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pitch to high or low with regular proportion. Many persons through want of skill and practice, when they read or speak in public, fall into one of the extremes. (pp. 82-3.)

Those who speak in a large room, or before a numerous assembly, sometimes appear to conclude that it is impossible they should be heard in their common pitch of voice, and therefore change it to a higher. Thus they confound two very distinct things, making high and low the same with loud and soft. Loud and soft in speaking only refers to the different degrees of force in the same key, whereas high and low imply a change of key. A man may speak louder or softer in the same key; when he speaks higher or lower, he changes his key. So that the business of every one is to proportion the force or loudness of voice to the room and number of his auditory, in its usual pitch. If it be larger than ordinary, he is to speak louder, not higher; in his usual key, not in a new one.

(p. 83.) In a large room or building, the speaker, after having looked round upon the assembly, should fix his eyes upon that part of the auditory which is furthest from him, and he will mechanically endeavour to pitch his voice so that it may reach them. (p. 87.)

In Elocution, the two great articles are force and grace ; the one has its foundation chiefly in nature, the other in art. When united, they mutually support each other ; when separated, their powers are very different. Nature can do much without art; art very little without nature. Nature affects the heart; art plays upon the fancy. Force of speaking will produce emotion and conviction ; grace only excites pleasure and admiration. (p. 121.)

The office of a public speaker is to instruct, to please and to move. If he does not instruct, his discourse is impertinent; if he does not please he will not have it in his power to instruct, for he will not gain attention ; and if he does not move, he will not please, for where there is no emotion there can be no pleasure. (p. 133.)

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