4 at first, gradually increasing the rate as facility is a quired: bå bē bū bō bē bū bā PART 2. EXPRESSION NATURALNESS The ultimate object of the reading lesson is to be able to express one's self with ease and naturalness. It should not be supposed, however, that what is habitual or familiar to the student is necessarily natural. To speak naturally, is to speak in tones suggested by nature; hence little children speak naturally because they have not yet acquired bad habits of speech. The reader is recommended to listen attentively to the conversation of little children, in order to distinguish this natural quality from that of mere habit or artificiality. The student should bear in mind that a good reader does not attract attention to himself. His main purpose is correctly to interpret the meaning of an author and to convey that meaning to the hearer. When you read the extracts prescribed in this lesson, do not think merely of the sounds you are uttering, but more particularly of the sense back of the words. It will be helpful frequently to ask yourself such questions as, "Do I clearly understand the author's meaning?" "Am I expressing precisely the thought intended by him?" "Am I conveying this meaning clearly and adequately to my listeners?" The student should learn to read readily at sight, and to this end the eyes should run ahead of the actual reading in order to get the sense in advance. It will be seen that learning to read, in the best sense, is simply learning to think. EXAMPLES FOR PRACTISE 1. The low winds of summer blow over the waterfalls and the brooks, and bring their voices to your ear, as if their sweetness were linked by an accurate finger; yet the wind is but a fitful player; and you may go out when the tempest is up and hear the strong trees moaning as they lean before it, and the long grass hissing as it sweeps through, and its own solemn monotony over all; and the dripple of that same brook, and the waterfall's unaltered bass shall still reach you, in the intervals of its power, as much in harmony as before, and as much a part of its perfect and perpetual hymn. "Unwritten Music." N. P. WILLIS. 2. Mohammed made the people believe that he would call a hill to him, and from the top of it offer up his prayers for the observers of his law. The people assembled; Mohammed called the hill to come to him, again and again, and when the hill stood still he was never a whit abashed, but said, "If the hill will not come to Mohammed, Mohammed will go to the hill." "Of Boldness." BACON. 3. Echo was a beautiful nymph, fond of the woods and hills, where she devoted herself to woodland sports. She was a favorite of Diana, and attended her in the chase. But Echo had one failing; she was fond of talking, and whether in chat or argument, would have the last word. One day Juno was seeking her husband, who she had reason to fear was amusing himself among the nymphs. Echo by her talk contrived to detain the goddess till the nymphs made their escape. When Juno discovered it, she passed sentence upon Echo in these words: "You shall forfeit the use of that tongue with which you have cheated me, except for that one purpose you are so fond of— reply. You shall still have the last word, but no power to speak first. "" "Echo and Narcissus." THOMAS BULFINCH. 4. An old clock, that had stood for fifty years in a farmer's kitchen, without giving its owner any cause of complaint, early one summer's morning, before the family was stirring, suddenly stopt. Upon this, the dial-plate (if we may credit the fable) changed countenance with alarm; the hands made a vain effort to continue their course; the wheels remained motionless with surprize; the weights hung speechless; each member felt disposed to lay the blame on the others. At length the dial instituted a formal inquiry as to the cause of the stagnation; when hands, wheels, weights, with one voice protested their innocence. But now a faint tick was heard below from the pendulum, who thus spoke: "I confess myself to be the sole cause of the present stoppage; and I am willing, for the general satisfaction, to assign my reasons. The truth is, that I am tired of ticking." Upon hearing this the old clock became so enraged that it was on the very point of striking. "The Discontented Pendulum." JANE TAYLOR. 5. To an American visiting Europe, the long voyage he has to make is an excellent preparative. The temporary absence of worldy scenes and employments produces a state of mind peculiarly fitted to receive new and vivid impressions. The vast space of waters that separates the hemispheres is like a blank page in existence. There is no gradual transition by which, as in Europe, the features and population of one country blend almost imperceptibly with those of another. From the moment you lose sight of the land you have left, all is vacancy, until you step on the opposite shore and are launched at once into the bustle and novelties of another world. In traveling by land there is a continuity of scene, and a connected succession of persons and incidents, that carry on the story of life and lessen the effect of absence and separation. But a wide sea voyage severs us at once. It makes us conscious of being cast loose from the secure anchorage of settled life, and sent adrift upon a doubtful world. It interposes a gulf, not merely imaginary, but real, between us and our homes—a gulf subject to tempest, and fear, and uncertainty, that makes distance palpable and return precarious. "The Voyage." WASHINGTON IRVING. SECOND LESSON PART 1. DRILL 1. Physical Culture. Clench the fists, the palms down. ward, bring right arm straight up in front on a level with the shoulder; while returning to position, bring left arm up in like manner, and continue to alternate twenty times. Keep the arms straight throughout this exercise. Breathe naturally. 2. Deep Breathing. Inhale a deep breath rapidly and silently through the nostrils, expanding both the abdomen and chest. Exhale rapidly and silently through the nostrils. 3. Voice Exercise. Inhale deeply, through the nostrils, and then count, deliberately and distinctly, in a gradually ascending scale, 1-2-3-4-5-6-7-8-9-10. Commence at a low key and be careful not to increase the force of the voice on the higher pitches. Then repeat in a gradually descending scale. Take a breath between each numeral. 4. Articulation. Pronounce each of the following sounds very slowly and distinctly. After considerable practise they should be repeated rapidly in order to acquire facility in enunication. a-b, e-b, i-b, o-b, u-bb-a, b-e, b-i, b-o, b-u, b-oi, b-ou a-d, e-d, i-d, o-d, u-d-d-a, d-e, d-i, d-o, d-u, d-oi, d-ou a-f, e-f, i-f, o-f, u-f-f-a, f-e, f-i, f-o, f-u, f-oi, f-ou a-g, e-g, i-g, o-g, u-gg-a, g-e, g-i, g-o, g-u, g-oi, g-ou a-k, e-k, i-k, o-k, u-k—k-a, k-e, k-i, k-o, k-u, k-oi, k-ou |