tNIVERSITY of CALIFORNU AT LOS ANGELES LIBRARY LIP-EEADING PRINCIPLES AND PRACTISE A HAND-BOOK FOR TEACHERS AND FOR SELF INSTRUCTION BY EDWARD B. NITCHIE, B.A. PRINCIPAL OP THE NEW YORK SCHOOIj FOB THB HABD-OF-HE.4RING (incobpOBATED) REVISED EDITION NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS Copjright, 1912, 1919, by Frederick A. Stokes Companv All tights reserved, including that of translation into foreign ianguages, including the Scandinavian ... .- • : • . « , Eleventh Printing Printed m the Umted States of America HV 2481 It) IS TO MY TEACHERS MUSIC The ruder strains of music are denied, The music of the human voice is lost. The gulf of silence ever grows more wide, My bark sails noiseless o'er life's swelling tide. By soundless billows tost. But waves of harmony forever roll. Orchestral cadences e'er fall and rise : The mysteries of the part within God's whole, The eternal whisperings of the Over-Soul Still 'trance me to the skies. Ceaseless I hear the God of Nature call Where green and gold chant anthems in the wood ; The meadows, daisy-capped, the silver ball Of evening, stars and surging ocean — all. All sing of Love and Good. It is the symphony of symphonies Witliin my soul I hear, — to live, to work. To turn my back on stumbling yesterdays. Soul-sure defeats may e'en be victories If e'er I fight, nor sliirk. 1 PREFACE This book is the sixth of my text books on lip-reading, and as it embodies everything which the previous works contained, and considerable in addition, it is intended to replace them. Some parts of the book ap- peared originally as articles in The Volta Re- view, "a Monthly devoted to the problems of deafness," published in Washington, D. C, and acknowledgment of the courtesy of allow- ing reprinting is hereby made. Edward B. Nitchie 18 East 41st Street, New York, Vll PREFACE TO REVISED EDITION^ We have tried to put into the revision of this book all of the changes Mr. Nitchie had made in his methods prior to his death, but have not attempted to offer anything original. The work that is being done at the School was called forth and developed by Mr. Nitchie, and we are too near to his time to have any radical changes of real value to offer. Undoubtedly there will be further development in the years to come. Both the system and methods embodied in this book are the results of years of study, and of experience in teaching. They were all carefully worked out, even to the smallest detail, and arranged in accordance with the newest psychological principles. In fact, the book has been pronounced "psychologically perfect." \\e would call attention to the more im- portant changes, such as the story program (pp. 54 and 96), the re-arrangement of the stories, and the new ones that have been added. Another change to be noted is the method of giving the Practise Words in Section III. (See p. 97.) Also the method of giving the Proverl)s, and the review of the Colloquial Forms. The list of Homophenous Words has been revised. Mrs. Edward B. Nitchie. 18 East Ust Street, New York. VI 11 CONTENTS PAGE Preface vii Preface to Revised Edition viii Foreword xiil PART I CHAPTER I. The Eye as a Substitute for Deaf Ears 3 II. Teaching Aims 14 III. To the Friends of the Deaf .... 23 IV. Conversation Practise 36 V. How to Use Stories 44 VI. The Study of the Movements . . . 55 VII. Vowels 61 VIII. Consonants 64 IX. Word Practise 70 X. Sentence Practise 76 XI. Mirror Practise 81 PART II First Outline of Daili/ Practise, through Sec. Ill . 93 Sec. I. Stories for Practise 101 II. Conversations 141 iz X CONTENTS PAGE Sec. III. Lessons on the Movements . . .174 Consonants Revealed by Lips . .174 Extended Vowels 176 Consonants Revealed by Lips (cont.) 181 Relaxed Vowels 183 Consonants Revealed by Lips (cont.) 189 Puckered Vowels 195 Consonants Revealed by Tongue. . 201 Diphthongs 207 Consonants Revealed by Context 213 Diphthongs (cont.) 218 R after a Vowel 224 Variant Sounds 229 Unaccented Vowels 234 Second Outline of Daily Practise, through Sec. VI . 245 Sec. IV. Exercises 249 Vowel Exercises 249 Consonant Exercises 255 Double Consonant Exercises . . . 260 Double Consonant Contrast Exer- cises 264 Vowel Exercises in Sentences . . . 266 Consonant Exercises in Sentences 271 Prefix Exercises 275 Exercises with Verb Endings . . . 277 Suffix Exercises 280 CONTENTS xi PAGE Sec. V. Colloquial Forms 282 Colloquial Sentences 283 Proverbs 287 Colloquial Forms 290 VI. HoMOPHENOus Words 301 APPENDICES A Table of Vowels and Diphthongs 318 B Table of Consonants 320 C Bibliography 322 FOREWORD LiP-READiXG is SO presented in this work that it can be studied and mastered by the hard-of-hearing without the help of a teacher. The book is also intended for use, under a teacher's guidance, by the semi-mute, and by the congenitally deaf who have acquired speech and language. Even for the hard-of- hearing, personal instruction under an ex- perienced teacher is, if possible, always ad- visable. The book is divided into two parts: first, explanatory and directive, telling how to prac- tise; second, giving materials and exercises, or telling what to practise. Anyone studying by himself, without experienced assistance, is advised to begin with Part I, Chapters IV-XI, doing only one thing at a time, as may be directed, for several practise periods until the different forms of practise are mastered. Then the work in Part II should be entered xiii xiv FOREWORD upon according to the outlines for study there given. An experienced teacher, using the book, may begin directly with Part II, letting the pupil merely read the preliminary chapters. PART I CHAPTER I THE EYE AS A SUBSTITUTE FOR DEAF EARS It is well known that the blind in a measure substitute hearing for sight; sounds of traffic in a busy street are a confused roar to the un- trained ear, but to the experienced blind man they are a fairly reliable guide on his way. Even to a greater degree can the deaf man train his eye to substitute for his deaf ears. Watch the mouth of anyone who is speak- ing, and you will see many clearly defined movements of the lips, perhaps even of the tongue. The eye trained to associate certain movements with certain sounds has the power of interpreting these movements into words and sentences. A very large percentage of the deaf are, I believe, incurable, at least at the present state of medical and surgical knowledge. The greatest loss to anyone who is deaf is the loss of understanding speech. Inability to hear music or the voices of nature is a deprivation; but inability to hear spoken language is a 3 4 LIP-READING calamity, unless other means than the ear can be found to convey the message to the brain; for in the abihty to understand spoken lan- guage lies the way not only to the pleasures of Hfe, but to the truest necessities of the soul and body. Deafness is a physical bar to employment second only to blindness, and bears especially heavily on the man who, dependent on others for his salary, becomes deaf in adult life. Lip-reading, or speech-reading, "that subtile art," as Dr. John Bulwer said in 1648, "which may inable one with an Observant Eie to Heare what any man Speaks by the moving of his Lips," is a valuable substitute for hearing, as far as spoken language is concerned, though, like anv other substitutes, it has its limita- tions. By it the sense of sight is forced to' interpret a medium for expressing thought which, throughout the history of the race, has been developed for the needs of the sense of hearing. I shall show later how imperfectly spoken language is fitted to the requirements of successful lip-reading. The problem of the teacher varies according to the class of the deaf to which his pupil be- longs, for the deaf-mute's needs are only in THE EYE AS SUBSTITUTE 5 part the needs of the hard-of-hearing. iSIy work lies with the hard-of-hearing — and by that term I mean those w ho, either partly or totally deaf, became so after having acquired speech and language — and it is of their prob- lem of which I shall speak particularly. It is not only their problem; its solution becomes also the solution of the problem of the deaf- mute after he acquires speech and language. The problem of teaching lip-reading is truly a psychological problem. Both the eyes and the mind must be trained, but mind-training is the more important factor. The difficulties for the eyes to overcome are two: first, the obscurity of many of the movements, and second, the rapidity of their formation. That spoken language is not well adapted to the purpose of lip-reading is evi- dent from the manj^ sounds that are formed within the mouth or even in the throat. The difference between vocal and non-vocal con- sonants is invisible to the eye. The aspirate A, as in "hat," cannot be seen; there is no visible difference between "hat" and "at." The consonants formed bv the back of the tongue and soft palate, h, hard g, 7ig, are sel- dom revealed to the eye of the lip-reader; like- 6 LIP-READING wise, certain tongue consonants, as t, d, n, and y, present almost insuperable difficulties. Double tongue consonants, as 7it, nd. It, Id, are also just as indefinite and obscure in their visible formation. Rapidity of the movements is another seri- ous diflSculty in the way of successful lip- reading. From one-twelfth to one-thirteenth of a second is the average time per movement in ordinary speech. This is the average, but some movements are of course slower, while others, particularly those for unaccented syl- lables, are much quicker. With such difficulties as these, the wonder is that anyone can read the lips at all. Eye- training can never eliminate them, though it can lessen them in a measure. The method should aim first always to study or see the movements in words or sentences, not formed singly by themselves. Sounds pronounced singly all tend to be exaggerated, and manj^ of them even to be grossly mispronounced. Moreover, one movement often modifies de- cidedly the appearance of another connected with it in a word. For example, long e usually tends to show a slight drawing back of the corners of the mouth, as in "thief;" but. THE EYE AS SUBSTITUTE »j^ after sh, as in "sheep," this is scarcely visible. In the second place the method should aim always to study or see the movements as the words are pronounced quickly. It is true that it would be easier to see them when spoken slowly, but it is also true that to produce the best results the eye should be trained from the first to see things as they must always be seen in ordinary speech, and that is rapidly. And, in the third place, the method should aim to inculcate a nearly infallible accuracy and quickness of perception of the easier movements, leaving to the mind in large measure the task of supplying the harder movements. With the eye thus trained it often happens that the lip-reader's impression is that of actually hearing what is said. If I put the tubes of a phonograph into my ears, so that I can hear every word, and close my eyes, unbidden and without conscious effort the vision of the moving lips of the speaker form- ing the flow of the words passes before my mind. Although it is not possible for the eye to see each and every movement, it is possible 8 LIP-READING for the mind to grasp a complete impression without even the consciousness that it has "suppHed" so many of the movements and sounds. The chief difficulties in the way of the mind in hp-reading may be indicated by describing that type of mind which is uni- formly most successful, and that is a mind which is quick to respond to impressions, or quick in its reaction time, and a mind in which the synthetic qualities are dominant. The difficulties, then, are to overcome the opposite conditions or tendencies, and the aim is to develop the mind to the utmost along the line of these favoring conditions. Fortunately thought is quicker than speech. Testing myself with a selected passage that I know by heart it takes me fifteen seconds to think of it word by w^ord, and thirty-five seconds to read it aloud. To develop quick perception, practise is the essential; that is, slow speech, word-by-word utterance, must be avoided, and all forms of exercise must be given to the pupil up to the limit of speed which his ability will allow. This undoubtedly makes the work harder for the time being, but it results in more ra})id j)r()gress. Not only is thought quicker than speech; THE EYE AS SUBSTITUTE 9 thought need not formulate every word to have clear conceptions. Thought skips; thought looks ahead and anticipates. So that a cor- rect understanding of an idea is possible with- out a word-for-word accuracy. That is the way the baby understands what is said to him. I would say to my little boy, Vvhen a year and a half old, "How does daddv shave himself in the morning.^" That he understood every word was not possible; probably "daddy" and "shave" were the only ones he really knew. But that he understood what I said he made evident when he went through the motion of shaving his own face with his finger. The method of mind-training should aim to develop this power of grasping thoughts as wholes, and to avoid strictlv anvthing that will enhance the opposite tendency of demand- ing verbal accuracy before anything is under- stood at all. Minds of the latter type are literal, analytical, unimaginative. Yet there are very few who are altogether of this kind; most of us, however analytical, have some synthetic powers, some ability of j^utting things togetlier, of constructing the whole from the parts, of quick intuition. It is by developing these 10 LIP-READING powers that real success in lip-reading can be attained, and it is by working along these lines that the surest way is found in the end to the understanding of every word. Even those who hear, often have an experience like this : Some one will make a remark which you fail to understand; the word "what" is on your lips, but before it is fairly uttered the whole sentence will come to you like a flash. When this intuitive, synthetic power is highly developed, the "natural-born" lip-reader is the result. I feel sure, from what is known of the men, that Prescott, the historian, would have easily learned lip-reading, while the analytical Ban- croft would have found it much more difficult; that Seton Thompson would be quick to mas- ter it, and that John Burroughs would be slower; that Roosevelt would be an expert, and that Hughes would be a novice. I have repeatedly found among mj'- pupils that those who can play music readily at sight are apt in reading the lips, for such ability implies quick reaction time and the intuitive mind. What degree of skill can a lip-reader expect to attain? How long does it take.^ These are natural questions, but cannot be answered THE EYE AS SUBSTITUTE 11 categorically. What some can attain in three months, others cannot acquire short of a year; and the highest degree of skill, as in any art, is open only to the few. But three lessons a week for three months will, with most pupils, give a very satisfactory and practical skill. I may be pardoned if I speak of myself. I can sometimes understand a lecture or ser- mon, depending upon conditions of light, etc. ; less often can I understand a play. I am called a good lip-reader, but I know better ones. With a very few exceptions, such a degree of skill is possible to every one as to make home life and social friendships a joy once more, and, though it may not be an infallible resource in business, it may for all be an invaluable aid. Lip-reading can never do all that good ears ought to do, but what it can do is almost a miracle. Two objections to lip-reading I occasionally hear: (1) That it is too great a strain on the eyes, and (2) that, by relieving the ears from hearing, there is a tendency to deterioration in hearing from lack of exercise. The strain upon the eyes at first is truly no small one; but I have repeatedly found that those who complain of eye-strain during 12 LIP-READING their first lessons, later never think any more about it. I have not strong ej^es, and now, though I use them in reading the lips every day and all day long, they are seldom over- tired. If the lip-reader is careful from the first to cease using the eyes at the first symp- tom of tire, I believe that no harm can result and gradually the eyes will be able to do more and more. The objection in regard to the deterioration of hearing I believe to be the reverse of true. Dr. Albert Barnes, in "The Dietetic and Hy- gienic Gazette," of October, 1909, said: "Peo- ple with ear-strain should spare the hearing as much as possible, and, instead of straining the ear to catch what is said, they should watch the lips more. In other words, the eyes should be called upon to help the ears." Moreover, with pupils who have enough hear- ing to hear the sound of the voice, I advise and encourage them to use ears and eyes in fullest cooperation, one helping the other. Under such circumstances, and also in view of the fact that the ear involuntarilv gets exer- cise with every sound that comes to it, whether the strain to hear is made or not, I do not see how any harm can be done to the cars by THE EYE AS SUBSTITUTE 13 lip-reading, and in all my experience I have never found any evidence of such harm. On the contrary, several times pupils have re- ported to me an actual betterment of the hear- ing, though how much lip-reading had to do with it and how much other conditions I do not pretend to say. Lip-reading, then, is not a cure for deafness, nor is it even a cure for all the ills of deafness; but from some of the worst ills it is a true alleviation. It takes first place on the majority of occasions over all mechanical devices. For those completely deaf, or so deaf as to make mechanical devices out of the question, lip- reading is the only resource. For those whose deafness still allows them to hear the sound of the voice, it obviates the necessity of using these more or less cumbersome and inconven- ient contrivances. Even at such times when these devices can be used to advantage, watch- ing the lips helps to make them more useful and more reliable. Under any circumstances, lip-reading has in it the power to make deaf- ness of whatever degree much easier to bear. CHAPTER II TEACHING AIMS The preceding chapter, The Eye as a Siibsti- tute for Deaf Ears, tells the underlying basis for success in lip-reading. The teacher should know how to develop the requisite qualities in each pupil to the utmost. Every one has three sides, the physical, the mental, the spirit- ual. It is a truism that perfect development exists only when the development of each side is symmetrical. It is so in lip-reading. The eyes (physical), the mind, and even the soul qualities, nmst all have proper attention to attain the highest success possible in each individual case. The eyes must be trained (1) to be accurate. (2) to be quick, (3) to retain visual impres- sions, and (4) to do their work subconsciously. The first of these requisites is so obvious that there is perhaps a tendency to over- emphasize it in the neglect of the others. Of course the eves cannot be too accurate; the 14 TEACHING AIMS 15 danger is in training for accuracy alone re- gardless of other needs. To secure accuracy in lip-reading, the pupil must know exactly what to look for. The careful description of each movement tells him this; and the teacher should also show it to him on the mouth. The movement loords (see Part II, Section III, under the description of each movement), in which each new movement is developed in contrast and in connection with previously studied movements, provide the best possible material for training in accuracy. The con- trast ivords also, by showing the differences between similar movements, direct the eyes to an accurate study of the decisive charac- teristics. And the "practise icords, giving each new movement in combination with all the fundamental movements, both before and after, show how the movements are mutu- ally modified by association. Directions for using this material are given in their proper place. Accuracy alone is not sufficient. The quick- ness of natural speech makes it imperative that the eyes be trained to be quick. For this reason, from the very first, all forms of exercise of whatever kind should be practised alwavs 16 LIP-READING as rapidly as the ability of the pupil will allow. Particularly all review work should be rapid. It Vvill be easier for the pupil to have the teacher enunciate slowly, but the rapid enun- ciation, up to the limit of the pupil's ability, will do him considerably more good. The importance of training the visual mem- ory is clear from the fact that often the lip- reader v.ill get the first part of a sentence from the last; that is, the understanding of a few words toward the end of a sentence, aided by the memory of preceding facial move- ments, will enable the lip-reader to construct the whole. Sentence practise is always good for developing this power; but at no time should the pupil be allowed to interrupt the teacher until either a whole sentence, or at least a clause, has been completed. Other practise for developing the power of visual memory will be found directed under the vowel and consonant exercises (see p. 253) where the pupil is required to carry three, four, or even five unrelated words in mind and to repeat them in order. All this work for the eyes is in its essence analytic. The conscious work of the uiind ill lip-reading, however, must be synthetic. TEACHING AIMS 17 Hence the eyes must be trained to do their work subconsciously. To do so, the eyes must work by habit, and to form these habits much repetition in practise is necessary. To give an exercise once may train for accuracy, but not for subconscious accuracy. It is absohitely essential, therefore, that the pupil aiul the teacher should go over and over and over things until they are truly mastered. The essentials in training the mind are to develop (1) synthetic ability, (2) intuition, (3) quickness, and (4) alertness. The necessity of synthetic ability has been sufficiently explained in Chapter I. The work directed in Chapter V, IIow to Use Stories, is all intended to develop synthesis, and the question practise as there directed is especially helpful. Everj^ kind of sentence practise is an aid, including the work directed under that heading. Chapter X, and the Colloquial Forms (p. 282) and the Ilomophenous Words (p. 301.) Closely allied with the synthetic quality is intuition. The lip-reader who has the power of intuitively jumping to the right conclusions has a potent aid to synthesis. Good develop- ment practise for the intuitive powers, leading the mind to look for natural sequences of 18 LIP-READING thought, is to be found in the use of stories by teUing them in different words (see Chapter V) , in the use of words as a basis for sentences built around the thought suggested by them (see Chapter IX), in the use of sentences to develop other sentences associated with them in idea (see Chapter X), and in conversation and in more formal talks along some chosen theme (see Chapter IV). It is just as important for the mind to be quick as for the eyes. It sometimes happens that the eye will see quickly but the mind will interpret slowly. To develop quickness of mind the teacher should insist upon a quick response in all work where the pupil is required to repeat what has been said. By alertness I do not mean the same as quickness, but rather an openness of the mind to impressions and a readiness for new turns of thought. It is not uncommon to find a pupil who clings to false impressions, loth to cast them aside, even when told they are wrong. Such a pupil should have his atten- tion directed to his failing and be cautioned to guard against it at all times. The skipping practise directed for the stories (Chapter V) and the skipping practice directed for words TEACHING AIMS 19 (Chapter IX) and sentences (Chapter X) will ail heljD to develop mental alertness. In my wide experience with the deaf and hard-of-hearing it has seemed that the thing most needed by them is access to the spiritual springs of human life. No other class of people is so shut oft' from these springs, for they are to be found above all else in the nmtual inter- course of soul with soul. By the fact of their deafness, such human companionship is denied in very large measure. The deaf are thrown upon themselves and their own thoughts and resources. As they have ex- pressed it to me again and again, they are "hungry" for a real conversation; they are *' lonely," though surrounded by family and friends. It is not surprising that morbidness, hopelessness and the "blues," and lack of courage and self-confidence mark their in- creasing deafness and consequent increasing isolation. The difficulties of the teacher with a pupil like that are truly of a spiritual nature. It is a hopeless task to try to make a successful lip-reader of one whose "Oh! I can't" attitude stands in the way of every achievement, unless that spirit of despair be supplanted by the 20 LIP-READING spirit of "I can'* and "I will." It is true that increasing skill in lip-reading tends to dispel these morbid conditions of mind, but it is also true that these morbid conditions stand squarely in the way of such increasing skill. The mere study of lip-reading 'per se cannot be relied upon to banish the "blues" and lack of self-confidence and courage. So it becomes of utmost importance for the teacher to work directly upon these spiritual condi- tions. Not obviously of course, still less by nagging; nor yet by pity, nor even by sj^m- pathy of the wrong kind, (though sympathy of the right kind is a powerful agent). I can lay down rules for the training of the eye in lip-reading and rules, though more elastic ones, for training the mind. But rules for developing these desired spiritual qualities cannot so well be formulated. I think, how- ever, I can make some suggestions which will help guide the teacher along the road. Of course no two pupils are alike in their spiritual cjualities or spiritual needs. They are not all as "blue" as he whose needs I have been picturing. But T suppose there is no one who cannot stand a helping hand along the road to cheer and courage. TEACHING AIMS 21 It is axiomatic that to impart spiritual qualities you must have them. That is why I regard " personality'" as the most valued asset of the teacher. A strong personality and the power to make that personality felt as an influence toward the best things are fundamental qualities of the great teacher in any subject, and they apply with special force to the teacher of lip-reading. Sympathy of the right kind is strongly needed: not the kind that turns the pupil's thoughts more than ever on his affliction, for that strengthens his habit of self-pity; but the kind that, while acknowledging the affliction, gives the pupil a metaphorical slap on the back, stirs him to stand by his own efforts and work out his own salvation. Many pupils rely on the teacher to do all the work, make all the effort. To say nothing of their lack of effort, their very attitude is an insuperable bar to achievement. Win over such a pupil to work with you and half the battle is won. Meet every mood of discouragement with cheer and hope. Don't be sparing of praise for good work well done. Don't be impatient with failure, especially if the effort be true. Hold up the bright side of the picture always. 22 LIP-READING Encourage by example of what others have achieved. These are some of the essentials in the teacher's spiritual attitude toward the pupil. Be the friend of your pupil, not merely his teacher. Take an interest in the things that interest him, and gain his interest, too, in the things that lie close to j^our own heart. Friendship opens many a door to helpfulness that otherwise would remain closed. Be his friend, but don't forget that j^ou are his teacher too. Don't let friendship make you "easy with the pupil," nor cause you to let down the bars to indolence and weaken the spur to faithful effort. Expect, and let your whole attitude demand, the pupil's best. The teacher who works in this spirit with his pupils will have the joy not onl}^ of seeing them advance more quickly in the art of lip- reading, but also and especially of seeing them live happier, cheerier, braver, and more useful lives. CHAPTER III TO THE FRIENDS OF THE DEAF It is not easy to be deaf; it is a mighty hard thing; and it is often made harder for us by the unnecessary friction between us and our friends arising from the fact of our deafness. That is why I ask you, the friends of the deaf, to consider some of the ways and means by which you can help to make our lot easier for us. I do not mean to scold or find fault, but to help — to help you to help us. If at times I speak plainly, even bluntly, I trust you will pardon it in view of my purpose. If it is a question of blame, we ourselves must assume our share of it. It is often our attitude that makes things hard for both you and us. For one thing, we are prone to be too sensitive. And yet that is the most natural thing in the world. I suppose every man or woman who carries a physical affliction is more or less sensitive. The lame man, the blind man, the humpback, the stammerer, 23 24 LIP-READING all have a fellow feeling in this regard. But the peculiarity of deafness is that it has the unhappy faculty of drawing down ridicule upon its victim. If a lame man stumbles and falls, nobody laughs; everybodj^ rushes to help him to his feet. If a blind man runs into a stone wall, every one is all sympathy. But let a deaf man make a mistake, due to his deafness, and everybody laughs. Yes, I know they do not laugh at him; they laugh at his mistake. If it were only easy for him to realize that, it w^ould save him intense mortification. I suppose there is not one of us who has not felt at some time or other that he wished the floor would open and swallow him up. When I was at college, one of the members of the glee club was very bald; but he wore a wig. At the concerts he sang a solo: " I'd rather have fingers than toes, I'd rather have eyes than a nose; And as for my hair, I'm so glad it's all there, I'll be sore as can })c when it goes." And with the last word he would snatch the wig from his head. Of course everybody FRIENDS OF THE DEAF 25 laughed; but the point is, that he laughed ivith them. If we who are deaf would cultivate the saving grace of hiughing at our mistakes, it would take all the sting out of them. On the other hand, there is the danger that those who laugh at us may get the worst of it themselves. John Wanamaker tells the story of a deaf man named Brown, who was dis- posed to stinginess. "He never married, but he was very fond of society, so one day he felt compelled to give a banquet to the many ladies and gentle- men whose guest he had been. "They were amazed that his purse-strings had been unloosed so far, and they thought he deserved encouragement; so it was arranged that he should be toasted. One of the most daring young men of the company was selected, for it took a lot of nerve to frame and propose a toast to so unpopular a man as Miser Brown. But the young man rose. And this is v.hat was heard by every one except Brown, who never heard anything that was not roared into his ear: "'Here's to you. Miser Brown. You are no better than a tramp, and it is suspected that you got most of your money dishonestly. 26 LIP-READING We trust that you may get your just deserts yet, and land in the penitentiary.' "Visible evidences of applause made Brown smile with gratification. He got upon his feet, raised his glass to his lips, and said, 'The same to you, sir.'" Inattention is one of our chief faults. Not hearing what is going on around us, we are apt to withdraw into our own thoughts; and then, when some one does speak to us, we are far away. We need to be more on the alert than others, just because we cannot hear; our quickness of eye must make up for our aural slowness. To you, our friends, I wish to make the suggestion that you draw our attention, not by touching us, not by a violent waving of the arm or perhaps the handkerchief, not by shouting to us, but by a quiet movement of the hand within our range of vision. We arc sensitive. Any- thing that brings our aflSiction into the lime- light of the observation of others cuts like a lash; and there are few things we dislike more than having our attention attracted by a poke or a i)ull, though a gentle touch is some- times not disagrecjible. Another of our faults is a tendency to ae- FRIENDS OF THE DEAF 27 clusiveness. We not only draw into our own thoughts when others are present; we often retire from company into the soHtude of a book or magazine, or avoid company alto- gether. It is a rudeness, I know, to pick up a book and read when in the company of others; yet it is a rudeness that even our friends ought sympatheticall}'^ to condone. And, moreover, I ask you which is the greater rudeness, that of our taking up our book or that of your passing around the sweets of conversation and offering none to us.^ Truly, we ought not to seclude ourselves, but we need your help. We have our faults, and so have you, and your chief fault, as far as we are concerned, is that you do not realize what it means to be deaf. Occasionally I hear some one say he wishes he might be deaf for a little while; he would be glad if some of the disturbing noises might be eliminated. Oh, deafness is not so bad, he opines; it has its advantages — which I do not deny; but they are not the advantages he has in mind. I sometimes wish that such a person might truly be deaf for say a year without the knowledge that at the end of that time his hearing would be restored to him. Then he would find the one-time 28 LIP-READING disturbing noises had become music in his ears, and that the advantages of deafness, provided he had met his affliction in the right spirit, were of a spiritual and not of a physical nature. It is thoughtlessness, due to ignorance of conditions, that is the cause of most of the troubles between you and us. It is not sel- fishness — not usually, at any rate — but just that you do not stop to think. And that is why I am wanting to you: to help you to understand and show the same thoughtfulness toward us as you instinctively would show toward the blind. There is one book that everv friend of the deaf ought to read, "Deafness and Cheerful- ness," by the Rev. A. W. Jackson. Intended for the deaf themselves, it has a still greater value, I believe, for their friends. The little brochure, "The Deaf in Art and the Art of Being Deaf," by Grace Ellery Channing, is also good. Such reading will help you to put yourselves in our place. It is easy enough for us to imagine what lameness and what blindness mean; probably most of us have been more or less lame at some time or other, and we are all of us blind FRIENDS OF THE DEAF 29 when ill the dark. But it is a much more difficult thing for the hearing to imagine the full calamity of deafness. Think how much of the sweetness of life comes to you through your cars. The joys of companionship and fellowship with otlicr men and women are dependent on our understanding what they have to say. Try for one week to imagine what it would be like if every spoken word that comes to you were lost. Think each time, "Suppose I had not heard that," and when you have finally comprehended what the world of silence is, your sympathetic under- standing will go a long way toward lightening our cross. If you could really put yourselves in our place, one of the first things you would realize is that there are few things that so irritate as to have you shout at us. It is so unnecessary and uncalled for, and makes us the center of unenvied observation. We will in fact under- stand you better if instead of shouting you enunciate clearly and distinctly and make your voice as vibrant as may be possible. In a general conversation we greatly need your help. A certain deaf man expressed the unuttered view of many another W'heu 30 LIP-READING he said, " I enjoy a conversation with one person, but when a third breaks in upon us, h enters the room w^ith him." In nine cases out of ten the deaf man is given no share in general conversation, and for all purposes of social enjoj^ment he might almost as well be marooned on a desert island. General conversation is hard for us to under- stand, even though we be skillful readers of the lips. As we all know, it is very much easier to follow conversation when we know the subject. When two people are talking w^e may say that each has a one-half share; when three, each has a one-third share, and so on. This is true provided all can hear. But if one is deaf, while it is still true he has a half-share when only two are talking, when three are talking he has no share at all! If onlv the others would talk to him! But no, they talk to each other, and he is out of it. My advice to you, then, in a general conversa- tion, is: "Talk to us." The others will hear you, and it will give us the benefit of sharing in the conversation, of knowing the subject, and of greatly increased case of understand- ing. There are times, I know, when il is not FRIENDS OF THE DEAF 31 possible to talk to us, or others may be talking who have not the thoughtfuhiess to do so. Then what we ask of you is not to rehash the conversation after the topic has been talked out, but by a word or two at the beginning to indicate to us the subject. The suggestions I have given you so far will apply whether we are lip-readers or not. Now I wish to give you some suggestions that will help us in our endeavor to hear with the eyes. For one thing, let the light be on your face, not on ours. It requires only a little thoughtfulness to see to this important requisite. In my own family such thoughtful- ness has become so instinctive as to be a habit, and the endeavor to get the light right is always a first thought when any of the family are talking to me. The exaggeration of the facial movements, *' mouthing," usually arises on your part from the best intentions to help us understand. You mean well, but as a matter of fact you are making it harder for us. Such exaggera- tion throws the mouth out of all natural movement and formation, and makes it im- possible for us to know just what we do see. All we ask of you is that you speak distinctly, m LIP-READING and then the movements of your lips and tongue will take care of themselves. Closely associated with your endeavor to help us by exaggeration is the endeavor to help through a word-bj'-vrord manner of talk- ing. The human mind naturallv takes in the thought as a whole and not piecemeal, one word at a time. It is exasperation to ask us to understand in that wa}^ How much of the thought of this printed page would j^ou get if you stopped to think about each word sepa- rately.'^ Like the man who could not see the woods for the trees, so when — you — talk — this — way we cannot see the thought for the words. If it is necessary to speak slowty to us, let it be smoothly, connectedly, and not word by word. Another of your well-meant efforts to help us consists in repeating for us a single word that we have failed to understand; it is much easier for us to get the word in its thought connection in a sentence. For the same rea- son, the long phrase is usually easier than the short phrase; as, for example, "AYill you get me a drink of water?" presents much less difficulty than "Will you get me a drink?" FRIENDS OF THE DEAF 33 In your choice of words, try to choose if possible those that have the most movement of the Hps. If you want to say "a quarter," choose the words "twenty -five cents." For "fifty cents," however, you should say "half a dollar," for not only does the latter phrase have more lip-movement, but it is also true that " fifty cents " might easily be mistaken for "fifteen cents." As another example, notice as you say the sentences how much plainer and more pronounced the lip-movements are for "What beautiful weather we are having" than for " Isn't it a nice day ? " Proper names are always hard, because we have as a rule no context to help us. When you introduce us to strangers, be careful to speak the name clearly and distinctly direct to us. Not infrequently I find my hearing friends introducing me with a decided empha- sis on my own name, as though it were very necessary that I should understand that, and with the name of my new acquaintance so mumbled that I do not know whether he is Teufelsdrockh or Smith. Again, when in conversation you are referring to some one by name, a short explanatory phrase will often help us wonderfully; as, "I like to deal 34 LIP-READING at Scudder and Singer's — the Tneat market, you hioiv.'" I have presented to you some of our prob- lems, believing that you can help us. Yet I realize that you cannot do it all — that we must cooperate. And the first thing for us to do in the way of self-help is frankly to acknowledge our deafness. I think no greater mistake can be made from the standpoint of our own comfort and peace of mind than that of trying to conceal the fact that we cannot hear. It is not only sensitiveness, it is also a feeling of shame, as though we had done some wrong, that impels us to try to hide our failing ears. We need the advice of the hmatic in the story. All day long a fisherman had been sitting on the bank of the stream and had not caught a thing. All day long the lunatic had watched him from a window in the neighboring insane asylum. At last the man in the window could endure it no longer, and he shouted to the fisherman: *'IIey, there, you poor fool! Come on in- sider So we need to come on inside the ranks to which we belong, frankly, realizing that it is no crime to be deaf, and then try by every FRIENDS OF THE DEAF 35 means in our power to make our lives normal and sane. That is what we are striving to do, and we ask j^our help that our burden of deafness may be Hghtened as much as possi- ble. CHAPTER IV CONVERSATION PRACTISE The end and aim of all lip-reading practise is facility in understanding conversation. But to this end conversation practise alone is not enough. It is common to hear a pupil say: "I have practise in talking with people all the time; I don't need any other practise." If you were studying music on the piano, w^ould it be sufficient only to play pieces, and never scales, chords, and exercises? If you were studying French, would it be sufficient only to converse, and to know nothing of forms, idiom, and grammar? Skill in reading the lips certainly can be gained by conversation practise alone, but neither so speedily nor so thoroughly as when such conversation practise is supplemented by the practise of exercises of the various kinds that have been exi)laincd in my previous papers. Conversely it is true that the prac- tise of those exercises alone will not sufficiently S6 CONVERSATION PRACTISi:. 3^ avail unless they are put to practical applica- tion in what is the end of them all, conver- sation. In conversation, however, the conscious effort of the lip-reader should be not to think of or to try to see the forms, movements, syllables, etc., but simply to grasp the thought of the speaker. The perception of the move- ments must be left to take care of itself; you should know them, but not think of them; your recognition of them should be subcon- scious. When you read the printed page, you do not think of the individual letters, yet, without being conscious of it, you see them. When you play the piano, the printed notes are your guide, but (if you are truly skillful) those notes are transformed into music through your fingers without your stopping to think what the notes are. The successful student of a foreign language uses the language like a native without a thought of form, case, tense, construction and the other demands of gram- mar. In each instance the technical knowledge is there, and is used, but it has been relegated to the lower centers of the brain that do things by habit without requiring attention or di- rection. ■i O P '"^ ' •» i 1 c b '■ '■> '4 38 LIP-READING It should be the same in lip-reading, for the mind has not the time nor the power to think of the elements and to construct the idea therefrom, to conduct consciously a process of analysis and synthesis, at the same time. In all conversation practise therefore let the elements take care of themselves and focus your effort on the endeavor to grasp the thought. There are more ways than one of securing conversation practise. The beginning should be in forming the habit of always watching the mouth, not the eyes, of a speaker. For some the formation of this habit is difficult, but it must be formed if success is to be at- tained — it is one of the essentials. Even though you hear the sound of the voice, even though you actually hear every word, watch the mouth too. The eyes are expressive, and with many people so is the whole face. But no part of the face reveals so much as the mov- ing lips and tongue. Moreover, though your gaze is focused on the mouth, all the rest of the face is visible to you. The most skillful lip-reader would find his difficulties doubled if he could see only the mouth nnd the rest of the face were masked; but if he could see CON\^RSATION PRACTISE 39 the rest of the face and not the mouth, the difficulties would be increased a hundred-fold. Always watching the mouth means more than watching only when you are personally addressed. It means watching it in general conversation, watching it in public places, watching it in the case of a preacher or lec- turer, in short, always watching it. If you are very deaf and still with little skill in read- ing the lips, you will probably understand onl}^ words here and there, and stray sentences, unless the conversation is turned directlj^ to vou. But everv little counts and is a step toward more. If only slightly deaf, and if you hear the sound of the voice more or less, you should find real help in this habit, even from the first; for your eyes will be cooperat- ing with your ears, one helping the other, and much that either would lose alone will be understood. More definite practise can be obtained when you and some one friend are talking together. If your friend is like many others, he will persist in talking loud, a habit formed be- fore the days of your endeavor to read the lips. Don't let him. Over and over again, probably, you will have to tell him "not to 40 LIP-READING talk so loud;" he forgets. But continue to tell him until the new habit is formed of talk- ing to you more softly, — not in a ^yhispe^, I do not mean that, nor even in a low tone, but naturally, or so that you hear something, enough with the help of your eyes to under- stand, but not enough to understand without such help. Such a habit will mean for him greatly increased ease of conversing with you, increased delight in such conversation for both of you, and good lip-reading practise for yourself. AYlien talking with two or more friends, the responsibility on your part to help yourself is a serious one. In a previous chapter I have said: "It is very much easier to follow conversation when we know the subject. AYhen two people are talking we may say that each has a one-half share; when three, each has a one-third share, and so on. This is true provided all can hear. But if one is deaf, while it is still true he has a half share when only two are talking, when three are talking he lias no share at all! If only the others would talk to him! But no, they talk to each other, and he is out of it." It is not an easy task for us to "butt in" and CONVERSATION PRACTISE 41 divert that one-third share to us, where it be- longs; we need and ought to have help from the others. But it is fundamentally our task, and by performing it as we should we gain practise, and pleasure, and a great victory. All these ways of securing practise in con- versation are casual, yet not for that reason to be despised. They should not, however, be allowed to usurp the place of definite conver- sation practise, practise in which you do not hear a sound. In tliis case, if you are only slightly deaf, it will be necessary for your friend or assistant to talk very, very softly — a low voice is better than a whisper — and for you not to sit too close, and, perhaps, to put a bit of cotton in j^our ears. Choose themes for vour conversation in which vou are mutu- ally interested, and then let it take its course. Only you nuist remember that conversation implies give and take; you must do your share, and not expect a monologue from your assistant. Some bits of advice for your general inter- course with people wull be useful. Do not get into the habit of demanding that you under- stand every word. Try to cultivate the power of grasping the thought, of constructing the 42 LIP-READING sentence from one or more key words. Let the speaker continue talking until you catch the idea, and do not interrupt unless you feel that what is being said is something you ought to know about. In a general conversation, much can be lost (so to speak) without losing much. Try to follow the sense of what is said, rather than to "dig out" each word. If you lose a word, do not stop to think vrliat the word was, for as surely as you do, you will lose all that follows. What is lost, is lost; never mind it; but continue to trv to follow the thought. So long as you do follow the thought successfully, do not interrupt. You should, of course, interrupt if you lose the thought completely. Though it does not pay, as a rule, if we lose a word here and there, to interrupt the speaker, we must be very careful not to carry "bluffing" too far. To i:)rctend to understand, when really scarcely anything is understood, is inexcusable. The necessity of a good light on the speaker's face should be realized. A light that makes visible the action of the tongue is a great help. A light from above, such as a high gas- light, will not do this; the light should be as nearly as i)ossi])le on a level with the face. If CONVERSATION PRACTISE 43 you find the speaker's face is in the shadow, either change your own position to a more favorable one, or ask the speaker to change his. Rapid and indistinct utterance will be the root of much of your trouble. If you can persuade your friends to speak more dis- tinctly', and to address the conversation directly to you, it will be a great help, but they must be cautioned to speak naturally, and not to "mouth," or exaggerate, as this will only increase your lip-reading difficulties. Necessity has been called the mother of in- vention. It is also the mother of achieve- ment. The achievements of all lip-readers will be surer and more rapid, the more they force upon themselves the necessitj^ of un- derstanding with the eyes. We can best lay tliis necessity upon ourselves at first in our home life. As far as may be possible, com- munication with members of the family should be by sight. Requests for different articles at the table may quickly be learned and un- derstood in this way. And at all other times the endeavor should be made not to depend upon the ears when the eyes can serve. CHAPTER V HOW TO USE STORIES To know how to use stories and reading- books for practise, we must know why we use them. There is such a thing as practising in the wrong way. In spite of the opinion held by some that "just practise" is all that is necessary, it is not so much the amount of practise as it is the kind of practise that produces the best results. There are right ways and wrong ways of doing everything, and in lip-reading it is possible to practise in such a way as incidentally to do absolute harm. One hour of the right kind of practise is worth five hours of the wrong kind. Keep in mind that the aim of all practise is to acquire skill in understanding coji- vcrsation. In ordinary conversation people talk rapidly. No lip-reader, however skill- ful, can be absolutcl}^ sure of seeing every word. But he can be sure of understanding all the thought, even though words be lost. 44 HOW TO USE STORIES 45 The best lip-readers are invariably those who have the power of grasping the thought as a whole, and not through a word-by-word de- ciphering of the sentence. And in the end, the surest way of understanding practically every word, is not through the word-by-word method, but is through developing this syn- thetic power of constructing the whole from the parts. That is, if the whole thought is understood, the visual memory of the rest ;of the sentence will most surely, and usually subconsciously, supply the missing words. The chief value of stories and reading mat- ter as material for lip-reading practise lies in their use toward developing the synthetic qualities mentioned; to develop the right habits of mind — the mental attitude that is quickest to understand conversation — stories are invaluable. There are stories and stories. Fundamen- tally the style should be as near the colloquial as possible, the style in which people talk rather than in which they write. For this is the style that gives us the natural se- quences of thought, the natural associations of ideas. It is not simply that the story should have a good deal of conversation in it, but 46 LIP-READING that throughout the sentences should be simple, not involved, and the sequence of thought direct from step to step. Many stories and anecdotes in the newspapers and magazines provide excellent material. In the choice of books, I have found books written for children most available, as the style is apt to be simpler, more natural, more direct than those written for adults. I advise beginning with short stories or anecdotes of about 100 to 150 words. I give a story here as an example: A LESSON IN PHYSIOLOGY A teacher was explaining to her class what an organ of the body is. She told them that an organ of the body is a part of the bodj' set apart for some special use. For example, the eye is the organ of sight, the ear of hear- ing, etc. After she had gone over the work pretty thoroughly, she wanted to find out how much her pupils knew of the subject. So she asked them who could tell what an organ of the body rcallv is. For some time there was no reply. Then HOW TO USE STORIES 47 the smallest boy in the room held up his hand. "I know," he said. "I see with my eye-organ, I hear with my ear-organ, I smell with my nose-organ, I eat with my mouth- organ, and I feel ^^ith my hand-organ." The steps for the student to follow in practising this story are as follows: (1) Read the story over once to yourself. The help of memory is necessary to some beginners if the story be practised in the *' natural" way. To follow reading is much harder than to follow conversation; some can never follow reading unless helped by memory, though they may be able to understand con- versation readily. In conversation the mind more or less consciously anticipates the thought, and sometimes even the words. In the reading-practise with stories, the memory helps the mind to do this. But memory should not help any more than may be necessary; and so, if you find that memory seems to help very much, read the selected story one day and practise it the next, and after a while you may even try practising a story you have read a week before, or even without reading it at all. (2) Have some friend or assistant read the 48 LIP-READING story to you, in a tone so low that you do not hear a sound. First your assistant should read the story to himself to gain familiarity with it, and then in reading to you should read as he would talk, that is, in the col- loquial rather than the recitative style. On this first reading, you should endeavor, with the help of your memory and of the words you may see here and there, to follow the general thought of the story. Do not in- terrupt the reader, but let him read the story to the end, whether you understand much or little. Should you, at the end, have un- derstood very little, read the story again to yourself and try once more in the same way, that is without interruption. If, however, you succeed in following the general thought, then (3) Let the story be read to you again, and this time you should interrupt if you do not get the thought of every sentence and every clause. In which case the whole sentence or clause should be repeated for you. Do not, however, interrupt for every word, provided you have seen enough of the words to get the idea of the sentence. It is necessary to train the mind in the habit of grasping the whole HOW TO USE STORIES 49 from the parts, and there is no better way for a beginner to do it than by using stories in this manner. If after two or three trials you fail to understand the thought, your assistant should let you read the printed sentence, and then you should try it again.* (4) By this time memory will be helping you considerably, and with such help you should try for absolute verbal accuracy as the story is read to you again. Do not, how- ever, try to understand word by word as you go along, but continue to try for the sentence or clause as a whole; if the thought, aided by your visual memory, does not suggest to you every word in the sentence, let it be repeated. But do not interrupt in the middle of a clause, for frequently the latter part of it will give you the clue to the whole. And again, do not repeat the sentences after your assistant; the habit of repetition is in itself a bad habit, but is especially bad in that it tends to effect the worse habit of demanding a literal word- by-word accuracy before anything is under- stood at all; that is, it places the emphasis on the words instead of upon the thought. But it is yours to be honest with yourself *Your assistant should express the same thought in other words or give you a clue word before showing you the printed sentence. 50 LIP-READING and with your assistant and to let him know if you are not sure you understand, so that he can repeat until you are sure. He, in re- peating, should say, not the single words you may have failed to see, but always the whole clause, the purpose being to have these words suggested to the mind by the natural thought association rather than by word formations. (5) The next step is to have the story read very rapidly to you; the aim is to train the eye and mind to quick comprehension; for such comprehension is absolutely essential to the successful understanding of conversation. You should interrupt for the thought, though by this time you ought to be able to see almost everything, for memory will be helping greatly. But the value of this rapid practise is not lost even though you know the story by heart. (6) Now, closing the book, your assistant should tell you the story in his own words. Let him add detail and give as much change in the wording as he can. As an examj)le, I give herewith '*A Lesson in Physiology'* thus changed: A teacher was talking to her pupils about the dillVrcnt organs of the body. She told now TO USE STORIES 51 them that an organ of the body is a special part of the body. And she told them very carefully about the eyes, and the ears, the nose, the mouth, and the hand. And then, after she had told them all about it, she wanted to find out how much they remembered. So she asked them. But nobody replied. "Oh!" she said, "I am sure some of you must know what an organ of the body is. Come now, all who know raise your hands." The smallest boy in the room put his hand up. "I know, teacher," he said. "Well, tell us then," said the teacher. **What is an organ of the bodj^?" And the boy replied: "I smell with my nose- organ, I see with my eye-organ, I hear with my ear-organ, I eat with my mouth-organ, and I feel with my hand-organ." As in the previous work, you should always try to grasp the sentence, or the thought, as a whole. Do not repeat after your assistant; but interrupt if you fail to understand, and let him repeat. Perhaps at first you may find the changed wording more difficult than the original story with which you are familiar. But surely in time you will find your assistant's 52 LIP-READING own wording easier than the original form, which is always a good sign. For it is easier, and if you are really reading the lips and not simply following from your memory of the words, you ought to understand the colloquial form better than the written. (7) Questions are an important part of conversation; practise in answering questions therefore is essential. This practise is readily given by basing the questions on the story. The questions should be natural, and at first rather simple. The words and the phrases of the story may well be re-used in forming the questions.* You should not endeavor to repeat the question after your assistant; to do so would require a word-for-word un- derstanding of it. But such an understanding is not necessary in order to answer a great many questions; if a few words suggesting the thought be grasped, the question can be answered intelligently. This is so over and over again in conversation, and therefore it is the habit of mind, the mental attitude toward questions, that the lip-reader should cultivate. So always answer the question in this practise, if only the thought be under- stood. *Tliis may be done if the words of the book make a n.-itiiral question. HOW TO USE STORIES 53 I give a few questions, based on the story previously quoted, as examples: What was the teacher explaining to her class? What did she tell them an organ of the body is? Wliat examples did she give them? What did she want to find out, after she had told them all about it? How long before she had a reply? Who raised his hand at last? What did he say he saw with? What did he smell with? What did he do with his mouth- organ? How did he feel? (Aside to your assistant : If you form your questions so that they must be answered by a statement and not by "yes" or "no," your pupil will find that he cannot "bluff" in his replies.) (8) Still another way of practising stories is by having your assistant skip around from sentence to sentence. The chief value of this practise lies in training the mind to jump quickly from one thought to another. Therefore do not attempt to repeat the sen- tences after your assistarut, but indicate by a nod of the head that j^ou have understood the thought (not necessarily every word), so that he may quickly read you another sentence. If you do not understand, let him repeat. 54 LIP-READING Stories used in the ways advised are in- tended, not for eye-training, but to train the mind in the habits that will help you most to understand conversation. Training the mind along the right lines is even more im- portant than training the eyes. If you find at the first lesson that you under- stand the words of your assistant as well as the words of the book you should read ten stories in advance. In this case your assistant should begin the story program by telling you the story in his own words, first showing you the title and proper names. Then he should read the story with interruption for thought and follow the rest of the program as above. If you understand the words of your assistant better than the words of the book, you should not read any stories in advance. CHAPTER VI THE STUDY OF THE MOVEMENTS The labial and other formations for the different sounds appear on the face not as po- sitions but as movements. That which is formed and gone again in 1-12 to 1-13 of a second — the average length of time for each sound formation in colloquial utterance — can hardly be called a position. And any study of the sounds as positions, that is of the sounds formed singly and held, is based on a false conception of the requirements of eye-training for purposes of lip-reading. The only true way of studying the sounds is by observing the formations as they occur in words, that is, the movements for the sounds rather than the positions. Thus, if the student wishes to study the formation of long oo, he should take a word containing it, as mooii, and concentrate his attention on the oo as he savs the whole word. There are two other reasons why the sounds should be studied in words and not singly by 5Q LIP-READING themselves. For not only is this the only true way of seeing the formations as move- ments, but also (first) it is the only true waj'' of seeing the movements when formed natur- ally, without exaggeration, and (second) it is the only way to avoid for many sounds a gross mispronunciation. Almost any sound tends to be "mouthed" or exaggerated when pronounced alone, and some sounds, such as w and r cannot be correctly pronounced alone except by the expert. The tendency for the non-expert in pronouncing iv by itself would be to say "double-yoo." But put the sound in a word, as "wet," and you do not say "double-yoo-et." The sound of / would tend to be "eff," but for "five" you do not say "effive." The safe, the sure way, there- fore, of studving sound movements is alwavs to study the formations as they occur in words. A word may be said about the use of pic- tures * in the study of the sounds : No viovC' ment can be shown by a picture, hence pic- tures can have no value as a means of practise. * II is an intcresLing fact that pictures of tlie inoutli illustrating the vowel sounds were used in a book for instruction in lip-reading, by F. M. B. von Ilehnont, published at Sulzbach, Bavaria, 1CC7. THE STUDY OF THE MOVEMENTS 57 However, though all sounds are movements, vowels partake more of the nature of shapes than consonants, and these shapes can be shown by pictures. But the value of the pic- tures is as an aid to a clearer exposition of the vowel characteristics and not at all as a means of practise. Consonants are so purely move- ments, and are moreover so much more read- ily described than vowels, that pictures of them at the best can render no help, while on the contrary they may easily lead to false impressions. The method of learning the movements in- volves, first, a clear conception of their char- acteristics, and, second, much practise in the observation of them. The aim of the practise is to make the recognition of the sound move- ments a subconscious act, that is, by much repetition to make the association of certain movements with certain sounds a habit, something which we do without the conscious- ness of effort or concentration. Such habits of association can be formed only by repetition in practise; when formed, the mind is left free to concentrate on the thought of the speaker, not on how he is forming his speech, but on what he is saying. 58 LIP-READING I had a letter the other day from one of my pupils, in which she said: "I certainly do very well in reading the lips, but I don't know how I do it." And there is no more necessity that she should know how than there is that the hearing should know how they hear. Those who hear know the different sounds: onlv in listening, they never stop to think of them. Nor should the lip-reader think of the different movements, but should concentrate on the speaker's thought. It is analos^ous to the wav in which we read the printed page. We do not think of each letter, nor even of each word, but rather of the thought conveyed. Should we stop and spell out each word, we should have at best only a vague idea of what we were reading. Just as we have made our knowledge and recognition of the printed letters a matter of habit, performed subconsciously^ so should we en- deavor to make our recognition of the sound movements. Perfection in this ability to see the sounds is impossible, and for two reasons: First, because no two mouths are just the same, and, second, because some of the movements are so slight and c^uick that the eye, while it may see THE STUDY OF THE MOVEMENTS 59 them sometimes, cannot be sure of always seeing them. No two mouths are just the same; some are very easy and some are very hard, witli all degrees of difficulty in between. And yet all mouths do conform to certain general laws in the formation of the movements. It is sim- ilar to the peculiarities of handwriting; while no two handwritings are the same, and while some are easily legible and some read only with great difficulty, everybody conforms, or tries to conform, to certain general laws in the formation of the letters. The second reason why perfection in seeing the sounds is not possible is because of the great obscurity of some of the movements. The difi'erence between vocal and non-vocal consonants is invisible in ordinary speech; "bat" and "pat," for example, look exactly the same. The obscure tongue consonants, as t, d, and n, cannot be seen with any degree of dependability. The palatal consonants, k, hard g, ng, the eye sees very rarely. Some of the vowels, as short i, short e, long a, are hard to see and the eye cannot be always cer- tain of them. The way to practise for these difficult 60 LIP-READING sounds is not by an exaggeration of their movements. It is a waste of time to try to make the eye see by "mouthing" what cannot be seen in ordinary conversation. The aim should be to know these difficult sounds as well as possible when pronounced naturally, but not to waste energy in striving for an im- possible perfection. Also it should be to know the easier movements with an almost infallible accuracy, leaving largely to the mind the task of supplying the difficult ones from the thought of the sentence. "\Micn studying the movements it must be remembered that tliis book is based on the revelation of the movements rather than the formation, as the Hp-rcadcr is concerned with this side of the study only. It is for this reason that the cnlcnded group of vowels (see Section III,) was chosen first and developed in the order of their simplicity. These vowels give the clearest lip movements. A vowel giving a narrow opening of the lips is readily visible, as the view is not obstructed nor the mind distracted by the tongue or teeth. The second group chosen was the relaxed, because throughout the book the principle of contrast by comparison has been followed, and only such niovemcnls as have some clement in coiniuon are compared. The contrast practise is of very great value. The third group developed is the puckered. It will be noted that there are no contrast words in the lesson on long oo, puckered-narrow. That is because the movements j)revi()usly studied cannot be properly contrasted with this new movement. • CHAPTER Vn VOWELS Vowels are formed fundamentally by the tongue, but to the eye of the lip-reader they are revealed chiefly by the lips. There are three groups of vowel movements: (1) Those in which the lips at the corners tend to be drawn back or extended; (2) those in which the lips are neither puckered nor extended but are simply opened naturally, and are lax, or relaxed, and (3) those in which the lips tend to be rounded or drawn together, or 'puckered. Under each of these three groups are to be found in colloquial speech three widths of opening between the lips, namely, a narrow opening, a medium and a wide. The pictures of the vowels will help the student to understand the peculiarities as described. Extended Vowels Long e — Extended-Narrow For the sound of long e, as in *'keen," the lips are slightly drawn back, or extended, at 61 62 LIP-READING the corners, and the opening between the upper and lower hps is narrow. SJiort e — Extended-Medium For the sound of short e, as in "get," the Hps are slightly extended at the corners, and the opening between the lips is neither nar- row nor wide, but is medium. The a, as in "care," also has this extended-medium movement. Short a — Extended-Wide For the sound of short a, as in "cat," the lips are slightly extended at the corners, and the opening between the Hds is the widest of the extended vowels. Relaxed Vowels Short I — Relaxed-N arrow For the sound of short i, as in "kid," the lips have the natural or relaxed movement, and the opening between the lips is narrow. Short u — Relaxed-Medium For the sound of short u, as in "cut," the lips are relaxed, and the opening between the upper and lower lips is neither narrow nor wide, but is medinm. VOV\'ELS 63 A h — Rclaxed-Wide For the sound of ah, as in "cart," the lips are relaxed, and the opening between the hps is the widest of the relaxed vowels. Short o, as in "cot," usually has this relaxed wide movement. Puckered Vowels Long do — Puckered-N arroio For the sound of long oo as in "coon," ob- serve that the lips are drawn together or puckered, and that the opening between the upper and lower lips is very narrow. Short 00 — Piickered-MMiuM For the sound of short 06, as in "good," the lips are 'puckered, but the opening between the upper and lower lips is wider than for long 00, though still not wide; that is, the opening is viedium. All) — Puckered-Wide For the sound of aw, as in "cawed," tiie lips are slightly puckered, and the opening between the lips is the icidest of the puckered vowels. Other sounds having the same move- ment are o in "orb" and usually o in "ore." CHAPTER VIII COXSOXANTS CoxsoxAXT movements are at once easier and more difficult than the vowel movements; that is, there are seven out of eleven consonant movements that can be so well learned that the expert lip-reader sees them practically every time, and these movements are less subject than the vowels to the personal peculiarities of the speaker. But consonant movements are quicker than vowel movements, and for many of the consonant movements there are two or more sounds having the same visible char- acteristics. For example, p, h, and m, in "pie," *'by," and "my," look alike, as do also/ and v, in "few" and "view." This gives rise to a consideral)lc group of so-called homophenous ■words, words that look verj^ simihir or alike; methods of dealing with this difficulty will be treated later. Consonants mav be divided into three groups: (1) those that are revealed by the lip 64 CONSONANTS 65 movement, (2) those revealed by the tongue movement, and (3) those revealed by the context, being seen by the mind rather than by the eye. Consonants Revealed by Lips P, h, m — Lips- Shut For p, in "pie," b, in "by," and m, in "my," the lips open from a shut position. This shut position is the characteristic that reveals these three sounds. It is the same for each in or- dinary, rapid speech; the sounds must be told one from the other by the context. F, V — Lip-ta-Teeth For/, in "few," and v, in "view," the center of the lower lip touches the upper teeth. Both sounds look the same and must be told apart by the context. Wh, iv — Puckered-Variable For 2vh, in "what," and iv, in "wet," the lips are puckered, very much as for long TJd; but the degree of puckering is more variable, being greater in slow and careful speech, and less in rapid colloquial utterance. {Wh and w, bcir.g GQ LIP-READING consonants, are seldom confused with long oo^ which is a vowel, because consonants and vowels are rarely interchangeable in words; for example, though oo, in "moon," looks much like iv, it couid not be mistaken for lOy since mw7i substituting w for oo, does not make a word.) R — Pucker ed-Ccrners For r, in "reef," before a vowel, the lips show a drawing together or puchering at the comers. The contrast of "three" and "thee" will help to show this. After a vowel, as in *'arm," r tends to be slurred and will com- monly show no movement whatever. If more carefully pronounced, however, it may show a slight puckering at the corners. S, z — Tremor-at-Corners For s, in "saw," and z, in "zone," the muscles just outside the corners of the mouth are tightened or drawn, causing a slight tremulojis movement there. This movement is, at first, hard to see, but when once thor- oughly learned it becomes comjiaratively easy. An additional help will be found in that the teeth are very close together, closer CONSONANTS G7 than for any other sound. The movement on the whole is very much Hke that for long e, extended-narrow; l)ut it is very rarely confused with the c movement, for c is a vowel and s and z are consonants. Sh, zh, ch, j — Lips-Projected For sh, in "sham," zh (the z, in "azure" has the sound of zh), ch, in "chap," and j, in "jam," the lips are thrust forward or jjro- jected. Consonants Revealed by Tongue Th — Tongue-to- Teeth For th, in "thin," and "then," the point of the tongue shows either between the teeth or just behind the upper teeth. L — Pointed-Tongue-to-Gum For /, in "leaf," the point of the tongue touches the upper gum. Being formed within the mouth, this sound cannot always be seenj though the trained eye sees it frcquentlj^ T, d, n — Flat-Tongne-to-Gum For t, in "tie," 6?, in "die," and n, in "nigh," the flat edge of the tongue touches the upper 68 LIP-READING gum. This tongue movement shows even less than that for Z; while the trained eye may see it sometimes, reliance in telling the somids must frequently be on the context. Consonants Revealed by Context Y — Relaxed-N arrow For y, in "yes," the lips are relaxed and the opening between the upper and lower lips is narroio. The movement, however, is so quick and so slight that in ordinary- speech the eye rarely sees it. But although the sound is a hard one to see, it causes the lip-reader com- paratively little trouble; this is because we do not have the sound very often. F, as a con- sonant, occurs only before vowels, and hence never occurs at the end of a word, seldom in the middle, and usually at the beginning. But of the words that begin with ?/, there are not more than twentj^-five in common use, and many of these, such as "you" and "yes," can readily be told by the association or con- text. K, g (Hard), iig — Throat Movemefit For kf in "kin," g, in "go," and ng, in "rang," a drawing up of the throat nuiscles CONSONANTS 69 just above the Adam's apple may some- times be seen. But the movement is sHght, and if seen at all must be seen while the eyes are on the mouth, and hence the lip-reader gets very little help from the throat. Usually these sounds must be revealed by the context. H For h, in "hat," there is no movement. H has the appearance of the following vowel. It must always be told by the context. In taking up the study of the consonants the pupil, or teacher, must still keep in mind that the study is based on revelation and goes from the simple to the complex. A pure lip consonant was chosen for the first lesson, i. e., p, b and m. It is both formed and revealed by the lips and is the easiest of all the consonant movements. WIi and w might have been chosen as next in order, but as wli and w cannot be used both before and after a vowel they do not afford so large a vocabulary as/ and v. The consonants formed by the tongue, being next in simplicity, were given as the second group — first those revealed by the lips, as r before a vowel, s, z, sh, zh, ch and j, and then those revealed by the tongue in the order of their simplicity. The last of the consonants are the "palate", which are practically invisi- ble. Note that the three simplest dijihlhongs are brought in after /, d and n and before l; g (hard), ng, nk and y, to give a breathing spell and prevent discouragement. There are many variations and com- binations of movements in the English language, but only those that are always, or predominantly, one tiling or the other have been included, as ch, j, soft g, soft c and hard c, for instance, as the aim waa not to confuse the mind of the pupil with too many details. CHAPTER IX WORD PRACTISE To practise words simply for the sake of the words — that is, to try to memorize them as one would a vocabulary — is the least help- ful form of word -study; for the analogy be- tween the study of lip-reading and the study of a foreign language does not hold here. Certainly some good can be obtained from such practise, but it is not possible so to memorize word formations that the eye will infallibly recognize them whenever seen. Moreover, there is a better way of studying word-forma- tions than in the study of the words by them- selves, and this will be discussed in the chap- ter on Sentence Practise. There are several ways of practising words, which, besides the intrinsic value they have, include any value that the endeavor to memo- rize the words would have too. Words may be used to train the eye in accuracy of ob- servation of the sound formation, to train the 70 WORD PRACTISE 71 mind in quickness of associated thought or idea perceptions, and to train both eye and mind in alertness of response. How words may be so used can best be shown by definite examples, and for that purpose I give here- with a list of words: shoot sharp peach page .should show mesh ocean short shy mash nation sheep shout dish pleasure shed shape rush azure shad douche harsh leisure ship push poach seizure shut porch pouch enjoy It will be noticed that the lips-projected movement for sh, zh, ch, or j, enters into each of these words, as indicated by the italic let- ters, first as the initial element, then as the final element, and then as an element in the middle of the word. The first and most obvious way of using the list given above is in the study of the lips- projected movement.* For this purpose have your assistant read the words to you, not too rapidly, while you concentrate your observa- tion on this movement. For the present you *For detailed directions refer to outline on page 97. 72 LIP-READING need pay no regard to the words themselves; you should not even try for them. Simply make sure that you see the lips-projected movement in each word, and have any words repeated in which you fail to see it until the movement is clear. Secondly, the words may be used for the study of each movement in them. To do this, your assistant should read a word, and when you have shown by repetition that you have understood it, let him read the word to you aoain while vou concentrate vour attention on the movement for the first sound in the Avord ; then again, while you concentrate on the second movement; and again for the third movement, and so on. For example, the first word in the list is "shoot." First make sure vou know the word, and then as vour assistant repeats it watch for the lips-projected move- ment for the sh, then again for the puckered- narrow movement for the long oo, and finally for the flat-tongue-to-gum movement for tlie t. You should not repeat the word each time; simply watch and make sure you see each sound. Your assistant needs to be cautioned always to say the whole word, lo say it natu- rally without exaggeration, and not to spell it. WORD PRACTISE 73 So far, the work is aimed to train the eye in accuracy of observation. To train the mind in ciuickness of associated thought perceptions, the words may be used in sentences. Your assistant sliould first give you a word, and then, when you have understood it, let him compose and give you a sentence containing the word. The object is to have the sentence revolve about that word with an idea sug- gested by it. For example, take the first word in the list, "shoot": an idea suggested by the word would be, "Did you shoot the mad dog?" Or, "I saw a star shoot across the sky?" Or, "Did j^ou ever shoot the chutes?" But such a sentence as, "Did you ever shoot?" would not be right, because no idea is suggested beyond the idea of shoot- ing, and moreover, because the sentence might easily be mistaken for, "Did you ever chew?" In the work with your assistant it is advisable that several sentences be com- posed for each word, but for practise and ex- ample I will give one sentence each for the words in the above list: should — Tell me what I should do. short — My time was very short. shccj) — "Little Bo-peep lost her sheep." 4 LIP-READING shed — I wish the cat would not shed her hairs on the chairs. shad — We had baked shad for dinner. ship — What hour does the ship sail? shut — Will you please shut the door? sharp — The knife is not sharp enough. shoio — Will you show me the book? shy — She is a very shy little girl. shout — Don't shout so loud. shape — What is the shape of the house? douche — I used a douche for mv cold. push — I will push you in the wheel chair. porch — We sat out on the porch last even- ing. peach — The peach is not ripe enough to eat. mesh — The veil has a very fine mesh. mash — Will you mash the potatoes for me? dish — I put the dish on the table. rush — I wish you were not always in a rush. harsh — The man has a verv harsh voice. poach — Would you like to have me poach the egg? pouch — The postman's mail pouch is full of letters. page — Will you find the page for me in the book? ocean — "My bonnie lies over the ocean." WORD PRACTISE 75 nation — The nation celebrates its birthday on the Fourth of July. 'pleasure — It will be a pleasure for me to have vou call. azure — The sky is a beautiful azure. seizure — The custom house made a large seizure of smuggled goods. leisure — I have very little leisure for read- ing- enjoy — Don't you enjoy a good game of cards? To use the list of words to develop quickness of response by eye and mind, it is necessary that your assistant should know the words practically by heart. He should then say the "words, while you repeat them. Immediately when you have repeated a word he should give you the next word. You, too, must try to make your response as quickly as possible, the whole effort being to "hit up the speed" to the maximum. The words may be given first in order, and then skipping around, over and over, until you can maintain your quickness of response from word to word through the list. CHAPTER X SENTENCE PRACTISE The chief value of sentence practise is for mind training; but any form of practise must also have value in training the eyes. Sen- tences, too, can be used in such a way as chiefly to teach the eye sound and word form- ations. F irst, however, they should be used in the more obvious way of training the mind to grasp the thought. For this pin-pose, as soon as the student is sufficiently advanced, sentences should be used with which he is not in any way familiar either by previous practise or even reading. As these sentences are read to vou vour effort should be to understand them, not analytically, but synthetica lly; not word by word, but the sentence as a \vholc. The first part of a sentence will usually be found the hardest; if, failing to understand that part, your mind stops and tries to i)uzzle it out, you will lose not only the first but also the last. 76 SENTENCE PRACTISE 77 On the other hand, if you strive to under- stand the sentence as a whole, and do not let your mind stop, no matter how much may be lost, frequently the last part of the sentence may suggest the first part, and thus complete understanding is attained. Sentences may also be used to train the mind to work along the line of natural thought- associations. x\s all lip-readers know, the ease of understanding is increased greatly if we have any idea of the subject of conver- sation. Much of conversation is a direct progression from one associated thought to another, and hence any training that helps the mind to quickness in anticipation of the idea has great value. Illustrations of the method of using sentences in this way may be drawn from the sentences used in the preceding chapter on v.ord practise. I will give first the original sentence, and then several sentences associated with it in idea or thought. Tell me what I should do. What shall I ever do about it.^ I'm sure I don't know; don't ask me. My time w^as very short. How^ much time did you have? Only about five minutes. That wasn't long enough. 78 LIP-READING "What hour does the ship sail? At 10 o'clock to-morrow morning. I'll be at the pier to say good-bye. I hope you'll have a pleasant voyage. Will you please shut the door.^^ I feel a draught from the hall. Is there a window open anywhere? We sat on the porch last evening. It was rather cool, but it was a glorious night. There was no moon, but I never saw the stars shine more brightly. I wish you were not always in a rush. I never have time to talk with you. You are always in such a hurry. The illustrations given above are intended to be suggestive, not complete. jNIuch further v/ork along this line can easily be given you by a clever assistant. The sentences should also be used to train the mind to quickness of response. The original sentences, after all the preceding practise, will be pretty well in mind. Let them be read to you now with as high a de- gree of speed as your ability to understand will allow. They should be read not in order, but ski])i)liig around. You should endeavor to repeat each sentence as quickly as possible. SENTENCE PRACTISE 79 It is permissible, in order to help create this habit of (jLiick response, to get any help from memory that j^ou can; that is, if you see a few of the words of the sentence and those few suggest the whole sentence, let your response be immediate, just as though you had seen everything. Finallj% sentences may be used, even better than words by themselves, to teach the eye correct word formations. Use the same sen- tences as before, which by now you should know almost by heart, and practise them with the mirror for each word in them. The first time you say the sentence, concentrate all your thought and attention on the first word. Try to see the word as a whole, and not the individual sounds and movements. Then say the sentence over again, and concentrate similarly on the second word; then, yet again, while you concentrate on the third word, and so on. As an illustration, take the sentence, "My time was very short." The first time you read the sentence, you concentrate on the word **my"; then as you read it again, you con- centrate on "time"; the third time on "was," etc. The wJiole sentence should always be 80 LIP-READING read, and always rapidly and naturally. The word you are looking for should not be em- phasized, for the value of the practise lies in learning word formations when occurring in their natural associations with other words in a sentence. For example, "was" by itself is spoken with an open or wide formation for the vowel, but in the sentence the vowel is practically eliminated, as "My time w's very short.'* CHAPTER XI MIRROR PRACTISE The mirror is a true aid in the study of lip- reading if it be used in the right way. It is easily possible to use the mirror in such a way as to mear. a complete waste of time; or, what is worse, so to use it as to do harm. It is common to hear a student of lip-reading say, "I don't get any good from my mirror practise; I know just what I am saying." If such as these only knew it, that is exactly why mirror practise should prove helpful. We must keep in mind the purpose of mir- ror practise. Lip-reading as an art comprises fundamentally^ two different kinds of skill: (1) the ability to recognize quickly the sound and word formations as shown by the visible organs of speech, and (2) the ability to grasp the thought of the speaker. ]\Iirror practise is not at all intended to develop the second kind of skill; it is obviously impossi))le to have any practise in understanding thought 81 82 LIP-READING by watching our own mouths in the mirror; but as a means of training the eye to know and to recognize cjuickly the sound and word formations, mirror practise has a pecuhar vahie just because the student knows what he is saying, for thus he never makes a mis- take; he always associates the right movement with the right sound. Really to know the movements, they must be so learned that their recognition becomes a habit; that is, something that the mind does without the consciousness of effort. In forming such a habit, it is not only essential that the desired association should be made over and over again, but also that there should be no false associations. For the student who has not a skilled teacher, mirror practise provides the best possible means of learning the move- ments of the visible organs of speech. But to make mirror practise thus valuable it must be done in the right way. To say words and sentences before the mirror and watch the mouth for everything in general and noth- ing in particular is a waste of time. It is like the hunter who missed his shot at a deer be- cause he "aimed for the deer" and not for some vital spot. Mirror practise must be MIRROR PRACTISE 83 definite if it is to have value. It is so easy to let the mind wander, to make only vague associations, that we might just as well not practise with the mirror at all unless we can find a way to fix our attention definitely and in detail upon the thing we are looking for. A still worse evil than vagueness in con- nection with mirror practise arises from mouth- ing or exaggeration of the movements, and sometimes from mistaken pronunciation or a false formation of them. To mouth or exaggerate is to give us wrong ideas of the sound and word formations, which is not simply a waste of time, but also tends to lead us astray when reading the lips of others. And this latter evil is accentuated when we try to see the sounds by pronouncing the letters by themselves, or by spelling out the w^ords. For example, the formation of g in **go" is nothing like the formation of the letter by itself. Spell the word, and you will see on your lips "gee-o," which certainly does not look the same as "go." The things to avoid, then, in mirror prac- tise are vagueness, which is a waste of time, and false associations, which are a positive 84 LIP-READING harm. The things to be sought are definite- ness and correct associations. Words should be practised for each move- ment in them. In addition to the movements already" described in Chapters YII and YIII, there are the diphthongs. See the lessons on diphthongs, pp. 207ff. We must remember also that practically every word of two sylla- bles or more has at least one unaccented vowel. In ordinarv speech these unaccented vov/els are slighted or slurred, with the result some- times of showing no movement at all, as the o in "prison," which appears as "pris'n"; sometimes of showing a relaxed-medium move- ment, as the a in " sofa," which appears not as "so-far," but as "so-fuh"; and sometimes of showing the relaxed-narrow movement as the first e in "refer," which appears not as "reefer," but as "riffur." Aways in watching, for unaccented vowels, be particularly care- ful not to exaggerate, but to speak naturally, and then determine for yourself what the movement is. As half at least of the vowels in ordinary speech are unaccented, it is im- portant to get a correct idea of how these un- accented sounds appear on the lips. See also the lessons on unaccented vowels, pp. 234ff. MIRROR PRACTISE 85 I give herewith a Hst of words in which all of the movements occur: boom left save farmer foot tap above wormy wall cube dollar moreover rip yoke sofa story sum coil violin window sharp pipe fearfu fury thief found wary poorly These w^ords should be studied for each movement in them. To do so, proceed as follows: Say the whole word while you watch your mouth in the mirror. Do not spell the words; as, for example, *'b-oo-m," but say the word, *'boom." Use your voice softly; you will speak more naturally than if you use a whisper or try to form the words without sound. The first time you say the word, concentrate vour attention on the first sound and its movement; then repeat the word, and concentrate on the second sound and move^ ment; and so repeat the word for each move- ment. It will help 3^ou to concentrate if before you say the word each time you think definitely of what you are to look for. That is, think of the lip or tongue movements. 86 LIP-READING you ought to see, and then say the word and see them. Take, for example, the word *'boom." For the b the Hps have the shut position; say "boom" and see that the hps are shut for b. For the oo the Hps are puckered with the narrow opening; say the word again and see these characteristics. For the m the hps are shut once more; repeat the word the third time and see that. Each word should be gone over many times in this way. The method of sentence practise with the mirror is similar to that for word practise, though not with exactly the same purpose. Words are practised for the study of the in- dividual movements that make up the word, while sentences are to be practised for the study of the word formations that make up the sentence. And sentences are of particular value to get the effect of the unaccented vowels. Short sentences of three to seven words provide the best material for mirror practise, though long sentences can readily be used if they are studied clause by clause. Take, for example, the opening sentence of Lin- coln's (iettysburg Address. This should be divided inlo six clauses: "Four score and seven MIRROR PRACTISE 87 years ago — our fathers brought forth on this continent — a new nation — conceived in hb- erty — and dedicated to the proposition — that all men are created equal." There are from three to seven words in each of these clauses. Such colloquial sentences as "Where do you live?" "The weather is very warm," "What's the matter?" make excellent material, also, for this practise. Whether using short sentences or clauses from long sentences, the method is the same. Pronounce the whole clause or sentence as many times as there are words in it, each time you do so concentrating your thought on a different word, one word at a time. The first time you should concentrate on the first word, the second time on the second, and so on. But you should be particularly care- ful not to emphasize the word for which you are looking. In the clause, "Four score and seven years ago," the word "and" when spoken, naturally is hardly more than "'nd," the vowel being so slurred as to be almost lost: thus, "Four score 'nd seven years ago." To say "Four score and seven years ago" would therefore be to give a false emphasis to the word which it vv^ould not have in ordi' 88 LIP-READING nary conversation. And the object of this practise of the words in sentences is in very important measure to accustom the eye to the natural word formations of every-day talk. Taking this clause, then, as an example, the first time you say it you should concentrate on "four," then repeat and concentrate on "score," and so on. Try to see the word as a whole, not the individual elements. Do not speak slowly, and especially do not speak word by word. Undoubtedly it is easier for you to see the words spoken in that way, but the practise is at the same time robbed of its chief value of training the eye to see rapid word formations occurring in their natural associations with other words in a sentence. Mirror practise as outlined above is an undoubted help in the study of lip-reading; but it is a mistake to expect skill to come from such practise alone. The full, rounded development comes from combining such mir- ror practise with the varied forms of practise with others. A liltle mirror practise every day is good, from fifteen minutes to half an hour at a time, and if it is not possible to MIRROR PRACTISE 89 secure an assistant, it is well to increase this time. But wliere practise with an assistant is possible, and the best results cannot be obtained otherwise, do not let mirror prac- tise take so much time as to exclude you from it. PART 11 FIRST OUTLINE OF DAILY PRACTISE, THROUGH SECTION III What may be called a full cycle of practise should consist of (1) a Review of the preced- ing lesson, (2) the study and practise of the Lesson for the Day, and (3) the Prepara- tion for the next lesson. (Of course with the first lesson there will be no review.) As an illustration: Suppose the first story, A Lesson in Physiology, (Sec. I, paragraph l), and the first movement, the lips-shut, for p, b, and m (Sec. Ill, paragraphs 53-56), had been studied and practised. Then that story and the words and sentences under that movement would be the Review; the Lesson for the Day would be the second story, Good Advice, and the words and sen- tences under the second movement, the extended-narrow for long e (paragraphs 5 7-60), as well as some conversation practise; and the Preparation for the next lesson would be on the third story. The Bone of Contention, and the words and sentences of the third move- 93 94 LIP-READING ment, the extended-medium for short e (para- graphs 61-65). Enough time should be taken for each part of the work to do it thoroughly. The exact time cannot be prescribed, for what one per- son can do in one hour, another perhaps can- not do thoroughly short of two hours. The outline for practise given below, subject to changes which a teacher may make accord- ing to the needs of the pupil, should be fol- lowed step by step in the order given, except that the Review and the Lesson for the Day from each section as practised with assistant may be taken consecutively if de- sired. It will probably take from two to three hours to complete the program; do only one hour at a time, taking up the work again later from the place left off until the whole program has been completed. Outline A. Review with assistant (all review prac- tise should be rapid). I. From Section I. a. The Story: 1. Told in different words. OUTLINE OF DAILY PRACTISE 95 2. Read very rapidly. 3. Questions based on the story. II. From Section III. a. Movement Words: 1. Read by assistant, and repeated by pupil, in groups of two or three as case may be, each group several times in different orders. b. Contrast Words: 1. Read, and repeated, in groups of two. c. Practise Words: 1. Read, and repeated, one word at a time, but skipping around and going very rapidly from word to word. d. Sentences: 1. Read, skipping around, and rap- idly from sentence to sentence. B. Lesson for the Day I. From Section I. a. The Story. (For details, see Chap- ter V) : 1. The pupil reads story to self, preferably some time beforehand. See advice under C below. 96 LIP-READING 2. Assistant reads the story to the pupil, without interruption. 3. With interruption for the thought. 4. With interruption for every word. 5. Rapidly, with interruption for thought. 6. Assistant tells the story in his own words. 7. Assistant asks questions based on the story; pupil replies. 8. Assistant reads story, skipping around, rapidly, with interruption for the thought.^ (If the pupil is told to read ten stories in advance, or none at all, then the assistant should first tell the storj- in his own words, after shomng title and proper names, and follow with steps 3, 4, 5, 7 and 8.) 9. Pupil practises the story with the mirror (see Chapter XI). II. From Section II. *a. Conversation. Pupil and assistant have definite conversation practise (see Chap, IV). Also use occasion- ally the conversations in Section II. 'Conversation should be given .it tlit- cud of the lessen when there is time fi>r it, or where a pupil has special lucd i>f such practise. OUTLINE OF DAILY PRACTISE 97 III. From Section III. a. Assistant shows pupil, ])y the ii- histrative word, the characteristics of the new movement. b. Movement Words: 1. Read by assistant, and repeated by pupil, in groups of two or three as indicated, each group several times in different orders. C. Contrast Words: 1. Read by assistant, and repeated by pupil, in groups of two, each group several times over in differ- ent orders. d. Practise Words (see Chapter IX) : 1. Assistant reads; pupil does not repeat, but simply watches for the special movement indicated by the italic letters. 2. Assistant reads and pupil repeats. As each word is understood, the assistant repeats it over and over as many times as there are move- ments in it. The first time, the pupil watches for the first move- ment, the second time for the second, and so on. 98 LIP-READING 3. Assistant reads, pupil does not repeat, but simply watches for the special movement indicated by the italic letters. If the lesson is on a consonant movement, the pupil tells whether he sees the con- sonant being studied at the begin- ning or the end of the word. If a vowel, the assistant should oc- casionally substitute another vowel for the one studied and the pupil should indicate when he sees the change. 4. Assistant reads and pupil repeats. As each word is understood, the assistant composes and gives a sentence containing the word. AVhere homophonous words are given (and such words are in- dicated by the small number fol- lowing them, words of the same r appearance being followed by the same num})er), tlie sentences alone will enable the pupil to tell which is which. 4. Assistant reads rtipidly, skipping around; pupil repeats quickly. OUTLINE OF DAILY PRACTISE 99 e. Sentences (see Chapter X) : 1. Assistant reads. As each sentence is understood, the assistant com- poses and gives one or two more sentences associated in thought with the original sentence. 2. Assistant reads rapidly, skipping around; pupil responds quickly. f. Pupil practises Movement Words, Contrast Words, and Practise Words, with the mirror to see each move- ment (see Chapter XI). g. Pupil practises Sentences with the mirror to see each word (see Chap- ter XI). C. Preparation for the Next Lesson I. From Section I. a. The Story: 1. The pupil reads the story to self, once only, and does not practise. If so read, the pupil does not re- read at time of practise with as- sistant. Should story practise be easy for pupil, he should read ten stories ahead. If very easy, he should not read stories to himself at all. Take one storv for a lesson. 100 LIP-READING n. From Section III. a. Pupil studies, with the mirror, the advance movement, as shown in the word given for illustration, to see the characteristics described. Take one to two movements for a lesson. b. Movement Words: 1. Pupil practises with mirror to see only the new movement indicated by the italic letters. 2. Pupil practises, with mirror, the words in groups of two or three as indicated to observe the differences. C. Contrast Words: 1. Pupil practises, with mirror, by couplets to see the differences. d. Practise Words: 1. Pupil practises, with mirror, only to see the new movement in- dicated by the italic letters, not for the words themselves nor for any of the other movements. e. Sentences: Pupil should not practise advance sentences in any way whatever, and should endeavor if possible to get aloiif; without cvvn fir.sl reading; thciii to him- self. If lliis is not possible at first, it will be later. SECTION I STORIES FOR PRACTISE Stories are to be practised according to the directions in Chapter V. After the stories given below have all been used, material for further reading practise may readily be found in books. Those written for children, fre- quently afford the best material, being usually in a simple, colloquial style. The student may select books to suit his own taste, but if any of the following are on hand they will be found excellent for this kind of practise: /Esop's Fables (Stickncy's edition preferred); Tappan's Old Ballads in Prose; Tappan's European Hero Stories; Lewis Carroll's Alice in Wonderland; Hawthorne's Wonder Book and Tangleivood Tales; James Baldwin's Fifty Famous Stories; Catherine T. Bryce's Fables from Afar; Josephine P. Peabody's Old Greek Folk Stories; Lamb's Tales From Shakespeare. It is not intended to limit the student to these books; they are given merely by way 101 102 LIP-READING of suggestion. From one to four pages should be practised for a lesson, the number of pages being determined by the ease with which they are understood and by the size of the page. A Lesson in Physiology 1. A teacher was explaining to her class what an organ of the body is. She told them that an organ of the body is a part of the body set apart for some special use. For example, the eye is the organ of sight, the ear of hearing, etc. After she had gone over the work pretty thoroughly, she wanted to find out how much her pupils knew of the subject. So she asked them who could tell what an organ of the body really is. For some time there was no reply. Then the smallest boy in the room hold up his hand. "I know," he said. "I see with my eye organ, I hear with my ear organ, I smell with my nose organ, I eat with my mouth organ, and I feel with my hand organ." — Selected. GOOD ADVICE 103 Good Advice 2. There were two ladies sitting in a car. One wished to have the window shut, as slie said she took cold very easily and was afraid of drafts. The other wished to have the window open, for she liked fresh air and must have it. Neither lady was willing to give in. Finally, the conductor came to them. "Conductor," said the first lady, "if this window remains open I may get a cold. It will kill me." "Conductor," said the second lady, "if you shut this window I may suffocate." The conductor did not know what to do. A man who was sitting in the corner said to the conductor: "Open the window, my dear friend. That ^ill kill one. Then shut it. That will kill the other. Then we can have peace." — Selected. The Bone of Contention 3. "At Hale's Ford, in Virginia," said Booker T. Washington, "I used to know in my boyhood an old colored man called ' Uncle Sam.' 104 LIP-READING * 'During the Civil War Uncle Sam took a great interest in the conflict, but he himself did not fight. A white man took him to task about this one day. " 'Look here, Uncle Sam,' he said, *here are the men of the North and the men of the South killing one another off on your account. \Miy don't you pitch in and join them?' " 'Mali friend,' he said, 'has you ever seen two dogs fighting over a bone?' " 'Of course I have,' said the white man. '"Did you ever see the bone fight?' said Uncle Sam. — Selected, Needless Alarm 4. Anyone who has traveled on the New York subway in rush hours can easily appre- ciate the following: A little man, wedged into the middle of a car, suddenly thought of pickpockets, and quite as suddenly remembered that he had some money in his overcoat. He plunged his lumd into his pocket and was somewhat shocked up(m encountering the fist of a fat f el k)'.v -passenger. A SWORD PUZZLE 105 "Aha!" snorted the latter. "I caught you that time!" "Leggo!" snarled the little man. "Leggo my hand!" "Pickpocket!" hissed the fat passenger. "Scoundrel!" retorted the little one. Just then a tall man in their vicinity glanced up from his paper. "I'd like to get off here," he drawled, "if you fellows don't mind taking your hands out of my pocket." — Selected. A Sword Puzzle 5. The Cross of the Legion of Honor was highly prized in the time of the first Napoleon. The Emperor one day met an old one-armed soldier, and asked him where he had lost his arm. "Sire, at Austerlitz." "And were you not decorated.^" "No, sire." "Then here is my cross for you; I make you chevalier." "Your JNIajest}" names me chevalier because I have lost one arm! What would your Majesty have done if I had lost both?" "Oh, in that case, I should have made vou officer of the Legion." Whereupon the soldier im- 106 LIP-READING mediately drew his sword and cut off his other arm. Now, there is no particular reason to doubt this story. The only question is, how did he do it? — Selected. Not Far to Go 6. A distinguished lawyer and politician was traveling on the train when an Irish woman came into the car with a big basket and bundle, and sat down near him. When the conductor came around to col- lect fares, the woman paid her money, and the conductor passed by the lawyer without collecting anything. The good woman there- upon said to the lawyer: "An' faith, an' why is it that the conductor takes the money of a poor Irish woman an' don't ask ye, who seem to be a rich man, for anything?" "My dear madam," replied the lawyer, who had a pass, "I am traveling on my beauty." For a moment the woman looked at him, and then quickly answered: "An' is that so? Then ye must be very near yer journey's end." — Selected. HE TOLD THE TRUTH 107 He Told the Truth ■J. The country school-teacher had been tell- ing her pupils about the seasons and their pe- culiarities, and to impress their minds with the facts, she questioned them upon the points she had given. Several questions had been put and an- swered, and she finally reached the stupid boy in the corner. "Well, Johnny," she said, "have you been paying attention?" "Yes'm," he answered promptly. "I'm glad to hear it. Now, can you tell me what there is in the spring.^" "Yes'm, I can, but I don't want to." "Oh, yes, you do, Don't be afraid. You have heard the other pupils. Be a good boy now, and tell us what there is in the spring." '*Wy — wy — mum, there's a frog an' a lizard an' a dead cat in it, but I didn't put 'em there. It was another boy, for I saw him do it. " — Selected, 108 LIP-READING Franklin's Toast 8. Once in London Benjamin Franklin was dining with two friends, one of whom was an Englishman and the other a Frenchman. As three nationalities were represented, it was suggested that each of the men propose a toast to his own country. The Englishman rose first, and like a true John Bull exclaimed : "Here's to England, the sun that gives light to all the nations of the earth." The Frenchman responded proudly in sim- ilar vein: "Here's to France, the moon whose magic rays move the tides of the world!" Then Franklin rose, and with an air of quaint modesty remarked: "Here's to George Washington, the Joshua of America who commanded the sun and the moon to stand still — and they stood still." — Selected. He Did Not Bite 9. Two English boys, who were friends of Charles Darwin, thought one day that they GOOD FOR HIM, ANYHOW! 109 would play a joke on him. They caught a butterfly, a grasshopper, a beetle and a centipede, and out of these creatures they made a strange composite insect. They took the centipede's body, the butterfly's wings, the grasshopper's legs and the beetle's head, and they glued them together carefully. Then, with their new bug in a box, they knocked at Darwin's door. "We caught this bug in a field," they said. "Can you tell us what kind of a bug it is, sir?" Darwin looked at the bug and then he looked at the boys. He smiled slightly. "Did it hum when you caught it.^^" he asked. "Yes," they answered, nudging each other. 'Then," said Darwin, "it is a humbug." — Selected. 6il Good for Him, Anyhow! 10. "I've spanked Thomas until I can spank him no more!" exclaimed Miss Hardcastle, the geographical mistress, to Miss Manners, the mathematical mistress. "Reallv, mv arm 110 LIP-READING quite aches from the daily chastisement of that naughty boy." "When you want him spanked again, send him to me, then," said Miss Manners. And, sure enough, at eleven o'clock next morning Thomas appeared at the door of the mathe- matical mistress's class-room. ''Where have you come from?" asked Miss Manners. "Miss Hardcastle," confessed Thomas. "I thought so!" exclaimed the teacher; and, dropping her book, she adroitly inverted the youngster with a twist, and punished him till the room rang with shrieks and whacks. "Now, Thomas," said Miss Manners, when she had concluded her duty, "what have you to say?" "Please, miss," blubbered the feeling schol- ar, "Miss Hardcastle wants the scissors!" — Selected. Uncle Ned's Old Aunt 11. Down South there was an old colored man called T^ncle Ned. He had worked for the same family for a great many years, ever HER VIEW OF ART 111 since the war in fact. At last one day he went to his master and said, "Master, I'd Hke to have a vacation." "What, Uncle Ned," said his master, "you want a vacation? What do you want a vacation for?" "Why," said Uncle Ned, "I want to go up to Virginia." "Up to Virginia! What do you want to go up to Virginia for. Uncle Ned?" "Well, I reckon I want to see my old aunt." "Your old aunt ! I didn't know you had an old aunt up in Virginia." "Yes, sah." "And how old is she?" "Well, I reckon she is 110 years old." "One hundred and ten years old! You have an aunt up in Virginia as old as that?" "Yes, sah." "And what is your old aunt doing up in Virginia?" "W'hy, I reckon she must be living with her grand- mother." — Selected. Her View of Art 12. An old gentleman who lived not far from the country seat of the Duke of Devon- shire (which is open to the public when the duke is not there) one day drove with a party 112 LIP-READING of friends to this famous residence. He took also his housekeeper, Martha, a good old soul, who had been with him a great many years. Arriving at Chatsworth, they passed slowly through room after room of almost priceless pictures. But Martha said never a word, although it was evident that she was not miss- ing anything. Each and every picture un- derwent a most rigid scrutiny, much to the amusement of the rest of the party. At last her master turned to her and said: Well, Martha, what do you think of it all.'^" Why," exploded INIartha rapturously, "I can't see a speck o' dust anywhere!" — Lippiticotfs, An Absent-minded Philosopher 13. One evening in cold mid-winter, Sir Isaac Newton instinctively drew his chair very close to the grate in which a fire had just been lighted. By degrees the fire became com- pletely kindled, and Sir Isaac felt the heat intolera])le, and rang his \)v\\ with unusual violence. John was not at hand. At last PLEASE CALL HER 113 he appeared, but by that time Sir Isaac was ahnost roasted. "Remove the grate, you lazy rascal!" exclaimed Sir Isaac, in a tone of irritation very uncommon with that amiable and placid philosopher. "Remove the grate before I'm burned to death!" "Please, your honor, might you not rather draw l)ack your chair .^" said John, a little waggishly. "Upon my word," said Sir Isaac, smiling, "I never thought of that." — Selected. Please Call Her 14. A dignified, middle-aged gentleman was trying to read in a crowded train. Among the passengers in the car was a lady with a very sprightly little blue-eyed girl with golden hair and an inquisitive tongue, who made friends with everyone around her. She asked the dignified gentleman numerous questions, played with his watch chain, and endeavored to determine by means of the buttons on his waistcoat whether he was rich man, poor man, beggar man, or thief. 114 LIP-READING The mother fairlj^ beamed upon him, as she was the type of woman who cannot understand that anyone might be annoyed by her child. However, he was becoming nervous, and rather tired of the interruptions, and, turning to the lady, said: "Madam, what do you call this sweet little child?" "Ethel," replied the mother with a smile and evident pride. "Please call her, then," said the gentleman, as he resumed his reading. — Selected. Guess Who Sent Them 15. George and Ethel had been married only a short time. They had had a large wedding, and Iiad received a great many handsome presents, including the usual silver- ware and jewelry. Because of the prominence of the bride's family, tlic newsj^apers had commented on the number and value of the many gifts. When they retm-ned from their honeymoon they went to live in a pretty little cottage in PUDDIN'PIEAD WILSON 115 the suburbs. A few days after they had set- tled in their new home they received in the mail one morning two tickets for the evening performance at a city theatre, together with a note which read: "Guess who sent them?" They found it impossible to identify the handwriting, or to guess the donor, but never- theless they decided to use them and have a good time. When they reached home after a very en- joyable evening, and switched on the lights, they found the place stripped of jewelry and silverware. But on the dining room table was another note in the same handwriting, which read: "Now you know!" — Selected. Puddin'head Wilson 16. Mutual friends of President Wilson and Colonel George Harvey say that it is as good as a play to watch the flashes of wit that spring from a crossing of those two keenest of minds. One time when Colonel Harvey was lunching at the White House, ^lark Twain's name came up in some connection. The Colonel remarked casuallv that there 116 LIP-READING still live persons who have never heard of the great humorist. The President found this almost incredible. "Oh, yes," the Colonel continued, "only yesterday, here in Washington, I met such a one. He was an office seeker. He declared positively he had never heard of Mark Twain. I asked him about Tom Sawyer — No, he'd never heard of him either. Nor Huck Finn? No, never. Nor Puddin'head Wilson? 'Oh, Lord, yes,' he ejaculated, 'I voted for him.'" When the President's roars of laughter had subsided Colonel Harvey continued, " 'And,' added the office seeker, wistfully, 'that's all the good it done me. ' " — Selected. Willing to Repeat 17. The office l)oy to a large firm of pub- lishers, when sent to one of the operative departments with a message, noticed that something was wrong with the machinery. He gave the alarm, and thus preventt'd much damage. The circumstance was reported to DRESDEN GOOD NATURE 117 the head of the firm, before whom John was summoned. "You have done me a great service, my boy," he said. "In future your wages will be increased $1 weekly." "Thank you, sir," said the bright little fellow. "I'll do my best to be worth it, and to be a good servant to you." The reply struck the chief almost as much as the lad's previous service had done. "That's the right spirit," he said. "In all the years I have been in business no one has ever thanked me in that way. I will make the increase $2. Now, what do you say to that?" "Well, sir," said the boy, after a moment's hesitation, "would you mind if I said it — Philadelphia Public Ledger. Dresden Good Nature 18. A stranger was one day crossing the great bridge that spans the Elbe, at Dresden, and asked a native to direct him to a certain church w^hich he wished to find. "Really, my dear sir," said the Dresdener, 118 LIP-READING bowing low, *'I grieve greatly to say it, but I cannot tell you." The stranger passed on, somewhat surprised at this voluble answer to his simple question. He had gone but a short distance when he heard hurried footsteps behind him, and turn- ing round, saw the same man running to catch up with him. In a moment his pursuer w^as by his side, his breath almost gone, but enough left to pant out, hurriedly: "My dear sir, you asked me how you could find the church, and it grieved me to have to say I did not know. Just now I met my brother, but I'm sorry to say that he did not know either." — Selected. The Hare and the Tortoise 19. A Hare one day made himself merry over the slow pace of the Tortoise, and vainly boasted of his own great speed in running. The Tortoise took the laugh in good part, "Let us try a race," she said; *'I will run with vou five miles for five dollars, and the Fox out yon(l(>r shall be the judge." THE FORTUNES OF WAR 119 The Hare agreed, and away they started together. The Tortoise never for a moment stopped, but jogged along with a slow, steady pace, straight to the end of the course. But the Hare, full of sport, first outran the Tortoise, then fell behind; having come midway to the goal, he began to nibble at the young herbage, and to amuse himself in many ways. After a while, the day being warm, he lay down for a nap, saying, "If she should go by, I can easily enough catch up." When he awoke, the Tortoise was not in sight; and, running as fast as he could, he found her comfortably dozing at their goal, p^ter her success was gained. — From Stickney''s edition of ^'JEsop's Fables," by courtesy of Messrs. Ginn and Company. The Fortunes of War 20. A woman of social prominence, who lived near one of the big training camps, liked to entertain the soldiers in her home. She always had one or more commissioned officers to dinner each Sundav- Anion"- them 120 LIP-READING was a young Lieutenant to whom she took an especial fancy, and he was invited to dine with her more often than the other men. One Sunday, when she was expecting this young officer for dinner, he found at the last moment that he could not get off duty, and he sent as a substitute a private, who carried a note from the Lieutenant, explaining his inability to get away, and sajdng that he was sending a friend in his place. The private presented the note to his hostess, who showed very plainly that she was not pleased with the substitute, and the atmos- phere was so uncomfortable that the private had the good sense not to remain for dinner. The next time the Lieutenant dined with this lady she took him to task for v/hat he had done. "Why did you send a private?" shedemanded. "I wanted an officer." The Lieutenant re- plied, much to the chagrin of his hostess: *'I am sorry you did not like my friend. He is a fine fellow. Before the war I was his chauffeur." — Selected. Hope Deferred 21, They sat each at an extreme end of the horse-hair sofa. Thev had been courting now HOPE DEFERRED 121 for something like two years, but the wide gap between had always been respectfully preserved. *'A penny for your thoughts, Sandy," murmured Maggie, after a silence of an hour and a half. "Well," replied Sandy slowly, with sur- prising boldness, "to tell you the truth, I was just thinking how^ fine it would be if you were to give me a bit of a kiss. " "I've no objection," simpered Maggie, moving over; and she kissed him plump ly on the tip of his left ear. Sandy relapsed into a brown study once more, and the clock ticked twenty-seven minutes. "And what are you thinking about now — another, eh.''" "No, no; it's more serious now." "Is it.''" asked Maggie softly. Her heart was going pit-a-pat with expectation. "And what might it be.''" "I was just thinking," answered Sandy, "that it was about time you were paying me that penny." — Ladies' Home Journal. 122 LIP-READING "Father Won't Like it" 33. It was noon time of a verygwarm day In August. A man walking home to dinner saw a small boy doing his best to pile a load of hay back on the cart from which it had fallen. The sun was beating down on the uncovered head of the poor little fellow, and his face was red from the heat and exertion. "You can't get that hay on there alone," said the man. "Come home to dinner with me, and afterwards I will help you." "Thank 3^ou," said the boy, "but I can't do it. My father won't like it." "Oh come along," said the man. "You can work much better after you have had something to eat." "No," said the boy very firmly. "My father will be angry if I do." "I know that your father wouldn't want you to work in this heat on an empty stom- ach. Come along and have a good meal." So the boy went very reluctantly, and all through the meal and after he was saying that he knew his father wouldn't like it. Finally the man said: "Well, where is your father?" And the boy replied, "lie is under the load of hay." — Selected. DUST ON THE ATLANTIC 123 Dust on the Atlantic 23. When Mr. Knox was Secretary of State he had a colored messenger in his office who knew something of geography. Alongside of the Secretary's desk is a gi*eat globe, standing almost six feet high. The other day JNIr. Knox consulted it to see if it were really true that the sun never sets on our dominions nowadays, or to learn something else of equal importance. The Pennsylvania statesman is the pink of neatness, and was somewhat irritated to find that the big revolv- ing ball had soiled his coat sleeve. "William," he said sharply to the mes- senger, and laying his finger on the globe, "there is dust there a foot thick." "It's thicker'n that, ]\Ir. Secretary," re- plied the negro with the familiarity that comes of mingling with greatness. "What do vou mean?" demanded the premier. "Why, you'se got your finger on the desert of Sahara." JNIr. Knox did badly at trying to suppress a smile. 124 LIP-READING "You'll find some on the Atlantic Ocean, too," he remarked as he turned to his desk. — Crist, in the Brooklyn Daily Eagle. Mark Twain and Whistler 24. A friend of Mark Twain's tells an amus- ing incident in connection with the first meet- ing between the humorist and James McNeill Whistler, the artist. The friend had warned Clemens that the painter was a confirmed joker, and Mark had solemnly replied that he would get the better of Whistler should the latter attempt "any funny business." Furthermore, Twain determined to anticipate Whistler if possible. I The two were introduced in Whistler's studio; and Clemens, assuming an air of hope- less stupidity, approached a just completed painting and said : "Not at all bad, Mr. Whistler, not at all bad; only," he added, with a motion as if to rub out a cloud effect, "if I were you, I'd do away with that cloud." "Great heavens, sir!" exclaimed Whistler, almost beside himself. "Do be careful not to touch that; the paint is not yet dry." MR. CHOATE WAS OBLIGING 125 "Oh, I don't mind that," responded Twain with an air of perfect nonchalance; "you see I'm wearing gloves." — Selected. INIr. Choate was Obliging 25. The custom for men servants to wear evening dress has its embarrassments. When Mr. Choate was our ambassador to the Court of St. James, he was one evening attending a function at which many other diplomats were present. They of course wore full regi- mentals, while Mr. Choate wore the simple evening dress of the American gentleman. At a late hour he was standing by the door, when a foreign diplomat approached, and mistaking him for a servant, said to him : "Call me a cab." "You're a cab, sir," readily responded Mr. Choate. The diplomat, in a high state of indignation, sought the host and complained that one of the servants had insulted him, and pointed out the offender. "Why," said the host, "that's Ambassador Choate. Come, let me introduce you." 126 LIP-READING The diplomat was greatly chagrined, and on presentation made his apologies to the American ambassador. "Oh, that's all right," said Mr. Choate. "But if you had only been better looking, I'd have called you a hansom cab." — Selected. A Touching ^Message 26. The following story is told of ]Mr. George Broadhurst, the playwright, who is an Englishman. After having lived a week at one of the large hotels in London, when on a visit to his native country, he was surprised on the evening of his departure, although at a very late hour, to see an endless procession of waiters, maids, porters and pages come forward with the expectant smile and empty hand. When each and all had been generously tipped, he dashed for the four-wheeler that was to carry him away. Settling himself with a sigh of relief, he was a])()ut to be off, when a page popped his head into the window and breatlilessly ex- claimed : "I beg pardon, sir, but the niglit-lift man THE DISCIPLINARIAN 127 says he's waiting for a message from you, 55 sir. "A message from me?" "Yes, sir; he says he cawn't go to sleep with- out a message from you, sir." "Really, he can't go to sleep without a message from me?" "No, sir." "How touching. Then tell him, 'Pleasant dreams.' " — Saturday Evening Post. The Disciplinarian 27. There is in our navy a certain rear ad- miral, grave, serious-minded, conscientious, who is an excellent disciplinarian. In his younger days he was greatly distressed by the carelessness of his charming wife. She had pinned her silk petticoat in the back un- til there was a great frayed place at the band. She continued to wear the petticoat, however, although her efforts to keep on pinning it at the frayed place always evoked a little storm of irritation and temper. In vain her husband urged her to mend it. Finally he decided that the only way to re- form his wife was to fill her with remorse. 128 LIP-READING So this future commander of battleships with his own hands ripped off the old frayed band and sewed on a new one. Then he took it to his wife. She was greatly moved, thanked him, kissed him, and left the room. Presently she came back, her arms laden with garments. "Here are a few more for you, dearest," she said. "But please don't hurry about them. Just fix them whenever you have time." And she put seven petticoats on the chair beside him. — Youth's Companion. Ready for the Summer Boarder 28. The dignified president of a well-known and flourishing New England college tells the following story at his own expense : One summer some years ago he spent a vacation of several weeks at a farmhouse in a Maine town. The next season he received a letter from his former boarding mistress in- quiring if he would like to return. In reply he stated that he would be very glad to pass another summer vacation with her, provided some needed changes were made about the place. AMERICAX HUMOR 129 "First," wrote the college president, "your maid JNIary is persona non grata, being any- thing but neat and orderly in her ways, and if she is still with you I trust you will at least not allow her to wait on the table. "Secondly, I would suggest that the sani- tary conditions on your place would be greatly improved if the pigsty were moved back a few rods further from the house or done away with altogether. "I will wait until I hear from you before deciding about coming." The somewhat particular college president was reassured by the receipt of the following reply: "INIary has went. We ain't had no hogs on the place since you was here last summer. Be sure and come." — Judge. American Humor 29. How a piece of American humor was "managed" is told by the Rev. Dr. Hillis of Brooklyn. He, with many other American scholars, attended an educational conference at Edinburgh, and sat at dinner beside a Scotch professor. 130 LIP-READING "I have had some correspondence with Professor B., of Chicago," began the Scotch- man. "Is there any possibihty of your know- ing him?" "Very well," was the cordial reply, "and he happens to be sitting at the next table, the third from the end." "Indeed!" replied the astonished Scotch- man, "I have also some letters from Pro- fessor O., of the University of Michigan. Probably you know nothing of him." "On the contrary, I know him very well. There he sits near the corner of the room; the man with whiskers and gold spectacles." This was too much of a coincidence for the nettled metaphysician, who regarded it merely as American humor; but he went on stiffly: "Well, sir, I have had relations with an- other American, a minister near New York, one Dr. Plillis " "Oh," laughed back the other, tapping himself on the breast, "I am he." Witli a snort of indignation the Scotchman fled the room. As tlic New York TrU)une exphiins, "American humor had been carried too far." DIVISION OF LABOR 131 Division of Labor 30. "Got any work this mornin', INIistah Boyd?" asked old Billy Bulger, safe in the knowledge that no work would be entrusted to him. "No," was the response; and then, before Billy could ask for the customary contri- bution: "But wait a minute. Lawyer Phil- lips has owed me twenty dollars for twenty years. Collect it and I'll give you half." And the merchant, knowing how bad was the debt, winked at a waiting customer. The old man found the lawyer in the mid- dle of a group of prospective clients and in- fluential citizens. Thrusting through the group, he called in stentorian tones: "Mistah Phillips, suh!" "Well?" queried the lawj^er, much annoyed. "INIistah Boyd done tell me that you've owed him twenty dollars for about a hundred years; and he wants to know can you pay him, suh." The lawyer hurried to Billy's side. "You idiot," he said, "do you want to ruin my business? Here!" and he thrust a ten- dollar bill into the old man's hand. 132 LIP-READING "Well, Billy," said the merchant, "did you get it?" The old man grinned. "I got my half all right," he chuckled; "but you'd better look out when you go back to get your half — he's right smart hot over it, suh!" — Success. Why the Stove was Elevated 3 1 . Two professors were one time the guests of a college chum at a hunting camp in the woods. When they entered the camp their attention was attracted to the unusual posi- tion of the stove, which was set on posts about four feet high. One of the professors began to comment on the knowledge woodsmen gain by ob- servation. "Now," said he, "this man dis- covered that the heat radiating from the stove strikes the roof, and the circulation is so quickened that the camp is warmed in much less time than would be required if the stove were in its regular place on the floor." The other professor was of the opinion tliat the stove was elevated to be above the win- MISER BROWN 133 dow in order that cool and pure air could be had at night. The host, being more practical, contended that the stove was elevated in order that a good sujDply of green wood could be placed beneath it to dry. After considerable argument each man placed a dollar bill upon the table, and it was agreed that the one whose opinion was nearest the guide's reason for elevating the stove should take the pool. The guide was called and asked why the stove was placed in such an unusual position. "Well," said he, "when I brought the stove up the river I lost most of the stove-pipe over- board, and had to set the stove up there so as to have the pipe reach the roof." He got the money. — Boston Herald. Miser Brown 32. I was speaking of John Wanamaker. While reproving some of his Sunday-school pupils for laughing at a deaf boy's wTong answers to misunderstood questions, he said: "Boys, it isn't right to laugh at anyone's 134* LIP-READING affliction. Besides, you never know when your own words may be turned against you. I once knew a deaf man — let us call him Bro^vn — who was disposed to stinginess. He never married; but he was very fond of so- ciety, so one day he felt compelled to give a banquet to the many ladies and gentlemen whose guest he had been. "They were amazed that his purse-strings had been unloosed so far, and they thought he deserved encouragement, so it was ar- ranged that he should be toasted. One of the most daring young men of the company was selected ; for it took a lot of nerve to frame and propose a toast to so unpopular a man as Miser BroM^n. But the young man rose. And this is what was heard by everyone ex- cept Brown, who never heard anything that was not roared into his ear: " 'Here's to you, Miser Brown. You are no better than a tramp, and it is suspected that you got most of your monej'' dishonestly. We trust that you may get your just deserts yet, and land in tlie penitentiary.' "Visible evidences of applause made Brown smile with gratification. He got upon his HOW NYE KNEW NORTH CAROLINA 135 feet, raised his glass to his lips, and said: 'The same to you, sir.' " — Marshall P. Wilder, in the New York Tribune. How Nye Knew North Carolina 33. The story is told of the time when Bill Nye stood on the top of Lookout INIountain and the guide explained that they could see seven states from that point of view; namely, Tennessee, Virginia, Kentucky, North Caro- lina, South Carolina, Georgia and Alabama. "Where's North Carolina?" Nye inquired. The man pointed to a place in the horizon to which distance gave a purple hue. "What makes you think that is North Carolina?" Nye asked. "Oh, we know by the direction and the conformation of the mountains there," the man replied. "Well, I know that's not North Carolina," Nve declared, with some vehemence. "And you know it, too, if you would stop to think. Here is a map of the United States, and you can see that North Carolina is pink. Besides, I know it is pink. I live in that State con- 136 LIP-READING siderably, and I have helped to paint it red, but of course I go away sometimes, and it fades a httle, leaving it pink. No, sir; you can't stuff me. The place you are pointing to a color-blind man could see is purple." Nye said those things so seriously that the man was ahnost dazed. He gave Nye a puzzled look, and then went on pointing out the other States. Prussian Atmosphere 34. It was during the most congested time of day at Columbus Circle, in New York City, and I stood watching a traffic cop there, fascinated. Was he wig-wagging to that bibulous looking individual over on the side- walk? What did his signals mean? The surging cars were massed together, moving somehow, honking, spitting. A little flivver crawled into view. Its two occupants looked like the kind of people who have given up a big car and a chauffeur for the duration of the war. Tlicy, like everyone else, were pu/zlcd by the policeman's signals. They stopped tlie fli^^Tr, and the woman driver caught the big cop's eye. She smiled PRUSSIAN ATMOSPHERE 137 inquiringly, nodded and pointed her arm towards Fifty-ninth Street, doAvn whicli they apparently wished to go. Just then a big car of khaki clad youngsters behind them honked angrily. They were holding up the army! But neither I, nor the occupants of the flivver, nor, indeed, the impatient soldier boys, were prepared for what followed. The police- man strode to the offending little car and in bellowing, menacing accents abused the as- tounded couple until he was breathless! He fairly shook the little car in his rage ! "Get off the road!" he yelled. "I don't care where yuh go or where yuh want to go! Kill yerselves and smash yer jitney! Can't yuh see there are soldiers behind yuli? Move along! Move along!" The flivver crawled back into the traffic and went around the fountain, whence it had come. The cop turned to the soldier load and beamed. He expected approval. I was so near to the car full of Americans in uniform that I heard distinctly what was said. A fresh faced young captain turned in his front seat. "The poor fish thinks he's in Prussia!" he cried. "Give him the icy glare, boys!" 138 LIP-READING The khaki-filled car moved forward, al- most upsetting the beaming officer of the law, and those impudent youngsters glared straight ahead. Approval? Not for the Prus- sian atmosphere! — The Woman Who Saw. Cutting Red Tape 35. During the early days of our control of the Philippines there was a War Department order against cabling to this country the names of privates in the army who were killed, or who died of cholera. As a result, if word came that Company B, of the Fifteenth Regiment, for instance, had been in battle, every mother who had a boy serving in that command M^ent shivering with fear for six long weeks before the mails brought word whether her boy was among tliose who fell or not. Jacob Riis was asked to put tlie case before the President and get him to cut the red tape, if possil)le. When Riis arrived at Oyster Bay he found tlie President at luncli with soldiers and statesmen. Fortunatelv, Riis was seated beside General Young, a fine old warrior CUTTING RED TAPE 139 whom he had met before. Riis told him of what was on his heart. The General knew of no such order when he was in the Philip- pines, and tliey got into quite a little argument about it, which Riis purposely dragged out until there was a lull in the talk at the Presi- dent's end of tlie table, and he saw the President looking his way. Riis asked him if he knew of the order. "What order?" said he; and Riis told him — told him of the mothers fretting for their boys all over the land. He looked up quickly at Adjutant-General Corbin, who sat right opposite. It was what Riis wanted. He knew. "General," said JNIr. Roosevelt, "is there such an order?" "Yes, JNIr. President," said he, "there is." "Why?" said JNIr. Roosevelt, who is a man of few words. General Corbin explained that the telegraph tolls were heavy. An officer had a code word, just one, to pay for, whereas to send the whole name and place of a private soldier by cable might easilj^ cost twenty-five dollars. The President heard him out. 140 LIP-READING "Corbin," he said, "can you telegraph from here to the PhiHppines?" The General thought he might wait until he got to Washington; he was going in an hour. "No," said the President; "no, we will not wait. Send the order to have the names telegraphed now. Those mothers gave the best they had to their country. We will not have them breaking their hearts for twenty- five dollars or fifty. Save the money some- where else." — Roosevelt the Citizen, By Jacob Riis. SECTION II CONVERSATIONS 36. The conversations given below are not at all intended to take the place of the con- versation practise directed in Chapter IV; they are rather supplementary thereto. They give many of the commonplaces of every day conversation; and the more such common- places are practised and memorized the bet- ter for the lip-reader. The conversations are arranged in double column to facilitate practise. The assistant should take the part of A, and the pupil the part of B. /Vs column in the pupil's book should be covered with a piece of paper. When the pupil has understood A's remark, as spoken by the assistant, he should read B's remark from the book, and so on in turn until the conversation has been successfully completed. It may be necessary to repeat the whole several times to attain the effect of easy conversation ; if necessary, do so. Then 141 142 LIP-READING the parts should be reversed, the pupil taking A and the assistant B, the pupil now covering J5's part, but otherwise practising in the same manner as before. Finally the assistant may take both parts while the pupil follows. The Weather 37. A. Is this cold enough for you.'* A. So? Mine was only five below. A. Do you have any trouble in keeping the house warm.'' A. INIy house is always warm, we are so pro- tected from the wind. A. AYcIl, I must say, I don't like to be cold. A. Yes. There is some- thing exhilarating a])out it; it arouses our fighting blood. B. Plenty. My ther- mometer this morning was seven below zero. B. My house is more exposed than yours, you know. B. Not withaslillcoid, like this. But when it blows, we need the open fires as well as the furnace. B. Yes, and you are warmer in summer too. B. Nobody does, but did you ever notice how people take a sort of jjride in having extreme cold? B. And in kee])ing warm, there is the feeling of having won a victory. CONVERSATIONS 143 A. I would rather have the weather seasonable; hot days in winter are unbearable. A. I haven't had a cold for over a year. A. I think it will be warmer by this afternoon. A. Do you think it will snow. 5^ A. We have surely been having beautiful weather. A. We have had a good many snowstorms this winter. A. The snow is cer- tainly beautiful in the country, but in the city — . A. Did you see the moonlight on the snow after the last storm? A. It was almost as bright as day. A. I guess with this cold spell the backbone of winter will be broken. B. We are not dressed for them, and that's the way we take cold. B. You had better knock on wood! B. Not very much, I fear. The wind is north- east. B. I shouldn't be sur- prised if it did before night. B. Yes, seven days of sunshine since the last snow storm. B. Seven so far, and five of them hea\'y. B. In the city it gets carted away. B. The moon was full that night when it cleared up. B. I'll be rather glad when spring comes. B. I shall not be sorr3% I like each season when it comes, but am always glad to change to the next. 144 LIP-READING A. The fall is my favor- B. I think the summer ite season. The best days is mine. " What is so rare of the year come in Octo- as a day in June.'*" ber. At the Breakfast Table 38. A. Good morning. A. Did you sleep well last night? A. I was rather rest- less. I think my room was too warm. A. Not at all, I have not even a headache. A. That is why you are late for breakfast. A. Will you have some fruit? A. Are you in a hurry to get down town? A. That's good, for I don't like to eat break- fast in a hurry. A. I like my coflFee hot, but I drink it slowly. A. Only one. I have a sweet tooth, but not for crofTce. B. Good morning. B. Very well indeed. Did you sleep well? B. That's too bad. I hope you don't feel any the worse for it. B. I slept so well, I overslept. B. Yes, I am usually down at half past seven, and now it is almost eight, B. Yes, thank you. B. No, not this morn- ing. B. Neither do I, es- pecially v\'hcn the coffee is so hot it burns your mouth. B. How many lumps of sugar do you like? B. I always take two lumps, and two cups of coffee. CONVERSATIONS 145 A. Will 3'ou please pass me the cream and sugar? A. Yes, I always do. A. These rolls are very- good this morning. A. I wonder what is the matter with the butter we have been having lately.'* A. Yes, forty-five cents a pound, I believe. A. SLxty-five cents for absolutely fresh ones. A. Yes. Aren't these eggs boiled very hard? A. Would you like some fresh water? A. I will ring the bell. (Mary, will you bring Mr. B. a fresh glass of water.) A. The weather is very cold this morning. You had better wear your heavy coat and mufller. A. Certainly. B. You eat plenty of sugar on vour cereal. B. Will you please pass me the rolls? B. They certainly are. And may I trouble you for some more butter? B. It is a little strong, but not much. Butter is very high now, they say. B. That is the high cost of living. How much are eggs, do you know? B. That's awful. Is that what these eggs cost? B. I like them hard. But I haven't any spoon. Vt'ill you pass me one? B. If you please. B. The water here certainlv good. It is i is so clear, and not a bit hard. B. I shall, and I think I shall warm myself be- fore the open fire for a minute, if you will excuse me. B. Thank you. Good morning. 146 LIP-READING 39. A. You were late home from the office to- night. A. Is it very cold out? A. I have some good hot soup for you. A. Tomato bisque. A. Do you need more salt or pepper? A.. Will you have some crackers? A. Yes, and I had two callers this afternoon. A. Two ladies from the church. You don't know them. A. I picked it out my- self. A. A little of both, if you please. A. Please. AVill you have some string beans? A. WolKhere arc French fried jjotatoes and rice. At the Dinner Table B. Yes, I have been very busy. B. Very. I'm not warm yet. B. That's good. What kind is it? B. I like that, and this certainly tastes good. B. No, thank you. B. Yes, please. Have von been busv all dav too? B. Who were they? Anyone I know? B. This chicken is very tender; it almost falls apart when I carve. B. What j)art will you have to-night? White meat or dark? B. And some of the dressing? B. Yes, I'm hungry to- night. I can eat the string beans and every- thing else you give me. B. I do like rice, hot, with butler and salt on it. CONVERSATIONS 147 A. And here is some fresh bread, baked to-day. A. Yes, some of the crabapple jelly I put up last summer. A. The baby has been very good to-day. A. Yes, I put him to bed an hour ago. A. Of course. And what do you think? A. Try. A. No, he has a tooth! A. I knew that. A. Here it is. A. I made it myself. A. You won't sleep well to-night. B. Have you any jellj'.^ Chicken is not complete without jelly. B. I'd like the gravy too, if you please. B. He's asleep by this time, I suppose. B. Did you show him off to your callers? B. I could never guess. B. He talked for them. B. Good for him. Ah, here comes the pic, — ■ pumpkin, my favorite! B. Is there any cheese? B. This is the best pie Mary ever made. B. You're a wonder. Pumpkin pie and good black coffee. I'm satisfied. B. I'll sleep like a top. In the Subway 40. A. Where are we? B. We just passed 59th Street. A. We are making very B. Yes, we have been poor time this morning. blocked several times. 148 LIP-READING A. And I am in a hurry to get to the office too. A. It is certainly pro- voking. A. Twenty-third street? Is that so.' We have to transfer at Grand Central. A. Did you ever see the subway when it wasn't crowded.'^ A. The subway is sup- posed to make better time. A. No, and not half the time, I think. A. How far? A. Eight minutes walk. It would do you good to walk it. A. Usually, except when I'm in a hurry. A. Over half a mile, but I like it. A. "Grand Central." Here is where we change for the local. A. And it's not jammed full. We'll have a seat. B. It always happens that way. B. I get off at your station this morning. B. I hope the local won't be as jammed as this car. B. Not very often. I think the elevated is less crowded. B. But not this morn- ing. B. I live too far from the elevated up town. B. About half a mile. B. Do you ever take the elevated.^ B. Like this morning! How far do you have to walk. 5 B. We don't walk enough, most of us, I think. B. There's a local wait- ing for us, That's good. B. Fine! I'm tired enough of hanging onto a strap for one morning. CONVERSATIONS 149 A. Don't you usually have to do it? A. The local is making good time. A. I hope not. A. That is one reason why I prefer to take it. A. It's worth it, es- pecially in the summer time. A. Aren't we almost there.'* B. Nine times out of ten. B. Perhaps you w^on't be late after all. B. You have better air in the elevated than we have in the subway. B. INIaybe I will get up early some mornmg and join you. B. But in the winter the subway is always warm. B. Twenty-eighth street was the last stop. Here we are The Commuters 41. A. The train was late this morning. A. I haven't seen you on the 7:53 lately. A. Do you get to the office in time.'* A. What time do you have breakfast.'' A. And I at half past six. B. Yes, about five min- utes. That is why I caught it. B. No. I've been tak- ing the 7:58. B. If the train is on time. B. Half past seven. I get up at quarter before seven. B. I don't mind it now in the summer. 150 LIP-READING A. Nor I. It gets B. Then we have to bright so early. But in get up earlier to fix the the winter . furnace. A. Well, I get up now B. It's daylight that sometimes at half past makes the difference, five to work in the gar- den. A. Have you much of a B. No, I have my garden this summer? ground mostly planted in fruit trees, vou know. A. Are you getting any B. The cherries and tlie fruit from them,^ summer apples have been fine. A. You have some B. Yes, four, but they peach trees, haven't you.^ are not going to bear well this j^ear. A. This is an apple B. My apples are cer- year, so they saj\ tainly promising well. rV. I like to work in my B. How is it getting garden. along? A. Pretty well. The B. That's a fact. We dry weather has been hard haven't had much rain, on it. A. My lawn is in bad B. Do you use the hose shape too. on it? A. Yes, and on the B. That ought to help, garden too. A. It does. But nolh- B. What vegetables are ing can take llie })Iacc you raising this year? of good soaking rains. CONVERSATIONS 151 A. Lettuce, string beans, squash, cucumbers and corn. A. In these vegetables and enough of the beans left over for canning. A. Not very much. She "W'ould Hke to, but she hasn't the time. A. That is doing well. A. The train came through fast to-day. A. What train do you take out to-night? A. That's the one I ex- pect to take, too. B. Does the garden sui)ply all your needs? B. Docs your wife put up many things in the summer? B. Mine put up over two hundred and fifty jars of one kind or an- other last year. B. Why, here we are! B. I guess we have al- most made up the five minutes it was late. B. I hope to catch the five-thirty. B. I'll look for you. Meeting a Friend 43. A. Why, how do you do? A. Fine. It is good to see you again. A. I thought you were lost. A. Where have you been keeping yourself? A. Did you go abroad last summer? B. Very well, thank you; and how are you? B. Yes, I haven't seen you for a long time. B. I have almost thought so myself. B. I have been travel- ing a good deal. B. No, my plans fell through. 152 LIP-READING A. What was the trouble? A. Well, it's good to be busy. A. Business? A. My business keeps me tied right here. I envy you your change. A. I took a whole month last summer. A. Yes, I was there for a week. A. All well, but father. But he is better now. A. Every week, and sometimes oftener. A. I will. I expect to go home again for Thanks- giving. A. How is your wife? A. And the boy? A. He must be get- ting to be a big boy now. A. And the little girl? A. You ought to l)c happv with vour familv. lit ^ ».' B. I was too busy to get away. B. I've been just about all over this country since I saw you. B. Yes. B. Well, I need it, for I haven't had a real vaca- tion for over two years. B. Did you go back home? B. How were all the family? B. Do you hear from them verj^ often? B. Remember me to them all when you write. B. That's fine. There's no place like home to spend Thanksgiving. B. Very well, better than she has been for some time. B. Well, too. B. He's almost five. We expect to send him to school next year. B. She's just beginning to walk. B. I am. . When are you going to get married.' CONVERSATIONS 153 A. Don't ask me! I don't even know who the lady is. A. Well, remember me to your wife, and a kiss for the kiddies. A. I'm sorry, but I have an engagement. A. I'll be glad to. A. I'll be there. So long. B. I'll be the first to congratulate you when you do. B. All right, say, can you come out to dinner with me to-night? B. To-morrow night? B. Good. Meet me at the office at five o'clock. B. So long. The Stranger on the Street 43. A. I beg your par- don, but can you tell me what street I'm on? A. Which way is Broadway from here? A. I want to find Wana- maker's store. A. And may I ask which way is down? I'm a stranger in the city. A. Oh, I don't like to trouble you so much. A. It is certainly very kind of you. B. You're on 20th street. B. That way. Cross Fifth Avenue and the next street is Broadway. B. That's about twelve blocks down. You can take a car. B. I'll walk with you to Broadway and i)ut you on the car. B. It's no trouble at all. I'm going that way. B. There is a car com- ing now. Hurry if you want to catch it. 154 LIP-READING A. I thank you very B. It's nothing at all. much. I'm glad to do it. II A. Pardon me, sir, but B. 600 West 129th can you tell me how to Street. Take the subway find the address on this to Manhattan Street, paper.' A. Is it far up town, B. Yes, way up town, sir.' A. I hope it isn't very B. Well, it is pretty far. far. A. Can I walk it, sir.-* B. If you can walk seven or eight miles. A. I can never do that. B. Take the subway, then. A. I haven't any money, B. So that is your sir, not a cent in my game, is it? I thought so. pocket. Good morning. A. Just a minute, sir. B. Will you swear to I swear . spend it on a drink? A. Oh, sir. B. Will you? A. Yes, sir. B. Here's your nickel. Ill A. Excuse me. B. Well? A. I'm starving, sir. B, You don't look it. A. I am, sir. I haven't B. That's a long time, tasted a morsel of food and I'll never lot a luingry for three days. man starve if I can help it. CONVERSATIONS 155 A. Thank you, sir. A quarter will give me food and a bed. A. Oh, I couldn't do that, sir. You're very- kind, but . A. You have a kind heart, sir. But I can't do it, sir. A, Thank you, sir, but B. No, you come with mc. I'm hungry myself. We'll have a good dinner together. B. Oh, we won't go to a restaurant; just to a cheap lunch place. B. You had better come along. I never give money on the street, but I'll give a square meal any time. B. All right. Good day. The Doctor's Call 44. A. Well, how's my patient to-day? A. Let me see your tongue. A. Now just slip this thermometer under it, while I feel your pulse. There, you can't use your tongue very much now. A. How did you sleep last night.' A, Do you have any pain now? B, I don't know. That's for you to find out, doctor. B. It is still in good working order. B. I'm always glad when that thermometer comes out. I feel like taking a bite out of it. B. Not very well. B. Some, but that is much better. 156 LIP-READING A. Open your mouth; I B. Was that wide want to see your throat. enough? A. Very good. B. When are you go- ing to let me get up. doctor.' may hour B. ter.? Am I really bet- A. To-day. You sit up for half an this afternoon. A. Much better. You B. But I still feel like have no temperature, and a rag. your pulse is normal. A. Fresh air, sleep, and B. I always sleep with a tonic, and you will soon my window open, be well aeain. >^t>' A. Good; all you need B. What tonic shall I now is building up. take.'* A. I will give you a B. Thank you. I will prescription. send it to the drugstore to be filled. A. I shall not come B. All right, doctor, again for several days. Good-bye. The Home 45. A. I shall be glad B. We like it very much, to see your new home. A. Did you say you B. We built. We bought it or built it.' l)ouglit the land a year ago, and built during the sunnner. CONVERSATIONS 157 A. You know the prov- erb: "Fools build houses and wise men buy them." A. How far are you from the station? A. That is not far. A. It looks well; it is very attractive from the outside. A. You have a good lot. A. How deep.f* A. You have a large porch. A. (Inside the house). I like the arrangement of the house very much. A. Your central hall is a favorite idea of mine. A. How many rooms have you .5^ A. You use the unfin- ished rooms for storage, I suppose. B. Yes. I know; but fortunately it doesn't hold in our case. B. About seven minutes walk. ^^'e are almost there. B. No. You can see the house now. B. And I think you will like the inside even better. B. Seventy -five feet wide. B, One hundred and fifty. B. Yes, it is made for comfort. B. That we think is the most important thing in building. B. A central hall and rooms at the four corners were what we insisted on. B. Nine and bath. And two unfinished rooms in the attic. B. One of them. The otlier is a playroom for the children. 158 LIP-READING A. And you can have it finished off sometime if vou want to. A. They all have good light. A. That's a handsome fireplace in the library. A. Nothing is more de- lightful on a cold winter evening. A. Four bedrooms? A. You certainly have good light and ventila- tion. A. You ought to be fairly comfortable in sum- mer. A. Was it finished on schedule time? A. Well, you're the first one I ever heard of did that. A. ^"oii have a fine house. ril take back that proverb' B. Yes, we probably shall. — On the first floor, you see, we have parlor, library, dining-room and kitchen. B. Every room in the house has. B. Isn't it.? And we have many a cheery fire there. B. Come upstairs, and let me show you the bed- rooms. B. We use three for bedrooms. The other is my wife's sewing room. B. Yes, cross-ventilation in every bedroom. B. We expect to be. We didn't get into the house until September. B. It was to be done the first of Octol)er. We moved in a week ahead. B. We had a good architect and a good con- tractor. B. Thank you. I knew you'd like it. CONVERSATIONS 159 At School (Useful Information) 46. A. What is the B. Two cents for each postal rate on letters in ounce or fraction, the United States? A. What is the rate to England ? A. Are there any other foreign countries to which the rate is two cents? A. What is the rate to other countries? A. What legal holidays are observed in all the states of the Union? A. What states do not observe New Year's day? A. How many states are there in the Union" A. Which was the last to be admit led? A. What is the popu- lation of the United States ? A. What is the total area of the United States? A. Which state has the largest population? B. The same, and also to Germany by direct steamer. B. Canada, Ne'W'found- land, Mexico, Panama and Shanghai. B. Five cents for the first ounce, and three cents for each ounce additional, B. Only four, V\'ashing- ton's Birthday, Fourth of July, Thanksgiving Day and Christmas. B. Only Kansas and Massachusetts. B. Forty-eight. B. Arizona. B. Over ninety million at the last census. B. Over three million square miles. B. New York, with over nine million. ICO LIP-READING A. Which state has the emallest ? A. ^\^lo was the first president of the country? A. How long did he serve? A. How many terms? A. How long is a sen- ator's term of office? A. And a member of the House of Representa- tives? A. What are the three departments of the gov- ernment? A. How long do the members of the Supreme Court serve? A. What country of the world has the largest population? A. What is the Chinese form of government? A. What is the British form of government? A. What is the shortest day of the year? A. What is the long- est? B. Nevada, with about eighty-one thousand. B. George Washington. B. Eight years. B. Two terms of four years each. B. He serves for six years. B. His term is for only two years. B. The executive, the legislative and the judi- cial. B. For life. B. China, with a popu- lation of over four hundred million. B. It is the Republican form of government. B. A constitutional monarchy. B. Usually it is De- cember 21st. B. June 21st. CONVERSATIONS IGl Church 47. A. Did you have a B. Very good, bcttci good sermon to-day? than usual. A. That's saying a good B. I wish you couH deal. have been there. A. What was the text? B. "Thou shalt love thy neighbor as thyself." A. How was the at- B. The churcii was full, tendance? A. In spite of the B. Yes, the storm hard- storm! ly seemed to make any difference. A. You didn't stay to 13. Yes, I did. What Sunday School? made you think I didn't? A. You're home so B. The usual time, early. quarter after one. A. Was the Sunday B. Not quite, but very School attendance up to good for a stormy day. the average too? A. How was your class? B. Only one absent. A. Wliat is the Sunday B. Over four hundred. School membership now? and thirty on the cradle roll. A. Did you bring home B. Yes, here it is. a church calendar? There are several inter- esting things this week. A. Why, Dr. Smith is B. I shall go surely going to speak at Wednes- and hope you will be able day night prayer meet- to by then- ing' 162 LIP-READING A. So do I. The mis- sionary meeting comes Thursday afternoon. A. Will you take me to the Men's Club concert Friday evening? A. All the others have been very good. A. That's doing splen- didly. It was only one hundred and fifty at the beginning of the year. Did you speak to Dr. Jones after service? A. I'll have you to thank for that. A. There's the bell now. B. That is held at Mrs. Brown's, and she is so near you can surely go. B. Indeed I will. It is the last one of the season, and they say it will be the best. B. Dr. Jones announced that the young people's society had passed the two hundred mark. B. Just for a minute. He inquired after you. I shouldn't be surprised if you received some of the church flowers to- day. B. No more me than the doctor. B. And the flowers too. Business 48. A. How's business? A. What's the matter? Orders falling off? A. What's the cause of the trouble ^ B. It hasn't been very good the past year. B. Yes, badly. And some orders cancelled. B. Politics. Too much uncertaint^'^ about the tar- iff. CONVERSATIONS 163 A. That's hard luck. I suppose things will pick up after election. A. I shouldn't think that would pny. A. Does competition af- fect you very much.'^ A. Are your compet- itors faring any better than you.f* A. How large is your force? A. Nor reduced ^vages.'^ A. That's good. I'm something of a socialist you know, and I like that. A. You're not troubled much with strikes.'* A. Do you have any trouble with the labor unions.'' A. Well, I hope things will look up with you pretty soon. A. Fine. Never so good. A. Yes, the tariff doesn't affect me. B. We certainly hope so. We are now running at an actual loss. B. It's better than shut- ting down. B. Yes, it is pretty keen. B. No, I think not. Business is poor generally in our line. B. Two thousand. We haven't laid off any hands yet. B. No, not yet, and hope we won't have to. B. Well, it's our policy, and a good policy too. B. Haven't had a strike for fifteen years. B. No, not to amount to anything. We are al- ways ready to talk things over. B. Thank you. And how's business with you.'* B. Your business is semi-professional. B. What was your in- crease last year.'' 164 LIP-READING A. Gross or net? B. Both, if you can tell me. A. The gross was al- B. That's a big in- most 33 per cent. crease. A. It's not bad. The B. That is certainly a net was about 25 per good showing in a bad cent. year. A. We think so. B. What are the pros- pects? A. Very good, but al- B. Well, I wish you ways uncertain, luck! Shopping 49. A. Are you waited B. No, I am not. on? A. What is it that you B. First, I would like want? to match this ribbon. A. I'm afraid that we B. Yes, I got it just haven't any like that, before Christmas. Did you get it here? A. This piece is the B. That will not do. same shade but is wider It must be the same width, than yours. A. I have no more of B. Then I shall l.ave the narrower. to try to match it some- where else. A. Do you wish to buy B. Yes. I want some some veiling? black with while tlots. A. How is this kind? B. Those dots are too close together. They are bad for the eyes. CONVERSATIONS 1G5 A. Yes they are. Here is something with large dots further apart. A. Yes, here is one. A. A yard and a quar- ter, I should say. A. That is thirty-five cents. A. This is an unusual sale of suits we are hav- ing. May I show you some? A. I'm afraid we have not the mohair hut I will show you the serge. A. Here are two ex- ceptional values. They have been reduced from $40 to $25. A. Will you try on the gray one? A. With very little al- teration that will fit you to perfection. A. But this only needs to be taken up on the shoulders, and to have the sleeves shortened. B. That is better. Have you a mirror? I want to see if it is becoming. B. That looks very well. How much will I need for this hat? B. Very well. How much is it a yard? B. All right. I will jjut the veil on now, and you may charge it. B. I would like to see a dark blue serge. Size 38. And also a blue mo- hair. B. You might show me some gray suits too if you have an3^ B. That gray one is pretty but the blue is too fancy. I want a plain tailored suit. B. Yes, I will slip tl;e coat on. B. I don't like to have my coats altered. It so often spoils the shape. B. Please show me some others. I would rather find something that fits me better. 1G6 LIP-READING A. This black and white is pretty. Try it on. A. Yes. And that is a very fine suit. A. Yes, reduced from $45. A. I will slip it on you. A. No. It will be very easy. A. They will be three dollars. A. What is the address .'^ A. Thank you. Good morning. B, Now that fits very well. Only the sleeves need shortening. B. Is this $25 too.? B. I will try on the skirt and if it fits I will take it. B. It is just a trifle too long, but it won't be much to shorten it. B. I will take it. How much will the alterations be.^ B. Very well. Charge and send it. B. Mrs. George French, 295 West 107th Street. B. Good morning. At the Restaurant 50. A. Let's sit over by the window. A. Yes, I see one rcctly in front of us. di- A. I think I will have an oyster cocktail. B. Is there a vacant table for two? B. This is very nice and cosy. Now what shall wc have to eat. Some oysters? B. Very well, I'll have mine on the half shell. CONVERSATIONS 1G7 A. They always have such good cream of celery soup here. A. Yes, I love to nibble on them between courses. A. I don't care for that. I prefer a plain beef steak. There is nothing like it. A. I'll have some po- tatoes au gratin and some asparagus on toast. A. Don't you Welsh rabbits? like A. Of course not. I like them after the thea- tre. A. I never have it. A. Yes, I will have some fillet of sole. A. I'm going to have some endive with French dressing, A. I may not want any, so let's order that later. B. All right. We will have some. And let's have some olives and radishes on the side. B. How would you like some beef a la mode? B. All right. Choose what you like. We must have some vegetables too. B. The asparagus suits me, but not the potatoes. I hate anything with cheese in it. B. No, I hate them. You don't want one now, do you? B. Do you like the nightmare that follows? B. You're lucky. Why, we never ordered any fish course. Don't you want some? B. (To waiter) Bring us some sole after the soup. B. That is very good, but I think I'll have Wal- dorf Salad. What shall we have for dessert? B. That is a good plan. 168 LIP-READING A. Ah, here is my cock- tail. A. Delicious; I never tasted better. A. How do you like the celery soup? A. Yes, they are! A. I can't stand a gloomy place in which to eat. A. Have you decided to have any dessert.'* A. I'm going to have a piece of strawberry short- cake, and then some cam- embert cheese with crack- ers and a demi-tasse. A. That's true. B. Is it a good one? B. These blue points are very fine. (To waiter) You did not bring me any horseradish. B. It is excellent, and aren't these radishes crisp and fresh? B. This dining-room is very bright and cheer- ful. B. No, food doesn't taste half so good in a dark, unattractive room. B. No, I believe I will just have some roque- fort cheese and crackers and a cup of coffee with my salad. B. We must have a good cigr.r too, or our feast won't be j)erfect. B. (To waiter) Bring us two Havana cigars. CONVERSATIONS 169 At the Reception 51. A. How do you do, Mrs. Brown? You cer- tainly are a stranger. A. You were very for- tunate for we have had such a trying winter. A. How band.'* IS your hus- A. He is quite well now, but earlier in the winter he was laid up with rheumatism. A. Yes, but not so bad as the last one. Oh, there is Mrs. Smith. A. No. I think she has been taking a flesh reducing treatment. A. Have you had a cup of tea or an ice? B. I have just returned from Palm Beach, where I went to escape the bit- ter weather. B. Yes, my husband was here most of the time and he said it was the worst weather he has ever experienced. B. Oh, he is very well, thank you. I hope that Mr. Avery is too. B. He has had quite a number of attacks, has he not? B. So it is. How thin she looks, or is it the style of gown she is wearing that makes her look so? B. I never had much faith in that, but it cer- tainly has done wonders for her. B. No, I haven't been able to get into the din- ing-room because of the crowd. 170 LIP-READING A. I am almost roasted. Do let's try to get an ice. A. I will ask that waiter to bring us each one. A. Yes, it is. I suppose that you have lived out- of-doors at Palm Beach. A. Do you play Auction Bridge? A. Nor I. In fact I don't care for any other card game at all. A. Oil, nothing in par- ticular. I have attended the opera as usual. We have had some very bril- liant performances this season. A. We have had some good i)lays too. Have you seen "The Return of Peter Grimm" or "The Garden of Allah".? A. You will enjoy that, I'm sure. Evervone docs. A. I have < m engagc- B. All right. B. I hope that he won't forget. The service at large receptions is usually so poor. B. Yes. We even played Bridge out on the porch. B. Oh, yes, entirely. I don't care for straight Bridge now. B. It does spoil one for other games. What have you been doing with j^ourself this winter.'^ B. I certainly missed it wizilc I was South. So you cannot envy me en- tirely. You had that advantage. B. I saw "The Gar- den of Allah" last night. It is a wonderful produc- tion. To-night I am going to see "Disraeli." B. Yes, my husband has scon it twice and is going again with mv. B. Won't vou come to CONVERSATIONS 171 ment for dinner so I really see me? You know I'm must go. always at home on Thurs- days. A. Thank you, I shall B. I shall expect you. come very soon. Good- Good-bye. bye for now. 52. A, Is this where I ask for information about Florida.^ A. I don't know. I want to find out. A. Is it a very rough trip? A. Oh, I know I should be sea sick. I don't want to go that way. A. What railroads are there.' A. Which is the best? A. What time do the trains leave? A. What time docs it get there? The Journey B. Yes, madam. Do you wish to go to Florida by boat or rail? B. The trip on the water is very delightful, B. Sometimes it is rather rough off Cape Ilatteras.^ B. You can go by rail, very comfortably and quickly. B. The Seaboard Air Line, the Southern Rail- way, or the Atlantic Coast Line. B. You can make your own choice. These time tables will interest you. B. The Iseaboard Flor- ida Limited at 11 :1G a. m. B. Just where do you wish to go? 172 LIP-READING A. How stupid of me to forget to tell you. I want to go to Seabreeze. A. How about the Southern Railway.'' AVhat are the times on that.'* A. Oh, the Seaboard is quicker. A. And what is the rate.'* A. Do the tickets al- low me any stop-over privileges.'' A. Is the rate by water any less than by rail.'* A. Does that include meals? A. Why, that's much less expensive than by rail. A. Can you tell me wiiat the rates are at the hotels.? A. IIow umch by the week? B. Daytona is the sta- tion for Seabreeze. The Seaboard Limited arrives there at 3:51 p. m. the next day. B. Their train leaves New York at 12:38 noon and arrives 8:14 p. m. the next day. B. Yes, it's a famous train. B. One way tickets are $29.60, round*^ trip $57.35. B. The one way tickets do not, but the round trip tickets do, up to May 31st. B. Tickets via the Sav- annah line to Savannah and by rail to Daytona are $28.10 one way, or $49.90 round trip. B. Yes, meals and berth on the steamer. B. It's a very pleasant trip. B. From $3.00 per day up, for single room with- out bath. ». IVoni $21.00 per week up. CONVERSATIONS 173 A. Is that American or European plan? A. Well, I am very- much obliged to you. Can you make the reservations for me? A. Thank you. I will be in again tomorrow. B. American plan. B. We shall be glad to, both on the transporta- tion line and at the hotel. B. We shall be happy to serve you. Good day. SECTION III LESSONS ON THE IMOVEMENTS In the study of this section, follow direc- tions in Chapters IX, X, and XI, and in the Outline, pp. 93-100. Consonants Revealed by Lips P, b, m — Lips-Shut 53. For p, as in "pie," b, as in "by," and iriy as in "my," the lips open from a shut position. This shut position is the characteristic that reveals these three sounds. It is the same for each in ordinary, rapid speech; the sounds must be told one from the other by the context. 54. Movement Words peti — heap 6ec — ec6 2we — dee?7i 174 LESSONS ON THE MO\TEMENTS 175 55. Practise Words "'pea^ biV bought hum^ 6ee^ bun^ weep harm me^ TTZUCP lie?/i oop pcV~ 59art^ tap bird met- 6arn^ lamb peep bni^ booV lip boom 772 a t^ moon'' Up^ biibe pit' book hub' pipe 56. Sentences 1. AYould 3'()ii like pea soup for lunch? 2, I never met you before. 3. Did you wipe your shoes on the mat? 4. That will not be a bit of trouble. 5. Did you have a bun for breakfast? 6. That is only a part of the story. 7. The boot is too small for me. 8. Have vou read the book? 9. 1 bought a new hat. 10. Why do you weep? 11. AYill you hem the handkerchief for me? 12. I thought I heard a tap at the window. 13. "Marv had a little lamb." 14. 1 have a cold-sore on my lip. 15. AYill you go up stairs for me? IG. That will not do you any harm. 17. AY ill you loop the loop with me? 18. I saw you peep through the keyhole! 19. The mother held the babe in her arms. 20. The man had a pipe in his mouth. *Words marked with the same numbers look alike on the lips and must be told by the context. 176 LIP-READING Extended Vowels Long e — Extended-N arroio 57. For the sound of long c, as in "keen," the Hps are sHghtly drawn back, or extended, at the corners, and the opening between the upper and lower lips is narrow. 5S, 59. 1 Movement Words pea- — leap hee- -eeb me— -deem Practise Words hee theme eve^ peaP ice le«f heave ^ meaP we deep- fear* beet*' reap team- piece meet^ seam. yteld peach ^ peat^ sheep ^ keep beach ^ beak^ cheap ^ heap teeth meek^ 00. Sentences 1 . I was stung by a bee or a wasp. 2. AYhat fee does the doctor charge? 3. AVhat shall we * Before r, long e often has relaxed instead of extended lips, especially if the r is strong. LESSONS ON THE MOVEMENTS 177 do? 4. Whatsoever a man sows, that shall he also reap. 5. Will j'ou sew this seam for me? 6. "Little Bo-Peep lost her sheep." 7. What is the theme of the story? 8. You must turn over a new leaf. 9. The river is very deep. 10. I hope I shall not have to yield. 11. Can you keep a secret? 12. The children are playing in the sand heap. 13. We will hang up our stockings on Christmas Eve. 14. You have nothing to fear. 15. Will you have a piece of pie? 16. I would like some peach pie. 17. The baby has four teeth. 18. Did you hear that peal of thunder? 19. Where shall I meet you? 20. The bird has a very long beak. Short e — Extended-Medium 61. For the sound of short e, as in " get," the lips are slightly extended at the corners, and the opening between the lips is neither nar- row, nor wide, but is medium. The a, as in "care," has also this extended-medium move- ment. 03. Movement Words peat, pet — heap, hrp beet, hei — eeb, chh meet, met — team, hem 178 LIP-READING 63. Contrast Words Contrast the extended-?7ze^zwTO (short e) with the extended-/? arroif; (long e) ; notice that the lips are more open for short e than for long e. dell — deal fed — feed bed — bead red — reed said — seed well — wheel G4. Practise Words bell them ebb smelP fell left theft spelP well tell 2 there ^ wet^ rest delP their ^ when^ selP yell yes beg cell^ kept wedge pare ^ shell help brefith bear^ 65. Sentences 1. I rang the door bell twice. 2. I fell down the stairs. 3. Are you feeling well to-day? 4. I think I shall rest for awliile. 5. AYhatwill YOU sell the horse for.^ (5. I found the shell on the beach. 7. Do you know them very well.^ 8. I left my umbrella at home. 9. Don't tell anyone. 10. Do you know the college yell.'^ 11. I kept very quiet about it. 12. Let me LESSONS ON THE MOVEMENTS 179 know if I can help you. 13. AVhen does the tide begin to ebb.^ 14. I reported the theft to the poHce. 15. There you are! 16. Did you say yes or no? 17. Don't try to wedge your way through the crowd. 18. I smell the breath of the pine woods. 19. How do you spell your name.^ 20. The weather has been very wet. 21. I beg your pardon. 22. Will you pare the apple for me.'^ Short a — Extended-Wide G6. For the sound of short a, as in "cat,'* the lips are slightly extended at the corners, and the opening between the lips is the widest of the extended vowels. G7. Movement Words peat, pet, pat — heap, hep, hap beet, bet, bat — eeb, ebb, ab meet, met, mat — team, hem, ham G8. Contrast Words Contrast the cxiQudGd-ioide (short a) with the QxiQiided-medimn (short e); notice that the lips are open more for short a than for short e. 180 LIP-READING lad- -led shad- — shed sad- -said tan— -ten bad- -bed fan— -fen 69. Practise Words bad^ sap yam pal pad^ sham^ cap^ hat^ mad^ jam^ cab^ hand^ nian^ that lam back^ iaV lap^ have bag*^ fan 2 lamp'' has bank^ whack tap^ hash map rap tab 5 hath stamp 70. Sentences 1. The weather has been very bad. 2. "A man's a man for a' that." 3. "Jack Sprat could eat no fat." 4. The wave struck the boat with a loud whack. 5. Bid j^ou rap on thedoor.^ 6. The tree is full of sap. 7. AYould you like some strawberry jam.'^ 8. That is all right. 9. AYill you put the lamp in the win- dow? 10. I heard a tap at the window. 11. Do you like corned })eef hash? 12. The wind blew my cap overboard. 13. ^Yould you like ham for dinner? 1 4. Have you ever heard that before? 15. The thief's pal was arrested. LESSONS ON THE MOVEMENTS 181 16. Take off your hat and stay awhile. 17. A bird in the hand is worth two in the bush. 18. ^Yhat time will you be back.^ 19. There is a map of the world hanging on the wall. 20. Don't forget to put a stamp on my letter. Consonants Revealed by the Lips — (con- tinued) F, V — Lip-to-Teeth 71. For/, as in "few," and v, as in "view," the center of the lower lip touches the upper teeth. 12* Movement Words pea, fee — heap, eve pen, /en — ebb, e^ bat, vat — hap, haz?e 73. Practise Words fee fun ck/ roo/ fed /arm hare off /at^ food clijf cough /ani foot loi'e^ serre^ t;at^ /awn 2 lu/3 sur/-* 27an^ /ought 2 carre five^ /ib leave hoo/ fife' 182 LIP-READING 74. Sentences 1. Have you paid the doctor's fee? 2. Have you fed the chickens this morning? 3. The fat is in the fire. 4. Did you ever tell a fib? 5. What fun we shall have! 6. Did you ever live on a farm? 7. The food on the farm was plain but well cooked. 8. She has a very small foot. 9. I saw a doe with her fawn at the Zoo. 10. I shall leave you for an hour. 11. The music was pitched in treble clef . 12. What will you have? 13. The cliff is one hundred feet high. 14. " 'Tis love that makes the world go round." 15. Will yow carve the roast beef? 16. The horse has a pebble in his hoof. 17. There is a leak in the roof. 18. 1 am off for my vacation. 19. 1 heard you cough last night. 20. Are you going bathing in the surf? 21. It is almost five o'clock. Wh, w — Puckered- Variable 75. For 7rh, as in "what," and w, as in "wet," the lips arc drawn together or puck- ered; the degree of the puckering is variable^ being greater in slow and careful speech, and less in r;ipi. To watch for t (or d) : (1) tree, ree; tray, ray; track, rack; trick, rick; truck, rug; try, rye; true, rue; draw, raw. (2) stee, see; stay, say; stack, sack; sting, sing; stung, sung; sty, sigh; stoo, soo; stood, sook; staw, saw. 22 T. To watch for Jc (or hard c, or hard g): (1) cree, ree; cray, ray; crag, rag; crick, rick; crumb, rum; cry, rye; crew, rue; crook, rook; craw, raw. 264 LIP-READING (2) skee, see; scay, say; scat, sat; skit, sit; scum, sum; sky, sigh; scoo, soo; scaw, saw. (3) glee, lee; clay, lay; clack, lack; click, lick; cluck, luck; glide, lie; clue, loo; claw, law. Double Consonant Contrast Exercises 238. The object of the following exercises is to watch for the change, in double conso- nants, from one consonant movement to an- other. Practise them before the mirror, tak- ing them by couplets, and contrasting the movements for the indicated sounds. Also practise them with an assistant. In practising with an assistant, the pupil concentrates first on the movement for one of the contrasted sounds, then on the other, and then on both. For ex'ample, in the first exercise, the pupil concentrates on the move- ment for r and tells whether it occurs in the first or second word of the couplet; then he concentrates similarly for /; then he repeats the couplets. EXERCISES 2C5 Review by triplets with assistant In the manner directed in paragraph 222. 229. To watch for the change from r to I: (1) bree, plea; pray, play; prank, plank; brink, blink; brung, plug; pry, ply; brew, blew ; braw, plaw. (2) free, flee; fray, flay; frank, flank; frill, flit; front, flunk; fry, fly; froo, flew; fraw, flaw. (3) cree, glee; cray, clay; crank, clank; crick, click; crumb, club; cry, glide; crew, clue; craw, claw. 2.30. To watch for the change from s to k (or hard c, or hard g) : (1) slee, glee; slay, clay; slack, clank; slick, click; slung, clung; sly, glide; slew, clew; slaw, claw. To watch for the change from t to /; (2) stee, slee; stay, slay; stag, slag; stick, slick; stung, slung; sty, sly; stoo, sloo; staw, slaw. 266 LIP-READING 231. To watch for the change from t (or d) to h (or hard c or hard g) : (1) tree, cree; tray, cray; track, crack; trick, crick; trump, crumb; try, cry; true, crew; draw, craw. (2) stee, skee; stay, scay; stab, scab; still, skill; stuck, skunk; sty, sky; stoo, scoo; staw, scaw. Vowel Exercises in Sentences 232. The object of the following exercises is drill with those vowel sounds most likely to be confused. In the order of the similarity of their movements, the sounds are: mv, as in "awl," (puckered-wide) ; ur, as in "turn," (puckered-corners) ; o6, as in "hook," (puck- ered-medium) ; li, as in "hut," (relaxed- medium); t, as in "hit," (relaxed-narrow) ; e, as in "he," (extended-narrow); c, as in "bet," (extended-medium); a, as in "ale," (extended-medium — relaxed-narrow); a, as in "bat," (extended-wide); and J, as in "high," (relaxed-wide — relaxed-narrow). Short c and EXERCISES 267 long a are practically the same in rapid speech; though in slower speech a difference may be seen. See paragraph 1G3. Words have been chosen in which the movements for these sounds are the only movements changed; occasional!}' it has been necessary to use manufactured words with phonetic spelling; and occasionally', too, obscure consonants, such as t and k, have been used interchange- ably in the same groups. These words have been put in a sentence, the sentence remain- ing unchanged throughout each exercise except for the one change of movement in the chosen word. In practising these exercises before the mir- ror, always pronounce the whole sentence, but concentrate attention on the particular vowel movement indicated. In practising with an assistant, he reads the sentences, rapidly and naturally, while the pupil repeats them. Have each exercise read first in order, and then repeated promiscuously a number of times until w^ell mastered. The words should always be given in their sentences, and never alone by themselves. The review with the assistant should be done in the same manner. 268 LIP-READING (1) The auk is large. (2) The pawn is black. " irk " a " burn " " " hook" lin, Paris. GuTZMANN (Hermann), Facial Speech Reading; Volla Bureau, Washington, D. C. IIartmann (Arthur), Lehr-und Lcrnbuch fiir Schwer- horige zur Erlernung dcs A'osehens vom INIunde; J. I'\ Berginnnn, Wiesbaden. Hewett (E. K.), Lip-H«'a(liiig for the Deaf; The Hare- wood Press. London. 822 APPENDIX C 323 Mlllek (J^ulius), Das Absehen der Schwerhorigen; Johannes Kriebel, Hamburg. NiTCiiiE (Edward B.), Self-Instructor in Lip-Reading; Lessons in Lip-Reading for Self-Instruction; Lip-Reading Simplified; Lessons in Lip-Reading, Revised Edition, and accompanying Teachers' Handbook; Surdus Publishing Company, New York. Parsons (Mary Hepburn), The Reading of Speech from the Lips; Akerman Company, Provi- dence, R. L RoTZER (Franz Xaver), Ubungsbuch ftir Schwerhor- ige und Ertaubte Das Ablesen vom Munde; R. Oldenbourg, IMiinchen and Berlin. Snow (Emma), My List of Ilomophenous Words; Volta Bureau, ^Yashington, D. C. Story (A. J.), Speech-Reading; Yellon, Williams & Co., Ltd., London. WoLLERMANN (Rudolf, Otto, und Emil), Lehr-und Lernbuch fur den Absehunterricht; Teetzmann & Randel, Stettin. Historical or Suggestive Report of Fourth Summer Meeting of the A. A. P. T. S. D., — the following addresses: Experiences in Lip-Reading, S. G. Davidson; Experiences of a Speech-Reader, Mrs, Sylvia C. Balis; "Further Contribution to the study of that Subtile Art which may Inable one with an Ob- servant Eie to Ilea re what any Man Speaks by the Moving of the Lips," Mrs. Alexander Graham Bell; The Teaching of Speech-Reading 324 APPENDIX C to Adults, Sarah Allen Jordan; Speech-Reading, Susan E. Bliss; Speech-Reading, Mabel Ellery Adams; Volta Bureau, Washington, D. C. JoxES (Mary Davis), Some Suggestions about Lip- Reading; Volta Bureau, Washington, D. C. Kennedy (Mildred), INIirror Practise as an Aid to Lip- Reading; Volta Bureau, Washington, D. C. Books on Allied Subjects Bell (Alexander Graham), The Mechanism of Speech; Funk & Wagnalls Company, New York. Bell (Alexander Melville), Sounds and Their Relations, and also other works on Visible Speech; Volta Bureau, Washington, D. C. Carruthers (S. W.), a Contribution to the IMcchan- ism of Articulate Speech; The Edinburgh ?*Icd- ical Journal, Edinburgh. Way (Daisy M.), The Whipple Natural Alphabet; A'olta Bureau, Washington, D. C. UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. S\;:. ) IBTDnVOll FE? 1 1987 J I'lirin I i THIS BOOK OAn-. ^UIBR^O/^ > — %HQ>\\^y^^'^ a ,1 UnWe ,3„V Research Librory a