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COMMUNICATION
ACOUSTICS
COMMUNICATION
ACOUSTICS
AN INTRODUCTION TO SPEECH,
AUDIO AND PSYCHOACOUSTICS

Ville Pulkki and Matti Karjalainen

Aalto University, Finland
This edition first published 2015
© 2015 John Wiley & Sons, Ltd

Registered office
John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom

For details of our global editorial offices, for customer services and for information about how to apply for permission to reuse the
copyright material in this book please see our website at www.wiley.com.

The right of the author to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and
Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any
means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents
Act 1988, without the prior permission of the publisher.
Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic
books.
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used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not
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MATLAB is a trademark of The MathWorks, Inc. and is used with permission. The MathWorks does not warrant the accuracy of
the text or exercises in this book. This book’s use or discussion of MATLAB software or related products does not constitute
endorsement or sponsorship by The MathWorks of a particular pedagogical approach or particular use of the MATLAB software.

Library of Congress Cataloging-in-Publication Data

Pulkki, Ville.
Communication acoustics : an introduction to speech, audio, and psychoacoustics / Ville Pulkki and Matti Karjalainen.
pages cm
Includes index.
ISBN 978-1-118-86654-2 (hardback)
1. Sound–Recording and reproducing. 2. Hearing. 3. Psychoacoustics. 4. Sound. I. Karjalainen, Matti, 1946-2010.
II. Title.
TK7881.4.P85 2015
620.2–dc23
2014030757

A catalogue record for this book is available from the British Library.

Set in 10/12pt Times LT Std by SPi Publisher Services, Pondicherry, India

1 2015
 To Vappu, Sampo, Raisa, and HUT people
To Sari, Veikko and Sannakaisa, and Aalto Acoustics people
Contents

About the Authors xix

Preface xxi

Preface to the Unfinished Manuscript of the Book xxiii

Introduction 1

1 How to Study and Develop Communication Acoustics 7

1.1 Domains of Knowledge 7
1.2 Methodology of Research and Development 8
1.3 Systems Approach to Modelling 10
1.4 About the Rest of this Book 12
1.5 Focus of the Book 12
1.6 Intended Audience 13
References 14

2 Physics of Sound 15
2.1 Vibration and Wave Behaviour of Sound 15
2.1.1 From Vibration to Waves 16
2.1.2 A Simple Vibrating System 16
2.1.3 Resonance 18
2.1.4 Complex Mass–Spring Systems 19
2.1.5 Modal Behaviour 20
2.1.6 Waves 21
2.2 Acoustic Measures and Quantities 23
2.2.1 Sound and Voice as Signals 23
2.2.2 Sound Pressure 24
2.2.3 Sound Pressure Level 24
2.2.4 Sound Power 25
2.2.5 Sound Intensity 25
2.2.6 Computation with Amplitude and Level Quantities 25
viii Contents

2.3 Wave Phenomena 26

2.3.1 Spherical Waves 26
2.3.2 Plane Waves and the Wave Field in a Tube 27
2.3.3 Wave Propagation in Solid Materials 29
2.3.4 Reflection, Absorption, and Refraction 31
2.3.5 Scattering and Diffraction 32
2.3.6 Doppler Effect 33
2.4 Sound in Closed Spaces: Acoustics of Rooms and Halls 34
2.4.1 Sound Field in a Room 34
2.4.2 Reverberation 36
2.4.3 Sound Pressure Level in a Room 37
2.4.4 Modal Behaviour of Sound in a Room 38
2.4.5 Computational Modelling of Closed Space Acoustics 39
Summary 41
Further Reading 41
References 41
3 Signal Processing and Signals 43
3.1 Signals 43
3.1.1 Sounds as Signals 43
3.1.2 Typical Signals 45
3.2 Fundamental Concepts of Signal Processing 46
3.2.1 Linear and Time-Invariant Systems 46
3.2.2 Convolution 47
3.2.3 Signal Transforms 48
3.2.4 Fourier Analysis and Synthesis 49
3.2.5 Spectrum Analysis 50
3.2.6 Time–Frequency Representations 53
3.2.7 Filter Banks 54
3.2.8 Auto- and Cross-Correlation 55
3.2.9 Cepstrum 56
3.3 Digital Signal Processing (DSP) 56
3.3.1 Sampling and Signal Conversion 56
3.3.2 Z Transform 57
3.3.3 Filters as LTI Systems 58
3.3.4 Digital Filtering 58
3.3.5 Linear Prediction 59
3.3.6 Adaptive Filtering 62
3.4 Hidden Markov Models 62
3.5 Concepts of Intelligent and Learning Systems 63
Summary 64
Further Reading 64
References 64
4 Electroacoustics and Responses of Audio Systems 67
4.1 Electroacoustics 67
4.1.1 Loudspeakers 67
4.1.2 Microphones 70
Contents ix

4.2 Audio System Responses 71

4.2.1 Measurement of System Response 71
4.2.2 Ideal Reproduction of Sound 72
4.2.3 Impulse Response and Magnitude Response 72
4.2.4 Phase Response 74
4.2.5 Non-Linear Distortion 75
4.2.6 Signal-to-Noise Ratio 76
4.3 Response Equalization 76
Summary 77
Further Reading 78
References 78

5 Human Voice 79
5.1 Speech Production 79
5.1.1 Speech Production Mechanism 80
5.1.2 Vocal Folds and Phonation 80
5.1.3 Vocal and Nasal Tract and Articulation 82
5.1.4 Lip Radiation Measurements 84
5.2 Units and Notation of Speech used in Phonetics 84
5.2.1 Vowels 86
5.2.2 Consonants 86
5.2.3 Prosody and Suprasegmental Features 88
5.3 Modelling of Speech Production 90
5.3.1 Glottal Modelling 92
5.3.2 Vocal Tract Modelling 92
5.3.3 Articulatory Synthesis 94
5.3.4 Formant Synthesis 95
5.4 Singing Voice 96
Summary 96
Further Reading 97
References 97

6 Musical Instruments and Sound Synthesis 99

6.1 Acoustic Instruments 99
6.1.1 Types of Musical Instruments 99
6.1.2 Resonators in Instruments 100
6.1.3 Sources of Excitation 102
6.1.4 Controlling the Frequency of Vibration 103
6.1.5 Combining the Excitation and Resonant Structures 104
6.2 Sound Synthesis in Music 104
6.2.1 Envelope of Sounds 105
6.2.2 Synthesis Methods 106
6.2.3 Synthesis of Plucked String Instruments with a One-Dimensional
Physical Model 107
Summary 108
Further Reading 108
References 108
x Contents

7 Physiology and Anatomy of Hearing 111

7.1 Global Structure of the Ear 111
7.2 External Ear 112
7.3 Middle Ear 113
7.4 Inner Ear 115
7.4.1 Structure of the Cochlea 115
7.4.2 Passive Cochlear Processing 117
7.4.3 Active Function of the Cochlea 119
7.4.4 The Inner Hair Cells 122
7.4.5 Cochlear Non-Linearities 122
7.5 Otoacoustic Emissions 123
7.6 Auditory Nerve 123
7.6.1 Information Transmission using the Firing Rate 124
7.6.2 Phase Locking 126
7.7 Auditory Nervous System 127
7.7.1 Structure of the Auditory Pathway 127
7.7.2 Studying Brain Function 129
7.8 Motivation for Building Computational Models of Hearing 130
Summary 131
Further Reading 131
References 131

8 The Approach and Methodology of Psychoacoustics 133

8.1 Sound Events versus Auditory Events 133
8.2 Psychophysical Functions 135
8.3 Generation of Sound Events 135
8.3.1 Synthesis of Sound Signals 136
8.3.2 Listening Set-up and Conditions 137
8.3.3 Steering Attention to Certain Details of An Auditory Event 137
8.4 Selection of Subjects for Listening Tests 138
8.5 What are We Measuring? 138
8.5.1 Thresholds 138
8.5.2 Scales and Categorization of Percepts 140
8.5.3 Numbering Scales in Listening Tests 141
8.6 Tasks for Subjects 141
8.7 Basic Psychoacoustic Test Methods 142
8.7.1 Method of Constant Stimuli 143
8.7.2 Method of Limits 143
8.7.3 Method of Adjustment 143
8.7.4 Method of Tracking 144
8.7.5 Direct Scaling Methods 144
8.7.6 Adaptive Staircase Methods 144
8.8 Descriptive Sensory Analysis 145
8.8.1 Verbal Elicitation 147
8.8.2 Non-Verbal Elicitation 148
8.8.3 Indirect Elicitation 148
Contents xi

8.9 Psychoacoustic Tests from the Point of View of Statistics 149

Summary 149
Further Reading 150
References 150

9 Basic Function of Hearing 153

9.1 Effective Hearing Area 153
9.1.1 Equal Loudness Curves 155
9.1.2 Sound Level and its Measurement 156
9.2 Spectral Masking 156
9.2.1 Masking by Noise 157
9.2.2 Masking by Pure Tones 159
9.2.3 Masking by Complex Tones 159
9.2.4 Other Masking Phenomena 161
9.3 Temporal Masking 161
9.4 Frequency Selectivity of Hearing 163
9.4.1 Psychoacoustic Tuning Curves 164
9.4.2 ERB Bandwidths 166
9.4.3 Bark, ERB, and Greenwood Scales 167
Summary 169
Further Reading 169
References 169

10 Basic Psychoacoustic Quantities 171

10.1 Pitch 171
10.1.1 Pitch Strength and Frequency Range 171
10.1.2 JND of Pitch 172
10.1.3 Pitch Perception versus Duration of Sound 173
10.1.4 Mel Scale 174
10.1.5 Logarithmic Pitch Scale and Musical Scale 175
10.1.6 Detection Threshold of Pitch Change and Frequency Modulation 176
10.1.7 Pitch of Coloured Noise 176
10.1.8 Repetition Pitch 177
10.1.9 Virtual Pitch 178
10.1.10 Pitch of Non-Harmonic Complex Sounds 178
10.1.11 Pitch Theories 178
10.1.12 Absolute Pitch 179
10.2 Loudness 179
10.2.1 Loudness Determination Experiments 179
10.2.2 Loudness Level 180
10.2.3 Loudness of a Pure Tone 180
10.2.4 Loudness of Broadband Signals 182
10.2.5 Excitation Pattern, Specific Loudness, and Loudness 183
10.2.6 Difference Threshold of Loudness 185
10.2.7 Loudness versus Duration of Sound 187
xii Contents

10.3 Timbre 188

10.3.1 Timbre of Steady-State Sounds 189
10.3.2 Timbre of Sound Including Modulations 189
10.4 Subjective Duration of Sound 189
Summary 191
Further Reading 191
References 191

11 Further Analysis in Hearing 193

11.1 Sharpness 193
11.2 Detection of Modulation and Sound Onset 195
11.2.1 Fluctuation Strength 195
11.2.2 Impulsiveness 197
11.3 Roughness 198
11.4 Tonality 200
11.5 Discrimination of Changes in Signal Magnitude and Phase Spectra 201
11.5.1 Adaptation to the Magnitude Spectrum 201
11.5.2 Perception of Phase and Time Differences 202
11.6 Psychoacoustic Concepts and Music 206
11.6.1 Sensory Consonance and Dissonance 206
11.6.2 Intervals, Scales, and Tuning in Music 208
11.6.3 Rhythm, Tempo, Bar, and Measure 211
11.7 Perceptual Organization of Sound 212
11.7.1 Segregation of Sound Sources 213
11.7.2 Sound Streaming and Auditory Scene Analysis 214
Summary 216
Further Reading 217
References 217

12 Spatial Hearing 219

12.1 Concepts and Definitions for Spatial Hearing 219
12.1.1 Basic Concepts 219
12.1.2 Coordinate Systems for Spatial Hearing 221
12.2 Head-Related Acoustics 222
12.3 Localization Cues 226
12.3.1 Interaural Time Difference 227
12.3.2 Interaural Level Difference 228
12.3.3 Interaural Coherence 231
12.3.4 Cues to Resolve the Direction on the Cone of Confusion 232
12.3.5 Interaction Between Spatial Hearing and Vision 234
12.4 Localization Accuracy 235
12.4.1 Localization in the Horizontal Plane 235
12.4.2 Localization in the Median Plane 236
12.4.3 3D Localization 237
12.4.4 Perception of the Distribution of a Spatially Extended Source 238
Contents xiii

12.5 Directional Hearing in Enclosed Spaces 239

12.5.1 Precedence Effect 239
12.5.2 Adaptation to the Room Effect in Localization 240
12.6 Binaural Advantages in Timbre Perception 241
12.6.1 Binaural Detection and Unmasking 241
12.6.2 Binaural Decolouration 243
12.7 Perception of Source Distance 243
12.7.1 Cues for Distance Perception 244
12.7.2 Accuracy of Distance Perception 245
Summary 246
Further Reading 246
References 246

13 Auditory Modelling 249

13.1 Simple Psychoacoustic Modelling with DFT 250
13.1.1 Computation of the Auditory Spectrum through DFT 250
13.2 Filter Bank Models 255
13.2.1 Modelling the Outer and Middle Ear 255
13.2.2 Gammatone Filter Bank and Auditory Nerve Responses 256
13.2.3 Level-Dependent Filter Banks 256
13.2.4 Envelope Detection and Temporal Dynamics 258
13.3 Cochlear Models 260
13.3.1 Basilar Membrane Models 260
13.3.2 Hair-Cell Models 261
13.4 Modelling of Higher-Level Systemic Properties 263
13.4.1 Analysis of Pitch and Periodicity 263
13.4.2 Modelling of Loudness Perception 265
13.5 Models of Spatial Hearing 265
13.5.1 Delay-Network-Based Models of Binaural Hearing 265
13.5.2 Equalization Cancellation and ILD Models 268
13.5.3 Count-Comparison Models 268
13.5.4 Models of Localization in the Median Plane 270
13.6 Matlab Examples 270
13.6.1 Filter-Bank Model with Autocorrelation-Based Pitch Analysis 270
13.6.2 Binaural Filter-Bank Model with Cross-Correlation-Based ITD
Analysis 272
Summary 274
Further Reading 274
References 274

14 Sound Reproduction 277

14.1 Need for Sound Reproduction 277
14.2 Audio Content Production 279
14.3 Listening Set-ups 280
14.3.1 Loudspeaker Set-ups 280
14.3.2 Listening Room Acoustics 282
xiv Contents

14.3.3 Audiovisual Systems 283

14.3.4 Auditory-Tactile Systems 284
14.4 Recording Techniques 284
14.4.1 Monophonic Techniques 285
14.4.2 Spot Microphone Technique 285
14.4.3 Coincident Microphone Techniques for Two-Channel Stereophony 286
14.4.4 Spaced Microphone Techniques for Two-Channel Stereophony 286
14.4.5 Spaced Microphone Techniques for Multi-Channel
Loudspeaker Systems 287
14.4.6 Coincident Recording for Multi-Channel Set-up with Ambisonics 287
14.4.7 Non-Linear Time–Frequency-domain Reproduction
of Spatial Sound 290
14.5 Virtual Source Positioning 293
14.5.1 Amplitude Panning 293
14.5.2 Amplitude Panning in a Stereophonic Set-up 294
14.5.3 Amplitude Panning in Horizontal Multi-Channel Loudspeaker
Set-ups 295
14.5.4 3D Amplitude Panning 295
14.5.5 Virtual Source Positioning using Ambisonics 296
14.5.6 Wave Field Synthesis 296
14.5.7 Time Delay Panning 297
14.5.8 Synthesizing the Width of Virtual Sources 298
14.6 Binaural Techniques 298
14.6.1 Listening to Binaural Recordings with Headphones 299
14.6.2 HRTF Processing for Headphone Listening 299
14.6.3 Virtual Listening of Loudspeakers with Headphones 300
14.6.4 Headphone Listening to Two-Channel Stereophonic Content 301
14.6.5 Binaural Techniques with Cross-Talk-Cancelled Loudspeakers 301
14.7 Digital Audio Effects 302
14.8 Reverberators 303
14.8.1 Using Room Impulse Responses in Reverberators 304
14.8.2 DSP Structures for Reverberators 305
Summary 306
Further Reading and Available Toolboxes 306
References 307

15 Time–Frequency-domain Processing and Coding of Audio 311

15.1 Basic Techniques and Concepts for Time–Frequency Processing 311
15.1.1 Frame-Based Processing 311
15.1.2 Downsampled Filter-Bank Processing 313
15.1.3 Modulation with Tone Sequences 315
15.1.4 Aliasing 316
15.2 Time–Frequency Transforms 317
15.2.1 Short-Time Fourier Transform (STFT) 318
15.2.2 Alias-Free STFT 320
15.2.3 Modified Discrete Cosine Transform (MDCT) 321
Contents xv

15.2.4 Pseudo-Quadrature Mirror Filter (PQMF) Bank 323

15.2.5 Complex QMF 323
15.2.6 Sub-Sub-Band Filtering of the Complex QMF Bands 325
15.2.7 Stochastic Measures of Time–Frequency Signals 325
15.2.8 Decorrelation 327
15.3 Time–Frequency-Domain Audio-Processing Techniques 328
15.3.1 Masking-Based Audio Coding 328
15.3.2 Audio Coding with Spectral Band Replication 328
15.3.3 Parametric Stereo, MPEG Surround, and Spatial Audio
Object Coding 329
15.3.4 Stereo Upmixing and Enhancement for Loudspeakers and
Headphones 330
Summary 332
Further Reading 332
References 332

16 Speech Technologies 335

16.1 Speech Coding 336
16.2 Text-to-Speech Synthesis 338
16.2.1 Early Knowledge-Based Text-to-Speech (TTS) Synthesis 339
16.2.2 Unit-Selection Synthesis 340
16.2.3 Statistical Parametric Synthesis 342
16.3 Speech Recognition 345
Summary 346
Further Reading 347
References 347

17 Sound Quality 349

17.1 Historical Background of Sound Quality 350
17.2 The Many Facets of Sound Quality 351
17.3 Systemic Framework for Sound Quality 352
17.4 Subjective Sound Quality Measurement 353
17.4.1 Mean Opinion Score 353
17.4.2 MUSHRA 354
17.5 Audio Quality 356
17.5.1 Monaural Quality 356
17.5.2 Perceptual Measures and Models for Monaural Audio Quality 356
17.5.3 Spatial Audio Quality 359
17.6 Quality of Speech Communication 360
17.6.1 Subjective Methods and Measures 361
17.6.2 Objective Methods and Measures 362
17.7 Measuring Speech Understandability with the Modulation
Transfer Function 363
17.7.1 Modulation Transfer Function 363
17.7.2 Speech Transmission Index STI 367
xvi Contents

17.7.3 STI and Speech Intelligibility 368

17.7.4 Practical Measurement of STI 369
17.8 Objective Speech Quality Measurement for Telecommunication 370
17.8.1 General Speech Quality Measurement Techniques 371
17.8.2 Measurement of the Perceptual Effect of Background Noise 372
17.8.3 Measurement of the Perceptual Effect of Echoes 373
17.9 Sound Quality in Auditoria and Concert Halls 374
17.9.1 Subjective Measures 374
17.9.2 Objective Measures 375
17.9.3 Percentage of Consonant Loss 377
17.10 Noise Quality 377
17.11 Product Sound Quality 378
Summary 380
Further Reading 380
References 380

18 Other Audio Applications 383

18.1 Virtual Reality and Game Audio Engines 383
18.2 Sonic Interaction Design 386
18.3 Computational Auditory Scene Analysis, CASA 387
18.4 Music Information Retrieval 387
18.5 Miscellaneous Applications 389
Summary 390
Further Reading 390
References 390

19 Technical Audiology 393

19.1 Hearing Impairments and Disabilities 393
19.1.1 Key Terminology 394
19.1.2 Classification of Hearing Impairments 395
19.1.3 Causes for Hearing Impairments 396
19.2 Symptoms and Consequences of Hearing Impairments 396
19.2.1 Hearing Threshold Shift 397
19.2.2 Distortion and Decrease in Discrimination 398
19.2.3 Speech Communication Problems 400
19.2.4 Tinnitus 400
19.3 The Effect of Noise on Hearing 401
19.3.1 Noise 401
19.3.2 Formation of Noise-Induced Hearing Loss 402
19.3.3 Temporary Threshold Shift 402
19.3.4 Hearing Protection 404
19.4 Audiometry 405
19.4.1 Pure-Tone Audiometry 405
19.4.2 Bone-Conduction Audiometry 406
19.4.3 Speech Audiometry 406
19.4.4 Sound-Field Audiometry 407
Contents xvii

19.4.5 Tympanometry 407

19.4.6 Otoacoustic Emissions 408
19.4.7 Neural Responses 409
19.5 Hearing Aids 409
19.5.1 Types of Hearing Aids 409
19.5.2 Signal Processing in Hearing Aids 410
19.5.3 Transmission Systems and Assistive Listening Devices 414
19.6 Implantable Hearing Solutions 414
19.6.1 Cochlear Implants 414
19.6.2 Electric-Acoustic Stimulation 416
19.6.3 Bone-Anchored Hearing Aids 416
19.6.4 Middle-Ear Implants 416
Summary 416
Further Reading 417
References 417

Index 419
Exploring the Variety of Random
Documents with Different Content
Till faint and weary, they leave off at ten,
Knock’d up by ladies beating of ’em down!

But has not Hamlet his opinion given—

O Hamlet had a heart for Drapers’ servants!
“That custom is”—say custom after seven—
“More honour’d in the breach than the observance.”

O come then, gentle ladies, come in time,

O’erwhelm our counters, and unload our shelves;
Torment us all until the seventh chime,
But let us have the remnant to ourselves!

We wish of knowledge to lay in a stock,

And not remain in ignorance incurable;—
To study Shakespeare, Milton, Dryden, Locke,
And other fabrics that have proved so durable.

We long for thoughts of intellectual kind,

And not to go bewilder’d to our beds;
With stuff and fustian taking up the mind,
And pins and needles running in our heads!

For oh! the brain gets very dull and dry,

Selling from morn till night for cash or credit;
Or with a vacant face and vacant eye,
Watching cheap prints that Knight did never edit.

Till sick with toil, and lassitude extreme,

We often think when we are dull and vapoury,
The bliss of Paradise was so supreme,
Because that Adam did not deal in drapery.
 SYMPTOMS OF OSSIFICATION.
“An indifference to tears, and blood, and human suffering, that could only belong to a
Boney-parte.—Life of Napoleon.
 IME was, I always had a drop
For any tale of sigh or sorrow;
My handkerchief I used to sop
Till often I was forced to borrow;
I don’t know how it is, but now
My eyelids seldom want a-drying;
The doctor, p’rhaps, could tell me how—
I fear my heart is ossifying!

O’er Goethe how I used to weep,

With turnip cheeks and nose of scarlet,
When Werter put himself to sleep
With pistols kiss’d and clean’d by Charlotte;
Self-murder is an awful sin,
No joke there is in bullets flying,
But now at such a tale I grin—
I fear my heart is ossifying!

The Drama once could shake and thrill

My nerves, and set my tears a-stealing,
The Siddons then could turn at will
Each plug upon the main of feeling;
At Belvidera now I smile,
And laugh while Mrs. Haller’s crying;
’Tis odd, so great a change of style—
I fear my heart is ossifying!

That heart was such—some years ago,

To see a beggar quite would shock it,
And in his hat I used to throw
The quarter’s savings of my pocket:
I never wish—as I did then!—
The means from my own purse supplying,
To turn them all to gentlemen—
I fear my heart is ossifying!

We’ve had some serious things of late,

O hi b b
Our sympathies to beg or borrow,

“DOG-BERRY.”

THE LAST CUT.

New melo-drames, of tragic fate,
And acts, and songs, and tales of sorrow;
Miss Zouch’s case, our eyes to melt,
And sundry actors sad good-bye-ing,
But Lord!—so little have I felt,
I’m sure my heart is ossifying!
A CUSTOM-HOUSE BREEZE.
 NE day—no matter for the month or year,
Calais packet, just come over,
And safely moor’d within the pier,
Began to land her passengers at Dover;
All glad to end a voyage long and rough.
And during which,
Through roll and pitch,
The Ocean-King had sickophants enough!

Away, as fast as they could walk or run,

Eager for steady rooms and quiet meals,
With bundles, bags, and boxes at their heels,
Away the passengers all went but one,
A female, who from some mysterious check,
Still linger’d on the steamer’s deck,
As if she did not care for land a tittle,
For horizontal rooms, and cleanly victual—
Or nervously afraid to put
Her foot
Into an Isle described as “tight and little.”

In vain commissioner and touter,

Porter and waiter throng’d about her;
Boring, as such officials only bore—
In spite of rope and barrow, knot and truck,
Of plank and ladder, there she stuck,
She couldn’t, no, she wouldn’t go on shore.

“But, ma’am,” the steward interfered,

“The wessel must be cleared.
You mustn’t stay aboard, ma’am, no one don’t!
It’s quite agin the orders so to do—
And all the passengers is gone but you.”
Says she, “I cannot go ashore and won’t!”
“You ought to!”
“But I can’t!”
“You must!”
 “I shan’t!”

At last, attracted by the racket,

’Twixt gown and jacket,
The captain came himself, and cap in hand,
Begg’d very civilly to understand
Wherefore the lady could not leave the packet.

“Why then,” the lady whispered with a shiver,

That made the accents quiver,
“I’ve got some foreign silks about me pinn’d,
In short, so many things, all contraband,
To tell the truth I am afraid to land,
In such a searching wind!”
 Duncan Grant & Co., Printers, Edinburgh.

THOMAS HOOD’S WORKS.

HOOD’S WORKS. Complete in 10 vols. All the Writings of the Author of the “Song of
the Shirt” (“Hood’s Own” First and Second Series included). With all the original Cuts
by Cruikshank, Leech, &c. A complete re-issue. In 10 vols., crown 8vo, cloth, 50s.; half
calf, 70s.; half morocco, 70s.

COMPLETE EDITION OF HOOD’S POETICAL WORKS IN TWO

VOLUMES.
1. HOOD’S SERIOUS POEMS. A New and Complete Edition, with full-page
Illustrations. Crown 8vo, cloth gilt, 5s.
2. HOOD’S COMIC POEMS. A New and Complete Edition, with full-page Illustrations.
Crown 8vo, cloth gilt, 5s.

⁂ These two volumes contain the entire poems of the late Thomas Hood,
which are now collected and issued complete for the first time.
HOOD’S OWN; or, Laughter from Year to Year. First and Second Series in one vol.,
complete with all the original Illustrations by Cruikshank, Leech, &c. In entirely new and
handsome binding. Now ready, new edition. Royal 8vo, cloth gilt, 10s. 6d.
HOOD’S OWN; or, Laughter from Year to Year. First Series. A new edition. In one vol.
8vo, illustrated by 350 Woodcuts. Cloth plain 7s. 6d.; gilt edges, 8s. 6d.
HOOD’S OWN. Second Series. In one vol., 8vo., illustrated by numerous Woodcuts.
Cloth plain, 7s. 6d.; gilt edges, 8s. 6d.
HOOD’S POEMS. Twentieth Edition. In one vol., fcap. 8vo, cloth plain, 5s.
HOOD’S POEMS OF WIT AND HUMOUR. Sixteenth Edition. In one vol., fcap. 8vo,
cloth plain, 3s. 6d.
HOOD’S WHIMS AND ODDITIES. In Prose and Verse. With 87 original designs. A new
edition. In one vol., fcap. 8vo, cloth plain, 3s. 6d.
HOOD’S WHIMS AND ODDITIES AND WIT AND HUMOUR. With 87 original
designs. In one vol., fcap. 8vo, 6s.

LONDON: E. MOXON, SON, & CO., 1 Amen Corner, Paternoster

Row, E. C.

New Books and New Editions.

Moxon’s Popular Poets.
Edited by WILLIAM MICHAEL ROSSETTI.
Crown 8vo, with Eight Illustrations, in elegant cloth gilt, gilt edges, 3s. 6d.;
morocco antique, 7s. 6d.; ivory enamel, 7s. 6d.; morocco extra, 10s. 6d.;
elegant tree calf, 10s. 6d.
The Press and the Public, alike in Great Britain and her Colonies and in
the United States, unite in their testimony to the immense superiority of
Messrs. Moxon’s “Popular Poets” over any other similar Collections
published by any other House. Their possession of the Copyright Works of
Coleridge, Hood, Keats, Shelley, Wordsworth, and other great National
Poets, places this Series above rivalry.
New Volume now ready.
21. HOOD’S POETICAL WORKS. Illustrated by Gustave Doré and
Alfred Thompson. Second Series.
1. Byron. 6. Moore. 11. Tupper. 16. Humorous.
2. 7. Hood. 12. Milton. 17. American.
Longfellow. 8. Keats. 13. 18. Mrs. Hemans.
3. 9. Campbell. 19. Thomson.
Wordsworth. Coleridge. 14. Pope. 20. Miscellaneous. [In
4. Scott. 10. Burns. 15. Cowper. the Press.
5. Shelley.
MOXON’S LIBRARY POETS. The complete and continuing success of “Moxon’s
Poets,” in the popular Three-and-Sixpenny Series, has induced the House to publish a
Library Edition of “Moxon’s Poets,” price Five Shillings per volume. Handsomely
printed on good paper, either half Roxburghe or cloth, gilt edges. The Entire Series of the
Popular Poets is now included in this issue.

CHARLES LAMB’S WORKS.—CENTENARY EDITION.

Completed in Six Volumes. Crown 8vo, cloth gilt, £2 2s. complete.
THE LIFE, LETTERS, AND WRITINGS OF CHARLES
LAMB.
Edited by PERCY FITZGERALD, M.A., F.S.A.
This is the first Complete Edition of “Lamb’s Life and Writings” that has
been offered to the public. The Memoir by Talfourd, with the “Final
Memorials,” has been combined, while all the curious and interesting
information that has come to light since he wrote has been added in the
form of Notes, thus supplying a complete view of Lamb’s career. The letters
have been placed with the rest of the correspondence, where also will be
found many hitherto unprinted and uncollected letters. The miscellaneous
pieces comprise many new articles in prose and verse, while a full Index to
the Life, Works, and Letters will be given at the end of the last volume.
“A very charming biography, as well as a subtle and candid criticism on
dear old Elia.”—Standard.
E. Moxon, Son, & Co., Dorset Buildings, Salisbury Square.

New Books and New Editions.

E. MOXON, SON, & CO.’S PUBLICATIONS.
By Express Permission of Her Most Gracious Majesty.
 Just Published, A Grand Work on the Royal Residence, Windsor
Castle.
WINDSOR CASTLE, Picturesque and Descriptive.
The Text by the late B. B. Woodward, B.A., F.S.A., Her Majesty’s
Librarian at Windsor. Containing Twenty-three Permanent Photographs,
Interior and Exterior Views, by the Heliotype Process. Large Folio, half
bound morocco, gilt edges, 105s.
Now Ready, a Complete Collection of
THE PROSE WORKS OF WILLIAM WORDSWORTH.
Edited by the Rev. Alexander B. Grosart.
⁂ Dedicated by Express Permission to Her Majesty, and, along with the
dedication, a Hitherto Unpublished Poem by Wordsworth, addressed to the
Queen on sending a gift copy of his Poems to the Royal Library, Windsor.
Three Vols., cloth, demy 8vo, 42s.
Now Ready, a New Edition of
EASTERN LIFE, Past and Present. By Harriet Martineau. With New Preface by the
Author, and Page Illustrations. Crown 8vo, 7s. 6d.

TENNYSON-DORÉ SERIES OF ILLUSTRATED BOOKS. With

Engravings on Steel from Drawings by Gustave Doré. In cloth gilt, gilt
edges.
The Idylls of the King. Thirty-seven Enid. Nine Engravings.
Engravings. In one magnificent folio Folio, 21s.
volume, 73s. 6d. Vivien. Nine
Elaine. Nine Engravings. Folio, 21s. Engravings. Folio, 21s.
Guinevere. Nine
Engravings. Folio, 21s.
⁂ Vivien and Guinevere bound in One Vol., 42s.

THE HOOD-DORE.
THOMAS HOOD. Illustrated by Gustave Doré. With Nine Engravings on
Steel, from Original Drawings by Gustave Doré, and many Woodcut
Illustrations, folio, cloth gilt, gilt edges, 21s.
 Just ready, the New and Only Complete Edition, in Ten Vols., crown 8vo, cloth gilt,
price 50s.; half calf, 70s.; half morocco, 70s.

The Complete Works of Thomas Hood, in Ten Volumes, containing all

the Writings of this Popular Author (“Hood’s Own,” First and Second
Series, Hood’s Comic and Serious Poems included), with all the Original
Illustrations by Cruikshank, Leech, &c.
⁂ This Edition contains also the Memorials of Thomas Hood, Edited by his Son and
Daughter.

Thomas Hood. Illustrated by Birket Foster. First Series. With

Engravings, 21s.
Thomas Hood. Again Illustrated by Birket Foster. Large 4to, cloth gilt,
gilt edges, 21s.
E. Moxon, Son, & Co., Dorset Buildings, Salisbury Square.

FOOTNOTES:
[1] Tarantula.
[2] The name of a well-known lion at that time in the Zoological Gardens.
[3] A word caught from some American Trader in passing.
[4] See the story of Sidi Nonman, in the “Arabian Nights.”
[5] Captain Kater, the moon’s surveyor.
[6] The doctor’s composition for a night-cap.
[7] “Since this poem was written, Doctor Ireland and those in authority under him
have reduced the fares. It is gratifying to the English people to know that while
butcher’s meat is rising tombs are falling.”—Note in Third Edition.
[8] The daughter of William Harvey, the artist.
[9] Solomon Eagle.
[10] The late favourite of the King’s Theatre, who left the pas seul of life, for a
perpetual Ball. Is not that her effigy now commonly borne about by the Italian image
vendors—an ethereal form holding a wreath with both hands above her head—and
her husband, in emblem, beneath her foot?
[11] Geysers:—the boiling springs in Iceland.
[12] Query, purly?—Printer’s Devil.
[13] This word is omitted in the later edition.
[14] The Adelphi.
[15] The name of the lion in the Zoological Gardens.
*** END OF THE PROJECT GUTENBERG EBOOK THE COMIC POEMS
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