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Acquire a compass and variety in the height of your voice , THE monotony so
much complained of in public speakers , is chiefly owing to the neglect of this rule
. They generally content themselves with one certain key , which they employ on
structs us to relate a story , to support an argś . ment , to command a servant , to
utter exclamations of anger or ' rage , and to pour forth lamentations and sorrows
, not only with different tones , but different elevations of voice . Men at different ...
different parts of its are 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 ...
... those inflections and variations to the voice , which nature requires : and it is for
want of this previous study , more perhaps than from any other cause , that we so
ofton hear persons read with an improper emphasis , or with ELOCUTION.
EMPHASIS is often destroyed by an injudicious attempt to read melodiously .
Agreeable inflexions and easy variations of the voice , as far as they arise from ,
or are consistent with just speaking are deserving of attention . But to substitute
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This reader was initially published as a British reader, and then imported to America. According to Henry W. Simon, it was first published in America in Philadelphia in 1799. He was unaware of this second American printing. There is also another printing -- from New York in 1812 -- of which he too was unaware. Thus far, these are the only three American printings of which I am aware. In a visit to the Harvard archives, I noticed in their records that the Institute of 1770, an early literary society there, often read aloud from Enfield in their meetings in the 1770s and 1780s (though this would have been a British version of the text, not the American one depicted here).