Under heaven all can see beauty as beauty only because there is ugliness. All can know good as good only because there is evil. Therefore having and not having arise together. Difficult and easy complement each other. Long and short contrast each other. High and low rest upon each other. Voice and sound harmonize each other. Front and back follow one another.
Neither of us knows what the public will think. There's no doubt in my mind that I have found out how to begin (at forty) to say something in my own voice; and that interests me so that I feel I can go ahead without praise.
I tend to enunciate pretty well. It's always seemed that my voice is one of those voices that people can recognize pretty easily - which has been a bit of a drawback for some characters because you're supposed to lose yourself in the character, but sometimes people look at a character and go "Oh, it's 'Weird Al.'"
Thou hast a voice, great Mountain, to repeal. Large codes of fraud and woe; not understood by all, but which the wise, and great, and good interpret, or make felt, or deeply feel.
The voices blend and fuse in clouded silence: silence that is infinite of space: and swiftly, silently the sound is wafted over regions of cycles of cycles of generations that have lived.
Often the losing of a battle leads to the winning of progress. Less glory but greater liberty: the drum is silent and the voices of reason can be heard.
Just as the orator marks his good things by a dramatic pause, or by raising and lowering his voice, or by gesture, so the writer marks his epigrams with italics, setting the little gem, so to speak, like a jeweler.