Trajectory presents classics of world literature with 21st century features! Our original-text editions include the following visual enhancements to foster a deeper understanding of the work: Word Clouds at the start of each chapter highlight important words. Word, sentence, paragraph counts, and reading time help readers and teachers determine chapter complexity. Co-occurrence graphs depict character-to-character interactions as well character to place interactions. Sentiment indexes identify positive and negative trends in mood within each chapter. Frequency graphs help display the impact this book has had on popular culture since its original date of publication. Use Trajectory analytics to deepen comprehension, to provide a focus for discussions and writing assignments, and to engage new readers with some of the greatest stories ever told."The Moving Picture Girls: Or, First Appearances in Photo Dramas" is part of "The Moving Picture Girls" series. "The Moving Picture Girls" is a series about the adventures of Ruth and Alice DeVere who live with their father who is an actor.
Orthography is like a schoolmaster, or instructor of youth. It teaches us the nature and powers of letters and the right method of spelling words.
Comic Orthography teaches us the oddity and absurdities of letters, and the wrong method of spelling words. The following is an example of Comic Orthography:-
islinton foteenth of my Deer jemes febuary 1844.
wen fust i sawed yu doun the middle and up agin att the bawl
i maid Up my Mind to skure you for my oan for i Felt at once
that my appiness was at Steak, and a sensashun in my Bussum
I coudent no ways accom For. And i said to mary at missis
Igginses said i theres the Mann for my money o ses Shee i
nose a Sweeter Yung Man than that Air Do you sez i Agin then
there we Agree To Differ, and we was sittin by the window
and we wos wery Neer fallin Out. my deer gemes Sins that
Nite i Ha vent slept a Wink and Wot is moor to the Porpus
i'Have quit Lost my Happy tight and am gettin wus and wus
witch i Think yu ort to pitty Mee. i am Tolled every Day
that ime Gettin Thinner and a Jipsy sed that nothin wood
Cure me But a Ring.
i wos a Long time makin my Mind Up to right to You for of
Coarse i Says jemes will think me too forrad but this bein
Leep yere i thout ide Make a Plunge, leastways to aUThem as
dont Want to Bee old Mades all their blessed lives, so my
Deer Jemes if yow want a Pardoner for Better or for wus nows
Your Time dont think i Behave despicable for tis my Luv for
yu as makes Me take this Stepp.
please to Burn this Letter when Red and excuse the scralls
and Blotches witch is Caused by my Teers i remain till deth
Yure on Happy Vallentine
jane you No who.
poscrip nex sunday Is my sunday out And i shall be Att the
corner of Wite Street at a quawter pas Sevn.
Wen This U. C. remember Mee j. g.
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Now, to proceed with Orthography, we may remark, that a letter is the least part of a word.
Of a comic letter an instance has already been given. Dr. Johnson's letter to Lord Chesterfield is a capital letter.
The letters of the Alphabet are the representatives of articulate sounds.
The Alphabet is a Republic of Letters.
There are many things in this world erroneously as well as vulgarly compared to "bricks." In the case of the letters of the Alphabet, however, the comparison is just; they constitute the fabric of a language, and grammar is the mortar. The wonder is that there should be so few of them. The English letters are twenty-six in number. There is nothing like beginning at the beginning; and we shall now therefore enumerate them, with the view also of rendering their insertion subsidiary to mythological instruction, in conformity with the plan on which some account of the Heathen Deities and ancient heroes is prefixed or subjoined to a Dictionary. We present the reader with a form of Alphabet composed in humble imitation of that famous one, which, while appreciable by the dullest taste, and level to the meanest capacity, is nevertheless that by which the greatest minds have been agreeably inducted into knowledge.
THE ALPHABET.
A, was Apollo, the god of the carol,
B, stood for Bacchus, astride on his barrel;
C, for good Ceres, the goddess of grist,
D, was Diana, that wouldn't be kiss'd;
E, was nymph Echo, that pined to a sound,
F, was sweet Flora, with buttercups crown'd;
G, was Jove's pot-boy, young Ganymede hight,
H, was fair Hebe, his barmaid so tight;
I, little Io, turn'd into a cow,
J, jealous Juno, that spiteful old sow;
K, was Kitty, more lovely than goddess or muse;
L, Lacooon-I wouldn't have been in his shoes!
M, was blue-eyed Minerva, with stockings to match,
N, was Nestor, with grey beard and silvery thatch;
O, was lofty Olympus, King Jupiter's shop,
P, Parnassus, Apollo hung out on its top;
Q, stood for Quirites, the Romans, to wit;
R, for rantipole Roscius, that made such a hit;
S, for Sappho, so famous for felo-de-se,
T, for Thales the wise, F. R. S. and M. D:
U, was crafty Ulysses, so artful a dodger,
V, was hop-a-kick Vulcan, that limping old codger;
Wenus-Venus I mean-with a W begins,
(Veil, if I ham a Cockney, wot need of your grins?)
X, was Xantippe, the scratch-cat and shrew,
Y, I don't know what Y was, whack me if I do!
Z was Zeno the Stoic, Zenobia the clever,
And Zoilus the critic, whose fame lasts forever.
Letters are divided into Vowels and Consonants.
The vowels are capable of being perfectly uttered by themselves. They are, as it were, independent members of the Alphabet, and like independent members elsewhere, form a small minority. The vowels are a, e, i, o, u, and sometimes w and y.
An I. O. U. is a more pleasant thing to have, than it is to give.
A blow in the stomach is very likely to W up.
W is a consonant when it begins a word, as "Wicked
Will Wiggins whacked his wife with a whip but in every other place it is a vowel, as crawling, drawling, sawney, screwing, Jew. Y follows the same rule.
A consonant is an articulate sound; but, like an old bachelor, if it exists alone, it exists to no purpose.
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It cannot be perfectly uttered without the aid of a vowel; and even then the vowel has the greatest share in the production of the sound. Thus a vowel joined to a consonant becomes, so to speak, a "better half:" or at all events very strongly resembles one.
A dipthong is the union of two vowels in one sound, as ea in heavy, eu in Meux, ou in stout.
A tripthong is a similar union of three vowels, as eau in the word beau; a term applied to dandies, and addressed to geese: probably because they are birds of a feather.
A proper dipthong is that in which the sound is formed by both the vowels: as, aw in awkward, ou in lout.
An improper dipthong is that in which the sound is formed by one of the vowels only, as ea in heartless, oa in hoax.
According to our notions there are a great many improper dipthongs in common use. By improper dipthongs we mean vowels unwarrantably dilated into dipthongs, and dipthongs mispronounced, in defiance of good English.
For instance, the rustics and dandies say,
"Loor! whaut a foine gaal! Moy oy!"
"Whaut a precious soight of crows!"
"As I was a cornin' whoam through the corn fiddles (fields) I met Willum Jones."
"I sor (saw) him."
"Dror (draw) it out."
"Hold your jor (jaw)."
"I caun't. You shaun't. How's your Maw and Paw? Do you like taut (tart)?"
We have heard young ladies remark,-
"Oh, my! What a naice young man!"
"What a bee-eautiful day!"
"Im so fond of dayncing!"
Again, dandies frequently exclaim,-
"I'm postively tiawed (tired)."
"What a sweet tempaw! (temper)."
"How daughty (dirty) the streets au!"
And they also call,-
Literature, "literetchah."
Perfectly, "pawfacly."
Disgusted, "disgasted."
Sky, "ske-eye."
Blue, "ble-ew."
We might here insert a few remarks on the nature of the human voice, and of the mechanism by means of which articulation is performed; but besides our dislike to prolixity, we are afraid of getting down in the mouth, and thereby going the wrong way to please our readers. We may nevertheless venture to invite attention to a few comical peculiarities in connection with articulate sounds.
Ahem! at the commencement of a speech, is a sound agreeably droll.
The vocal comicalities of the infant in arms are exceedingly laughable, but we are unfortunately unable to spell them.
The articulation of the Jew is peculiarly ridiculous. The "peoplesh" are badly spoken of, and not well spoken.
Bawling, croaking, hissing, whistling, and grunting, are elegant vocal accomplishments.
Lisping, as, thweet, Dthooliur, thawming, kweechau, is by some considered interesting, by others absurd.
But of all the sounds which proceed from the human mouth, by far the funniest are Ha! ha! ha!-Ho! ho! ho! and He! he! he!
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Chapter 1 OF THE NATURE OF THE LETTERS, AND OF A COMIC ALPHABET.
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Chapter 2 OF SYLLABLES.
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Chapter 3 A COMICAL VIEW OF THE PARTS OF SPEECH.
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Chapter 4 OF THE ARTICLES.
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Chapter 5
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Chapter 6 OF ADJECTIVES.
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Chapter 7 OF PRONOUNS.
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Chapter 8 OF VERBS.
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Chapter 9 OF ADVERBS.
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Chapter 10 OF PREPOSITIONS.
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Chapter 11 OF CONJUNCTIONS..
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Chapter 12 OF PRONUNCIATION
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Chapter 13 OF VERSIFICATION.
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Chapter 14 PUNCTUATION.
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