The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1868-11-18

Yet ", long, seems to give force to the true,
| the pure, the beautiful, the good; and rude aud
| crude are used with much emphasis in the
opposite direction, partly owing to the force OF
r. Mother would seem to use fat but the o
| or dh is more evident--sud the dreamy mo-
notony of m aud the soft III fit the word to its
use but "lLa'' is better. The devotional fiat
in father, is becoming too strong for young
America, and he nicks and reduces it by
familiar pa, pap, and dad
On, diphthong, is an upward curve; thus In
round, bough mountain, bow doion, mound Mil
ton hits the rolling swagger Of the gaudy cock
who
ITO the stack or the barn. door
Stoutty strouts his danes before"
"Three gandy standards tout the pale blue
skies"
!, o, a, in combination, make a fine curve,
the true cline of beauty" a, 0, make the
sRme:-
"And false the light on glory's plume"
"Of Loves and nights and oceans solitude"
"The wide old wood from his majestic rest"
"In all that proud o'd world bsyond the Deep,
'Oi, diphthong, strikes NE forcibly in the
word coil.
u is solid, compact, heavy letter; thus in
rad sod, ciod load, plod, dogged, rugged, ieaden,
dead. The report of a short and heavily
loaded pistol is well caught in explode.
"Earth's cities had ro sound nor tread,
And ship5 were drifting with the dead
To shores where all was dumb"
"Morena's dusky height
Sustains alott the batteTy's iron load"
The metals seem to me yell named; gold,
s'Iver, iron, lead-especially lead. Tin is good,
in thin shape as it is used.
ID, initial, has strong pathological connec-
tions in all the European Languages, but its
poetic force seems less to me. Some very eff
cent swearing can be done with d aud hard,
which we'll approves the character of violence
Olu hnrl nv lp
and l. are ethereal and softerinr let
ters, and show their nature in such words as
breathe, Soohe, teothery, sodrmth, far, faint,
fading, Jorgetfid, ,lethean, thoughtful, sabbath,
mu6ied, smother, sq6ocate, Stqf, muf. Notice
the difference between fog and mist; fog gives a
softer, dryer, more definite volume than mist.
So JrOth is kept dry and light by these sounds.
"The efiusive south
Warns the Wide air, and DER the vault of
Breathes the big clouds with vernal showers
distent.
Al first a dusky wreath they seem to rise,
Scarce staining ether," etc.
"Lethe, the river of oblivion rolls
Her watery labyrinth"
Like dish of ripe Strawberries smothered in
cream"
S is a wet letter; thus in moist, misty,
nasty, steam, SIP, stop, sluSh, dash, sOash,
drizsie, ETC.; luscious delicious nutritious sug-
Of water in its various modes, as moisture,
washing, sucking and sibilation.
Sh, either initial or final in a word, suggests
confusion; thus in shaiter, shiUer, shake, shrive
shrink, shred, beShre,O; in dash, clash, soash,
thrash, trash, crush, gush rush, muSh, Sltsh, ETC.
"As when tue sun new risen
Looks through the horizontal misty air
Shorn of his beams"
@, l., and r, are the stronger consonants
and although each has a distinctive quality,
it usually blends its force with that of one OF
the others. q is the hard letter, is the rough
letter, and ] the chilling and polishing
letter; thus gr makes rough hardness, as iu
grit, crate, grind grained, graUel, grudge grim;
while 81 is effective il glide, glOw, glance, gIary
etc.
"Stoop DER the place OF graves, and softly sway
The signing herbage by the cleaning stone."
r, by itself, is effective in such words as
Scour, lorithe wrine, crisp, fritter, ty fragment
bur, blur mar, scar, rude, broken, rugged 'hoarSe
rough rerse," gnarled, buriy, horrs"t, grOan,
grOpt, roar, etc.
"The crisped brooks" of Eden.
"The wrinkled sea beneath him crawls"
'The salt fringe that daily llcks the shore
IsgroSs with sand"
The brackish wash--the grit of the sand in
the brine, is well suggested here by gross. BY
the same instinct Tennyson speaks of the
plashing brine as "the shrill salt" But how
dry and deep-carved is the follOwing:-
"Dropt in my path like q great cue of gold,
All rich and rough with stories of the gods"
L, by itself, makes all cold, clear, lucid, lus
trous, placid, liquid, sliding, glary; it is the
polish of glow, geam, glide, glitter, glance,
CLASSY; solid glass is strong expression; even
so "hard as iron;' SO the meItOw sound of fine
bell is well given. "The clangOr of the
bells, iron bells"-"gelden bells" For the
little bells we have "the Naturalization that
80 musically swells," etc. So Tennyson re-
duces the effects Of the fairy music; observe
here the effects of {, f. and IT,
20 hark, o hear-how thin and clear!
Phe horns of el(land (alntly blowing"
"Soft. eyed and open 'necked to- the Wild wind
In love with mine own motions-the smooth
chill
OF my own Ro,oino FIBRE, ere my steps
Forgot The barefoot feel ofhe clay u0orld."
The stars come forth, through
"The cold delicious meadows OF the night"
X has fine effects in connection with /, in
thin lights and sounds; thus in tlOinkle, flicker,
darkle, sparkle, sprinkle, blink, trickie; so in
tinkle, clink, crackle, cldnk, link, chink; and
alone it always has a tightening effect, as in
skip nick, click, skin, skin, skim etc. Quarry
men call thin silver of stone q spIich.
"ThsCoutstretched ocean glitJers like a lake"
"How they tinkle, tinkle, tinkle,
While the starG that Oversprinkle
All the heavens seem to twinkle
With krystnlline delight"
This is very plain work; but it is of the
same genius as this in Tithonus, where the
Steeds arise
"And shake the darkness from their loosened
names,
And beat ne t,Oitight into flakes Of fire"
Swinburne, in single line, confirms all
that have said of K, 1, and u