. Straight. 90. Seed. 90. Cede. 91. Seen. 91. Seine. 92. Seize. 92. Cease. 93. See. 93. Sea. 94. Cole. 94. Coal. 95. Bourne. 95. Born. 96. Bite. 96. Bight. 97. Floe. 97. Flow. 98. Bell. 98. Belle.

SELECT READING.

1. The most skillful gauger I ever knew was a maligned cobbler, armed with a poniard, who drove a peddler's wagon, using a mullein stalk as an instrument of coercion to tyrannize over his pony shod with calks. He was a Galilean Sadducee, and he had a phthisicky catarrh, diphtheria, and the bilious intermittent erysipelas.

2. A certain sibyl, with the sobriquet of "Gypsy," went into ecstasies of cachinnation at seeing him measure a bushel of peas and separate saccharine tomatoes from a heap of peeled potatoes, without dyeing or singeing the ignitible queue which he wore, or becoming paralyzed with hemorrhage.

3. Lifting her eyes to the ceiling of the cupola of the capitol to conceal her unparalleled embarrassment, making him a rough courtesy, and not harrassing him with mystifying, rarefying, and stupefying innuendoes, she gave him a couch, a bouquet of lilies, mignonette, and fuchsias, a treatise on mnemonics, a copy of the Apocrypha in hieroglyphics, daguerreotypes of Mendelssohn and Kosciusko, a kaleidoscope, a dram-phial of ipecacuanha, a teaspoonful of naphtha for deleble purposes, a ferrule, a clarionet, some licorice, a surcingle, a carnelian of symmetrical proportions, a chronometer with a movable balance-wheel, a box of dominoes, and a catechism.

4. The gauger, who was also a trafficking rectifier and a parishioner of mine, preferring a woolen surtout (his choice was referrible to a vacillating, occasionally occurring idiosyncrasy), wofully uttered this apothegm: "Life is checkered; but schism, apostasy, heresy and villainy shall be punished." The sibyl apologizingly answered: "There is a ratable and allegeable difference between a conferrable ellipsis and a trisyllabic diæresis." We replied in trochees, not impugning her suspicion.

SELECT READING.

1. One enervating morning, just after the rise of the sun, a youth bearing the cognomen of Galileo glided into his gondola over the legendary waters of the lethean Thames. He was accompanied by his allies and coadjutors, the dolorous Pepys and the erudite Cholmondeley, the most combative aristocrat extant, and an epicurean who, for learned vagaries and revolting discrepancies of character, would take precedence of the most erudite of all Areopagite literati.

2. These sacrilegious _dramatis personæ_ were discussing in detail a suggestive and exhaustive address, delivered from the proscenium box of the Calisthenic Lyceum by a notable financier on obligatory hydropathy, as accessory to the irrevocable and irreparable doctrine of evolution, which had been vehemently panegyrized by a splenetic professor of acoustics, and simultaneously denounced by a complaisant opponent as an undemonstrated romance of the last decade, amenable to no reasoning, however allopathic, outside of its own lamentable environs.

3. These peremptory tripartite brethren arrived at Greenwich, wishing to aggrandize themselves by indulging in exemplary relaxation, indicatory of implacable detestation of integral tergiversation and exoteric intrigue. They fraternized with a phrenological harlequin who was a connoisseur in mezzotint and falconry. The piquant person was heaping contumely and scathing raillery on an amateur in jugular recitative, who held that the Pharaohs of Asia were conversant with his theory that morphine and quinine were exorcists of bronchitis.

4. Meanwhile, the leisurely Augustine of Cockburn drank from a tortoise-shell wassail cup to the health of an apotheosized recusant, who was his supererogatory patron, and an assistant recognizance in the immobile nomenclature of interstitial molecular phonics. The contents of the vase proving soporific, a stolid plebeian took from its cerements a heraldic violoncello, and, assisted by a plethoric diocesan from Pall Mall, who performed on a sonorous piano-forte, proceeded to wake the clangorous echoes of the Empyrean. They bade the prolyx Caucasian gentlemen not to misconstrue their inexorable demands, while they dined on acclimated anchovies and apricot truffles, and had for dessert a wiseacre's pharmacopoeia. Thus the truculent Pythagoreans had a novel repast fit for the gods.

5. On the subsidence of the feast they alternated between soft languors and isolated scenes of squalor, which followed a mechanist's reconnaissance of the imagery of Uranus, the legend of whose incognito related to a poniard wound in the abdomen received while cutting a swath in the interests of telegraphy and posthumous photography. Meantime an unctuous orthoepist applied a homeopathic restorative to the retina of an objurgatory spaniel (named Daniel) and tried to perfect the construction of a behemoth which had got mired in pygmean slough, while listening to the elegiac soughing of the prehistoric wind.

SELECT READING.

1. Geoffrey, surnamed Winthrop, sat in the depot at Chicago, waiting for his train and reading the Tribune, when a squadron of street Arabs (incomparable for squalor) thronged from a neighboring alley, uttering hideous cries, accompanied by inimitable gestures of heinous exultation, as they tortured a humble black-and-tan dog.

2. "You little blackguards!" cried Winthrop, stepping outside and confronting them, adding the inquiry, "Whose dog is that?"

3. "That audacious Caucasian has the bravado to interfere with our clique," tauntingly shrieked the indisputable little ruffian, exhibiting combativeness.

4. "What will you take for him?" asked the lenient Geoffrey, ignoring the venial tirade.

5. "Twenty-seven cents," piquantly answered the ribald urchin, grabbing the crouching dog by the nape.

6. "You can buy licorice and share with the indecorous coadjutors of your condemnable cruelty," said Winthrop, paying the price and taking the dog from the child. Then catching up his valise and umbrella he hastened to his train. Winthrop satisfied himself that his sleek protege was not wounded, and then cleaned the cement from the pretty collar, and read these words; "Leicester. Licensed, No. 1880."

7. Hearing the pronunciation of his name, the docile canine expressed gratitude and pleasure, and then sank exhausted at his new patron's feet and slept.

8. Among the other passengers was a magazine contributor, writing vagaries of Indian literature, also two physicians, a somber, irrevocable, irrefragable allopathist, and a genial homeopathist, who made a specialty of bronchitis. Two peremptory attorneys from the Legislature of Iowa were discussing the politics of the epoch and the details of national finance, while a wan, dolorous person, wearing concave glasses, alternately ate troches and almonds for a sedative, and sought condolence in a high, lamentable treble from a lethargic and somewhat deaf and enervate comrade not yet acclimated.

9. Near three exemplary brethren (probably sinecurists) sat a group of humorous youths; and a jocose sailor (lately from Asia) in a blouse waist and tarpaulin hat was amusing his patriotic, juvenile listeners by relating a series of the most extraordinary legends extant, suggested by the contents of the knapsack which he was calmly and leisurely arranging in a pyramidal form on a three-legged stool. Above swung figured placards, with museum and lyceum advertisements, too verbose to be misconstrued.

10. A mature matron of medium height, and her comely daughter, soon entered the car, and took seats in front of Winthrop (who recalled having seen them on Tuesday, in February, in the parquet of a theater). The young lady had recently made her debut into society at a musical soiree at her aunt's. She had an exquisite bouquet of flowers that exhaled sweet perfume. She said to her parent, "Mamma, shall we ever find my lost Leicester?"

11. Geoffrey immediately addressed her, saying, as he presented his card--

"Pardon my apparent intrusiveness; but, prithee, have you lost a pet dog?"

12. The explanation that he had been stolen was scarcely necessary, for Leicester, just awakening, vehemently expressed his inexplicable joy by buoyantly vibrating between the two like the sounding lever used in telegraphy (for to neither of them would he show partiality), till, succumbing to ennui, he purported to take a recess, and sat on his haunches, complaisantly contemplating his friends. It was truly an interesting picture.

13. They reached their destination ere the sun was beneath the horizon. Often during the summer Winthrop gallantly rowed from the quay, with the naive and blithe Beatrice in her jaunty yachting suit, but no coquetry shone from the depths of her azure eyes. Little Less, their jocund confidante and courier (and who was as sagacious as a spaniel), always attended them on these occasions, and whene'er they rambled through the woodland paths. While the band played strains from Beethoven Mendelssohn, Bach and others, they promenaded the long corridors of the hotel. And one evening, as Beatrice lighted the gas by the etagere in her charming boudoir in their suite of rooms, there glistened brilliantly a valuable solitaire diamond on her finger.

14. Let us look into the future for the sequel to perfect this romance, and around a cheerful hearth we see again Geoffrey and Beatrice, who are paying due homage to their tiny friend Leicester.

SELECT READING.

1. A sacrilegious son of Belial, who suffered from bronchitis and diphtheria, and had taken much morphine and quinine, having exhausted his finances, in order to make good the deficit, resolved to ally himself to a complaisant, lenient, docile, young woman of the Caucasian race. Buying a calliope, a coral necklace, an illustrated magazine, and a falcon from Asia, he took a suite of rooms, whose acoustic properties were excellent, and engaged a Malay as his coadjutor.

2. Being of an epicurean disposition, he threw the culinary department of his hotel into confusion by ordering for his dinner vermicelli soup, a bologna sausage, anchovies, calf's brains fried, and half a gooseberry pie. For the resulting dyspepsia he took acetic and tartaric acid, according to allopathy, and when his aunt, a fair matron of six decades, called, he was tyrannic and combative, and laughed like a brigand until she was obliged to succumb to his contumacy.

3. Etiquette being thus annihilated, he became amenable to tenderer passions. He sent a letter, inviting his inamorata to a matinee, together with an eighteen-carat gold ring. She revolted at the idea of accompanying him, and sent a note full of piquant raillery, which led her suitor to procure a carbine and a sword, with some apparatus, and to declare that he would not forge hymeneal chains upon any one.

4. So proceeding to an isolated spot, without comrades, he severed his jugular vein, and discharged the carbine into his abdomen. When inquiry was made, he was found dead, and the coroner sat on the debris and did his exact duty, though it was no couch of eider he occupied.

5. Had the misguided youth read Ovid less often, and given precedence to Hemans and Ingelow, his fate might have been different. True, he might have hung on a greasy gallows like a highwayman, in squalor, and been the sport of canines for aye; while now, disarmed by death, he lies in a splendid mausoleum, far from the wharves and haunts of men, and can't accent his antepenults, and afford the greatest discrepancies extant in pronunciation.

SELECT READING--THE BLACKBOARD AND CHALK.

1. Learned sages may reason, the fluent may talk, But they ne'er can compute what we owe to the chalk. From the embryo mind of the infant of four, To the graduate, wise in collegiate lore; From the old district school-house to Harvard's proud hall, The chalk rules with absolute sway over all.

2. Go, enter the school-room of primary grade, And see how conspicuous the blackboard is made. The teacher makes letters and calls them by name, And says to the children, "Now all do the same;" Mere infants you see, scarcely able to walk, But none are too feeble to handle the chalk.

3. We visit the school of much higher pretension, The blackboard here claims undivided attention; The walls, dark as Erebus, first greet the eye, Before them bright misses and lads we espy; And the sound of the crayon's irregular tappings Reminds us of spirits' mysterious rappings.

4. One has pictured a vessel, with streamers unfurled, Another is making a map of the world; A third has a problem in fractions to solve, A fourth is explaining how planets revolve; While a young physiologist, skilled in the art, Is sketching the muscles, the lungs, and the heart.

5. In the midst of this bustle the school-master stands, And, lo! he's a crayon in each of his hands; And the chalk in _his_ hand has a magical power: A teacher might reason and talk by the hour, But naught would avail all his reason and talk-- The truth is made plain by the use of the chalk.

6. And the teacher of music the blackboard employs, The chalk must be used e'en in training the voice; Be it rhythm or melody, accent or force, He always insists on the regular course; Declaring the secret of musical skill Is found in the blackboard, the chalk, and the drill.

7. See the chalk in the hand of the artist. Behold What beauteous forms as by magic unfold! The store-house of Nature he swiftly displays, Till the dazzled beholder is lost in the maze; Designs without number appear to the view, And show what the chalk and the blackboard can do.

8. O wise PESTALOZZI! we place on thy brow A coronet, bright and unfading; for thou A legacy rich hast bequeathed unto men: Our _one_ feeble talent by thee is made _ten_; We prize thy rare gift, but we never may know How much to thy matchless invention we owe.

9. O chalk! What a powerful monarch thou art! In this age of reform how important thy part; Those minds that are swaying the world unrestrained In childhood and youth in thy empire were trained. Of the wonderful power of the press we may talk-- It never can vie with the blackboard and chalk.

10. An engine so powerful, so mighty to aid, So simple in structure, so readily made, A helper so potent in training the young-- 'Tis meet that thy praise by the muse should be sung; For though sages may reason, and orators talk, They can ne'er make their mark without blackboard and chalk.