Speaking clearly. Improving voice and articulation: Фонетический практикум. Фомиченко Л.Г. - 87 стр.

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87
mortal man oh I’ll always be fond of you very fond indeed as a friend
but I’ll never marry you absolutely never and the sooner you believe
it the better for both of us so there. [Alcott «Little Women»]
c) The men in their bloody-minded rage were terrible as they
poured down into the streets but the women were a sight to chill the
boldest beating their breasts tearing their hair and screaming from
their children from their aged and sick crouching on the bare ground
famished and naked they ran with streaming hair urging one another
to madness Old Foulon has been captured seized alive Foulon who
told starving people that they could eat grass Foulon who told my old
starving father that he could eat grass Foulon who told my baby that
it might suck grass when these breasts were dry hear me my dead
baby and my withered father I swear on my knees to avenge you on
Foulon husbands brothers and young men give us the blood of Foulon
give us the heart of Foulon give us the body and soul of Foulon tear
Foulon to pieces drag him torn bruised bleeding screeching to the
lamppost stuff grass in his mouth and hang him then hack off his
head and put it on a pike. [Dickens «A Tale of Two Cities»]
PUTTING IT ALL TOGETHER
«Take care of the sense,» Lewis Carroll wrote, «and the sounds
will take care of themselves.»
As you work with the material, blend and weave together the
various elements that have to do with vocal expressiveness. Don’t get
hung up on devices! What is the general effect you’re trying to achieve?
Search for meaning and intelligibility. Search for various feelings and
moods. Above all, search for freshness and spontaneity.
L.V. Mayer Fundamentals of Voice and
Articulation: Eleventh Edition. Brown and
Benchmark Publishers, 1996. P. 235—240
                                                                      87
mortal man oh I’ll always be fond of you very fond indeed as a friend
but I’ll never marry you absolutely never and the sooner you believe
it the better for both of us so there. [Alcott «Little Women»]
      c) The men in their bloody-minded rage were terrible as they
poured down into the streets but the women were a sight to chill the
boldest beating their breasts tearing their hair and screaming from
their children from their aged and sick crouching on the bare ground
famished and naked they ran with streaming hair urging one another
to madness Old Foulon has been captured seized alive Foulon who
told starving people that they could eat grass Foulon who told my old
starving father that he could eat grass Foulon who told my baby that
it might suck grass when these breasts were dry hear me my dead
baby and my withered father I swear on my knees to avenge you on
Foulon husbands brothers and young men give us the blood of Foulon
give us the heart of Foulon give us the body and soul of Foulon tear
Foulon to pieces drag him torn bruised bleeding screeching to the
lamppost stuff grass in his mouth and hang him then hack off his
head and put it on a pike. [Dickens «A Tale of Two Cities»]

                 PUTTING IT ALL TOGETHER
       «Take care of the sense,» Lewis Carroll wrote, «and the sounds
will take care of themselves.»
       As you work with the material, blend and weave together the
various elements that have to do with vocal expressiveness. Don’t get
hung up on devices! What is the general effect you’re trying to achieve?
Search for meaning and intelligibility. Search for various feelings and
moods. Above all, search for freshness and spontaneity.
                               L.V. Mayer Fundamentals of Voice and
                            Articulation: Eleventh Edition. Brown and
                             Benchmark Publishers, 1996. P. 235—240

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