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elocution. AIM at nothing higher, till you can read distinétly and deliberatly. - - -
1.EARN to speak slow, all other graces Will follow in their proper places.
suffer their words to drop from their lips with such a faint and feeble utterance, that they appear neither
IN order to acquire a forcible manner of pronouncing your words, inure yourself, while reading, to draw in as much air as your lungs can contain with ease, and to expel it with vehemence in uttering those sounds which require an emphatical pronun
- - .* - ciation ; read aloud in the open air, and with all the
Acquire a compass and variety in the height of your • WOICE,
- THE monotony so much complained of in public speakers, is chiefly owing to the neglećt of this rule.
They generally content themselves with one certain
key, which they employ on all occasions, and on
every subjećt; or if they attempt variety, it is only
in proportion to the number of their hearers, and the extent of the place in which they speak; imagining,
that speaking in a high key is the same thing as
fpeaking loud; and not observing, that whether a
speaker shall be heard or not, depends more upon
- t o the
the distiáàness and force with which he utters his - words, than upon the height at which he pitches his voice.
BUT it is an essential qualification of a good freaker, to be able to alter the height, as well as the strength and the tone of his voice, as occasion requires. Different species of speaking require different heights of voice. Nature instructs us to relate a story, to support an argument, to command a servant, to utter exclamation of anger or rage, and to pour forth lamentations and sorrows, not only with different tones, but different elevations of voice. Men at different ages of life, and in different situations, speak in very different keys. The vagrant, when he begs; the soldier, when he gives the word of command; the watchman when he announces the hour of the night; the sovereign, when he issues his edićt; the senator, when he harangues; the lover, when he whispers his tender tale; do not differ more in the tones which they use, than in the key in which they speak. Reading and speaking, therefore, in which all the variations of expression in real life are copied, must have continual variations in the height of the voice. s
to the highest notes you can command. Many of these would neither be proper nor agreeable in speaking; but the exercise will give you such a command of voice, as is scarcely to be acquired by any other method. Having repeated this experiment till you
IN the same composition there may be frequent occasion to alter the height of the voice, in passing from one part to another, without any change of person. Shakspeare’s “ All the World's a Stage,” &c. and his description of the Queen of the Fairies, afford examples of this. Indeed every sentence which is read or spoken, will admit of different elevations of the voice in different parts of it; and on this chiefly, perhaps entirely, depends the melody of pronunciation.
IT is not easy to fix upon any standard, by which the propriety of pronuciation is to be determined. Mere