< previous  next > 

30

nt as to where the change in pitch would better be made.

Once the flowers distilled their fragrance here, but now see the devastations of war.

He had reckoned without one prime factor--his conscience.

7. Make a diagram of a conversation you have heard, showing where high and low pitches were used. Were these changes in pitch advisable? Why or why not?

8. Read the selections on pages 34, 35, 36, 37 and 38, paying careful attention to the changes in pitch. Reread, substituting low pitch for high, and vice versa.

Selections for Practise

Note: In the following selections, those passages that may best be delivered in a moderate pitch are printed in ordinary (roman) type. Those which may be rendered in a high pitch--do not make the mistake of raising the voice too high--are printed in italics. Those which might well be spoken in a low pitch are printed in CAPITALS.

These arrangements, however, are merely suggestive--we cannot make it strong enough that you must use your own judgment in interpreting a selection. Before doing so, however, it is well to practise these passages as they are marked.

Yes, all men labor. RUFUS CHOATE AND DANIEL WEBSTER labor, say the critics. But every man who reads of the labor question knows that it means the movement of the men that earn their living with their hands; THAT ARE EMPLOYED, AND PAID WAGES: are gathered under roofs of factories, sent out on farms, sent out on ships, gathered on the walls. In popular acceptation, the working class means the men that work with their hands, for wages, so many hours a day, employed by great capitalists; that work for everybody else. Why do we move for this class? "Why," asks a critic, "don't you move FOR ALL WORKINGMEN?" BECAUSE, WHILE DANIEL WEBSTER GETS FORTY THOUSAND DOLLARS FOR ARGUING THE MEXICAN CLAIMS, there is no need of anybody's moving for him. BECAUSE, WHILE RUFUS CHOATE GETS FIVE THOUSAND DOLLARS FOR MAKING ONE ARGUMENT TO A

 < previous  next >