a pitch be selected, there is danger of indistinctness of utterance; and
in either case there is less room for compass or variety of tone than if
one be taken between the two extremes.

To secure the proper pitch and the greatest compass observe the following
rule:

RULE XII.--The reader or speaker should choose that pitch in which he can
feel himself most at ease, and above and below which he may have most room
for variation.

REMARK 1.--Having chosen the proper keynote, he should beware of confining
himself to it. This constitutes monotony, one of the greatest faults in
elocution. One very important instrument for giving expression and life to
thought is thus lost, and the hearer soon becomes wearied and disgusted.

REMARK 2.--There is another fault of nearly equal magnitude, and of very
frequent occurrence. This consists in varying the pitch and force without
reference to the sense. A sentence is commenced with vehemence and in a
high key, and the voice gradually sinks until, the breath being spent, it
dies away in a whisper.

NOTE--The power of changing the key at will is difficult to acquire, but
of great importance.

REMARK 3.--The habit of singsong, so common in reading poetry, as it is a
variation of pitch without reference to the sense, is a species of the
fault above mentioned.

REMARK 4.--If the reader or speaker is guided by the sense, and if he