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TRAINING OF THE VOICE 
 
 An Explanation of the Fundamentals of the Theory and 
 Practice of Voice Development, together 
 with adequate exercises 
 
 By 
 
 R. E. PATTISON KLINE 
 
 ■I 
 Dean Public Speaking Department, 
 Columbia College of Expression, Chicago 
 
 AMERICAN CORRESPONDENCE SCHOOL OF LAW 
 CHICAGO 
 

 Copyright, 1914 
 
 By 
 
 AMERICAN CORRESPONDENCE SCHOOL OF LAW 
 
 CHICAGO 
 
 h. 
 
 ..«,-. 
 
 FEB 20 1915 
 ©CU391811 
 
PREFACE. 
 
 Effort has been made to present in this 
 volume the explanation of the funda- 
 mentals of the theory and practice of voice 
 development, together with adequate ex- 
 ercises. 
 
 It is by no means contended that a 
 finished voice will result from following 
 the work planned herein. A simple and 
 clear statement of principles and exercises 
 has been attempted. It is believed that 
 the thoughtful student will find that a care- 
 ful, systematic study and practice of the 
 exercises will result in clue time in distinct 
 improvement of the voice. Results must 
 not be expected too rapidly. Voice 
 habits that have existed a number of years 
 will tend to persist. It must never be 
 expected, either, that improvement will 
 result if the practice is irregular and care- 
 less. Let the practice be regular and 
 
PKEFACE 
 
 undertaken with the keenest attention and 
 care, and results will follow. 
 
 At the beginning let the voice practice 
 period be no longer than fifteen minutes. 
 As the student advances this period may- 
 be lengthened to a half hour, and perhaps 
 occasionally, to an hour. 
 
 E. E. Pattison Kline. 
 
TABLE OF CONTENTS 
 
 CHAPTER PAGE 
 
 Introduction 5 
 
 Vocal Efficiency and Speech Effectiveness — 
 Good Voices Due to Training 
 
 L Conditions Affecting Tone Production 21 
 
 Adjustment of the Vocal Apparatus — Exer- 
 cises for Securing an Open Throat — Exer- 
 cise for Training the Tongue — Exercises 
 for Securing Position of Lips — Placing the 
 Voice — Exercises for Placement of Tone 
 
 II. Correct Breathing 33 
 
 Process of Health Breathing — Breathing for 
 Tone Production — Breathing Exercises, 
 Numbers 1 to 8 
 
 III. The Psychology of Tone Production 46 
 
 IV. Practice of the Voice Exercises 51 
 
 Phrases and Sentences for Practice, to Se- 
 cure Purity and Resonance 
 
 V. To Secure Distinct Articulation with Smooth- 
 ness of Utterance 55 
 
 VI. Short Exercises for Purity of Tone, Easy 
 
 Phrasing and Distinct Articulation 62 
 
 VII. Exercises to Secure Flexibility 67 
 
 VIII. Exercises for Fullness, Breadth and Power 
 
 of Tone 92 
 
 Index 117 
 
TRAINING OF THE VOICE 
 
 INTRODUCTION. 
 
 There seems to be in this day but very- 
 little realization of the relation that a well 
 trained voice sustains to successful public 
 speech. So few of our public speakers 
 today have trained voices that it seems 
 that one is justified in the conclusion that 
 they do not consider the training of the 
 voice as necessary to successful speech. 
 There are a few public speakers who are 
 known to have put no little time and train- 
 ing into the development of the speaking 
 voice. But the frequency with which the 
 voices of public speakers break down and 
 the lack of sweetness, beauty, flexibility, 
 and power in these same voices indicate 
 that there has been little training applied to ' 
 them. 
 
 And yet, it would seem that a little reflec- 
 tion upon the subject would show that one 
 cannot hope to produce the greatest and 
 
 5 
 
6 TRAINING OF THE VOICE 
 
 most effective results in speech except 
 as the voice is trained. The study of 
 the oratory of the great speakers of 
 past ages shows that many of them spent 
 much time in putting the voice under thor- 
 ough vocal discipline. 
 
 The voice is the most wonderful of 
 musical instruments. Just as all musical 
 instruments made by the brains and skill 
 of man are made according to certain well 
 known scientific laws, so the human mus- 
 ical instrument must have been made to 
 operate according to well known scientific 
 laws. Therefore, if the instrument fails 
 to operate according to established law it 
 will fail to produce the qualities of tone 
 desired. Environment, education, modes 
 of living, tend to a breaking of these laws, 
 and poor voices result. 
 
 When one considers the vast number of 
 ideas in the world, the great number of 
 feelings or emotions which the human race 
 is capable of experiencing, and further 
 that men communicate or attempt at least 
 to communicate these ideas and feelings, 
 one to another, it can readily be seen that 
 
TKAINING OF THE VOICE 7 
 
 there must be a very remarkable instrument 
 to perform this service for mankind. When 
 it is remembered further that these ideas 
 and emotions or passions are capable of 
 being experienced not only singly but 
 in great mixture or complexity, several 
 kinds being present in a given situation, 
 one must further be impressed with the 
 marvelous character of the instrument 
 that can convey all of this complexity. 
 And yet this, the perfect voice is capable 
 of doing. It is only an occasional voice 
 like that of a Mme. Bernhardt, or of a 
 Demosthenes or of a Wendell Phillips, 
 that proves the point. One of the more 
 important reasons for dramatic greatness 
 or oratorical greatness is to be found in 
 the fact of great vocal ability and excel- 
 lence. 
 
 VOCAL EFFICIENCY AND SPEECH 
 EFFECTIVENESS. 
 
 This brings us to the statement of a gen- 
 eral principle that is of significance. One 's 
 speech effectiveness, other things being fa- 
 vorable, is dependent very, very largely 
 
8 TRAINING OF THE VOICE 
 
 upon vocal efficiency. The impression 
 which a speaker makes upon his audience 
 is conditioned upon the ability of his voice 
 to put into vocal form that which he wishes 
 to say. 
 
 Dr. Hiram Corson, of Princeton Uni- 
 versity, says in a book which he has writ- 
 ten, that for the great poets, dramatists, 
 and orators, words do not stand for ideas. 
 Words stand for sounds, and the idea is 
 gained from the sound. Some thought will 
 prove that this statement is true. Every- 
 day experience shows that we gather the 
 meaning of conversation as much from the 
 tone in which the conversation is uttered 
 as from the words chosen. Again and 
 again a quality of tone in a speech has 
 made us believe that the speaker has meant 
 to convey just the opposite idea from that 
 which the words conveyed. Anyone can 
 determine this matter for himself. Select 
 any sentence desired, and determine a 
 meaning to be conveyed by the utterance of 
 the sentence. Upon speaking the sentence, 
 study carefully its vocal form. Now, 
 change the meaning of the sentence with- 
 
TRAINING OF THE VOICE V 
 
 out changing any of the words. Speak the 
 sentence and compare the vocal form with 
 that first uttered. Select another meaning 
 which these same words might express, 
 and speak them again, without changing a 
 single word in the sentence, and it will be 
 discovered that another very different 
 vocal form has resulted. It is evident, 
 then, that we gather the meaning of what 
 is said, as much, if not more, from the 
 sound of the speech as from the words in 
 which it is expressed. 
 
 It will be seen that this must be true 
 from another point of view. The ideas and 
 feelings which the human mind and soul 
 are capable of experiencing are manifold. 
 There must be a manifold number of sym- 
 bols by which these human relations may 
 be named and expressed. Therefore as 
 civilization advances the number of word 
 symbols rapidly increases. No two words 
 express the same shade of meaning, there- 
 fore, an agent that is to be adequate for 
 this task must be able to respond differ- 
 ently for every word symbol or phrase 
 symbol which the person may use. 
 
10 TRAINING OF THE VOICE 
 
 This is the task that is put upon the 
 voice. If it is to convey ideas and emo- 
 tions perfectly it must be able to respond 
 differently every time the expression to 
 be uttered differs. When, then, the per- 
 sonality is under the influence of a complex 
 flow of ideas and emotions, it will be seen 
 that the voice must be a very efficient or- 
 gan if it is to express this complexity to 
 those who are to hear. 
 
 The various qualities which the voice 
 lias at its command for expressing thought 
 and feeling have been somewhat explained. 
 They are pitch movement, time rate, pu- 
 rity or impurity of tone, volume, reso- 
 nance, broad, full, narrow tones, and color. 
 
 In the matter of pitch it is found that 
 the voice is capable of producing from 
 twelve to twenty pitches according to the 
 musical scale. But between the fixed 
 pitches of the musical scale there are many 
 pitches which the voice is capable of pro- 
 ducing. These finer shades of pitch the 
 speaking voice, when well developed, is 
 continually using, although the singing 
 voice uses, seldom, any but those indicated 
 
TRAINING OF THE VOICE 11 
 
 on the musical scale. If the voice is ca- 
 pable of using but eight or ten or twelve 
 pitches when it might use the full musical 
 range of sixteen to twenty after careful 
 training, it is patent that such a voice is 
 inefficient. There will come thoughts that 
 will demand for their expression a higher 
 pitch or a lower pitch, or a finer shade of 
 pitch, than the voice is capable of produc- 
 ing. This means that in speech such a 
 voice will express much less effectively 
 than it would with an increased number of 
 pitches. Great flexibility of voice is to be 
 sought earnestly so that this agent of ex- 
 pression may tell all that ought to be told. 
 Turn to any one of the poems in Chapter 
 VII. Bead it through several times 
 thoughtfully and it will be evident that 
 great variety of pitch will be necessary to 
 an adequate and really effective vocal 
 reading of the poem. 
 
 Differences of ideas are also expressed 
 through varying time rate. One thought 
 will demand a much greater rapidity of 
 utterance than will another. Study the 
 movement of these lines : 
 
12 TRAINING OF THE VOICE 
 
 Haste thee, nymph, and bring with thee 
 Jest and youthful Jollity, 
 Quips, and cranks, and wanton wiles, 
 Nods, and becks and wreathed smiles, 
 Such as hang on Hebe's cheek, 
 And love to live in dimple sleek; 
 Sport that wrinkled Care derides 
 And Laughter holding both his sides. 
 Come, and trip it as you go 
 On the light fantastic toe. 
 
 It will be observed that this bit of 
 poetry has a most delightfully tripping 
 movement in it, imitating the light, grace- 
 ful, tripping movement of the feet in 
 dancing. Successful vocal expression de- 
 mands great flexibility of voice to secure 
 the rapid changes of pitch demanded, and 
 also fine flexibility of the agents of articu- 
 lation, — tongue, lips, etc. If neither the 
 voice nor the articulatory agents can move 
 with the fine ease and rapidity needed, 
 that is, if they are inefficient, then it fol- 
 lows that the speaker fails in securing as 
 effective oral reading of the poem as it 
 is the right of poetry to have. For this 
 
TRAINING OF THE VOICE 13 
 
 matter of time rate compare the rate of 
 utterance demanded in the reading of 
 Edgar Allan Poe's "The Bells,' ' and 
 " Thanatopsis, ' ' by William Cullen Bry- 
 ant, both in Chapter VII. 
 
 A pure tone is one in which there is no 
 breathiness. A tone which is breathy has 
 in it somewhat of the quality of a whis- 
 per. Scientifically speaking, a breathy 
 tone is one in which part of the air passes 
 the vocal cords without being vocalized. 
 Many kinds of emotion demand a breathy 
 tone if there is to be true expression. 
 Fear, hate, distrust, and others belong to 
 this class. By far the greater portion of 
 speech, however, demands purity of tone. 
 Select any poem from the voice selections, 
 or any of the speeches in the book of Prac- 
 tice Selections, and read them aloud two 
 or three times, increasing the breathiness 
 of the tone each time, and it will be seen 
 how greatly the effectiveness of the speak- 
 ing is marred by the breathy quality. A 
 voice that is habitually breathy cannot 
 hope, then, to be as expressive as one that 
 is thoroughly pure, tonally. 
 
14 TRAINING OF THE VOICE 
 
 It is not necessary to dwell to any ex- 
 tent upon the differing degrees of volume 
 necessary to adequate expressiveness of 
 voice. This one observation needs to be 
 made, perhaps. Many find it difficult to 
 use large volume without injury to the 
 vocal apparatus. The voice breaks down 
 under its continued use. Many men en- 
 tering public life have found this true, to 
 their sorrow. Then again, without train- 
 ing, few find themselves able to use very 
 small volumes of tone which must be used 
 in the finer, sweeter and tenderer types of 
 speech, without the loss of purity of tone. 
 The loss of purity means that many w T ill 
 not hear the speech, for the impure tones 
 do not carry well; and means, further, 
 that the expression suffers, for many 
 types of speech cannot be adequately 
 expressed by the whispered or the breathy 
 tone. 
 
 The voice must be capable, also, of using 
 either round, full tones, or narrow ones 
 according to the nature of the thought or 
 feeling to be conveyed. Compare the fol- 
 lowing excerpts: 
 
TRAINING OF THE VOICE 15 
 
 "The ocean old, 
 Centuries old, 
 Strong as youth, and as uncontrolled, 
 Paced restless to and fro, 
 Up and down the sands of gold." 
 
 "I hate him, for he is a Christian." 
 
 It will be realized at once that the first 
 quotation will demand far fuller, broader, 
 rounder tones for its expression than does 
 the second. An attempt to speak the sec- 
 ond with the same qualities of tones used 
 in the utterance of the first, or vice versa, 
 establishes the principle. An accomplished 
 voice must be able to respond immedi- 
 ately with such size of tone as the thought 
 may require. 
 
 Color of tone is a term used to describe 
 a practically indefinable quality of the 
 human voice. It is a characteristic which 
 is ever changing, in the well trained 
 voice, with every shade of thought 
 and emotion. Color is that quality of 
 voice which assists the hearer in determin- 
 ing the emotional mood of the speaker. 
 
16 TRAINING OF THE VOICE 
 
 All recognize the tone of love, of tender- 
 ness, of sympathy, of fear, of pain. Each 
 emotion produces a different quality in the 
 voice aside from pitch and size. It uncon- 
 sciously comes into the tone; we never 
 plan to call it into being. But this is to be 
 said, that the more perfectly the vocal in- 
 strument is trained, the more finely, in- 
 stantly and fully does the color of the tone 
 manifest itself, thus greatly adding to the 
 effectiveness of the utterance. 
 
 It appears clear, then, that effectiveness 
 of speech is very dependent upon vocal 
 efficiency. 
 
 GOOD VOICES DUE TO TRAINING. 
 
 Frequently it has been asked, "But is 
 not a remarkable voice born rather than 
 made?" The reply always is that while 
 perhaps the most remarkable voices are 
 born and not made, yet even they are after 
 a manner made, for without the discipline 
 and the training which they have all passed 
 through they would never have appeared 
 to the world as remarkable voices. It is the 
 author's privilege to observe and judge on 
 
TRAINING OF THE VOICE 17 
 
 the average of close to three hundred voices 
 every year and it is his conviction that while 
 perhaps natively wonderful voices may be 
 rare, really excellent native voices are com- 
 mon. The point is not that good voices are 
 rare, but that few voices are used correctly, 
 and being used incorrectly they appear to 
 be poor, or even very bad voices. Experi- 
 ence shows again and again that that voice 
 which appears at first hearing as very, very 
 poor is really a very excellent voice after it 
 has been brought into correct use through 
 proper training and discipline. 
 
 Again it may be said that one cannot 
 train a voice by means of the printed text, 
 and the author agrees that this is true, 
 but it is believed true also that the printed 
 page may state much and give such ex- 
 ercises as will be of decided benefit to 
 the earnest student. While through the 
 printed lesson it may be impossible 
 to give to the human voice the highest 
 training, it is possible through this means 
 to make the voice a much better instrument 
 for the expression of ideas and feelings 
 and purposes than it now is. Therefore, 
 
18 TRAINING OF THE VOICE 
 
 acting upon this conviction the author 
 has no hesitancy in putting before the stu- 
 dent in the following pages some sugges- 
 tions which he believes the student may 
 apply with pretty fair success. 
 
 Let this thought be ever before the stu- 
 dent, however, that two points must always 
 be borne in mind. If the voice is to be 
 really trained there must be first, careful, 
 persistent, and regular practice; second, 
 results must not be expected in too short 
 a time. If the voice is as wonderful an in- 
 strument as has been contended, and no 
 thinking individual will gainsay the conten- 
 tion, then it must be agreed at once that to 
 train so wonderful an instrument is not a 
 matter of a few days or even a few weeks. 
 But let it be observed further that while it 
 may take a long time to bring this instru- 
 ment to a high state of perfection, yet 
 acceptable, practical results may be con- 
 fidently expected within the comparatively 
 short time of a few months if earnest, per- 
 sistent and regular practice is held to. 
 
 Let there be ever before the mind of the 
 
TKAINING OF THE VOICE 19 
 
 student the idea that tone production is a 
 scientific process in its final analysis, and, 
 therefore, if we know the science governing 
 tone production and will put the voice un- 
 der the correct training — the correct scien- 
 tific training — results may be just as scien- 
 tifically guaranteed as will be found to be 
 true in any other field of science, such as 
 mechanics, physics, or chemistry. This is 
 exactly the case. A high grade piano or 
 violin or other musical instrument is high 
 grade because the laws governing the 
 building of that instrument have first been 
 thoroughly understood, and, second, thor- 
 oughly obeyed. In the same manner the 
 voice is a scientific instrument and the re- 
 sult of its operation will be high grade or 
 otherwise in the direct degree as the scien- 
 tific operation of the instrument has been 
 observed. 
 
 These scientific laws of vocal operation 
 are well understood and, therefore, there 
 need be but the understanding of them by 
 the student and the proper practice to bring 
 results that will be satisfactory at least. 
 
 Let there be considered next the qualities 
 
20 TRAINING OF THE VOICE 
 
 that one would expect to find in a normally 
 excellent voice. There will be present in 
 this voice, first, purity of tone; second, a 
 fair degree of musical quality; third, flexi- 
 bility, and, fourth, a working amount of 
 power or volume. The majority of voices 
 are decidedly lacking in all of these charac- 
 teristics just mentioned. Voices instead of 
 being pure are breathy, instead of being 
 musical or resonant are hard, rasping, 
 piercing, dull, and gruff in quality. In- 
 stead of being flexible they are slow and 
 heavy in movement, and while occasionally 
 voices of power or volume are heard, in the 
 main they are inadequate to the size of the 
 audience and the room. 
 
 It is thoroughly believed that, if the ex- 
 ercises appended to the discussion which 
 follows are faithfully and persistently 
 practiced, the qualities of purity, resonance 
 or musical quality, flexibility and power will 
 be sure to follow. 
 
CHAPTER I. 
 
 CONDITIONS AFFECTING TONE 
 PRODUCTION. 
 
 There are several conditions that must 
 be established if the best results are to be 
 obtained. There must be first a perfectly 
 free, easy, and unrestrained action of the 
 entire vocal apparatus. Tone production 
 must be a thoroughly easy operation. All 
 vocal faults can be traced almost invari- 
 ably either to the fault of vocal effort or 
 to an incorrect adjustment of the vocal ap- 
 paratus. Even though the voice is used in 
 a completely free manner, if there is an in- 
 correct adjustment of the vocal machinery, 
 if this term may be used, there will not 
 follow the best voice results. 
 
 ADJUSTMENT OF THE VOCAL 
 APPARATUS. 
 
 The following may be taken as the cor- 
 rect adjustment of the tone-producing ap- 
 
 21 
 
22 TEAINING OF THE VOICE 
 
 paratus: first, a relaxed, open, and still 
 throat; second, the jaw dropped comfort- 
 ably low and held in this position without 
 any rigidity or straining, the tongue flat in 
 the mouth, the tip of the tongue resting 
 gently against the lower teeth, and the lips 
 rounded into a position similar to the capi- 
 tal "0." 
 
 EXERCISES FOR SECURING AN 
 OPEN THROAT. 
 
 Two exercises are suggested for secur- 
 ing the open, relaxed throat. When one 
 indulges in an easy and gentle yawn there 
 is immediately brought about that position 
 of the throat, and generally also of the 
 mouth, which is the correct position for 
 tone production. Frequent attention to 
 this yawning process will soon teach one 
 the physical sensation of an open, relaxed 
 throat. One may next, by pretending that 
 he has a desire to yawn gently, bring 
 about in the throat the same free, open 
 position. 
 
TKAINING OF THE VOICE 23 
 
 Another exercise may be taken to help 
 secure the open throat. Imagine there 
 is a glass of water in the hand. Gently 
 raise it to the lips as in the act of preparing 
 to drink. If this is done easily and re- 
 laxedly, it also will produce that state of 
 open throat which is not only to be desired, 
 but absolutely essential. It will be seen 
 at once that in practicing this yawning ex- 
 ercise or that of drinking, there is a drop- 
 ping of the jaw. In many cases this move- 
 ment will be rather stiff and there will 
 not be as much of the dropping or lowering 
 of the jaw as there should be. For an ade- 
 quate tone production of nearly all vowels 
 there ought to be the distance of at least 
 two fingers between the teeth. It may be 
 found necessary to massage the muscles 
 around the jaw joints and underneath the 
 jaw if this organ is to drop as easily as it 
 should and be held as relaxed as is neces- 
 sary. It may be necessary to loosen 
 and free through manipulation all of the 
 muscles of the throat, or rather the neck, 
 both in front and back. 
 
 The next step is to see that this position 
 
2i TRAINING OF THE VOICE 
 
 is maintained during the speech. Let it 
 be observed that no matter what move- 
 ments the tip of the tongue and the lips 
 may take the throat position is to remain 
 uniformly the same throughout all types 
 of articulation and pronunciation. 
 
 EXERCISE FOR TRAINING THE 
 TONGUE. 
 
 To assist in training the tongue to its 
 proper position use the following exercises. 
 Let the mouth be easily closed without the 
 lower teeth touching the upper. In all prob- 
 ability in this position the tongue is lying 
 in its normal position, namely flat in the 
 mouth, the tip of the tongue resting within 
 the lower teeth — not over the upper edge 
 of the teeth, but gently against the inner 
 side. Easily and rather quickly, without 
 jerking, drop the jaw, seeing that in the 
 action the tongue does not move from its 
 position. Frequent practice of this exercise 
 will enable the speaker to drop the jaw for 
 any mode of speech without the tongue mov- 
 ing from its place except, of course, when 
 
TEAINING OF THE VOICE 25 
 
 it may be needed for making one of its own 
 consonants, 1, t, d, s, and others. 
 
 EXERCISES FOR SECURING POSI- 
 TION OF LIPS. 
 
 It will be found that in many, many cases 
 the lips will not readily take the position 
 desired. They will be held too flat against 
 the teeth. The corners of the mouth will 
 tend to draw tightly backward. In such 
 cases it would be wise to use the fingers 
 to draw the corners of the mouth toward 
 the centre until the lips are puckered 
 much. Frequent resort to this exercise 
 will soon produce the loosening of the 
 lip muscles until they will pretty read- 
 ily upon demand take the position of 
 the capital 0. But it must be ob- 
 served further that in this position, the 
 capital 0, the lips gently flare outward. 
 The puckering of the lips for whistling or 
 the formation of the lips in pronouncing 
 very definitely the letter "w," will give 
 the proper position in the start of vowel 
 production. This, and the following ex- 
 
26 TRAINING OF THE VOICE 
 
 ercises are to be taken without the use of 
 the voice, or even a whisper. 
 
 As a further training of the lip position 
 use the syllable "wo," then "waw," then 
 "wah" (the sound of "a" as in father) 
 and repeat each syllable rapidly in a series 
 of six or eight repetitions. Let this be done 
 first without voice, using the looking glass 
 to see that there is a puckering of the lips 
 toward the center and that in opening into 
 the vowel, the capital of the mouth is 
 secured, lips are flared gently, and the cor- 
 ners of the mouth kept gently from draw- 
 ing back. After these vowels have been 
 mastered, the remaining vowels of the 
 alphabet may be practiced in the same 
 manner, keeping the lip position always 
 the same. The science of language shows 
 that one vowel is different from another 
 not by reason of any difference of lip for- 
 mation, but by reason of the difference of 
 tongue position ; so while there may be some 
 difference in the size of the opening in the 
 various vowels, there should be no real 
 difference in the shape of that opening. 
 One will need to continue his practice of 
 
TRAINING OF THE VOICE 27 
 
 dropping the jaw until it can be done, 
 without a particle of effort, to the extent of 
 putting three fingers between the teeth. 
 This extreme opening may not be necessary 
 often, but when it is necessary one will wish 
 to be able to do it without effort, thus secur- 
 ing the best tone results. 
 
 PLACING THE VOICE. 
 
 The third requisite of correct tone pro- 
 duction is the proper " placing' J of the 
 voice, as it is called. Scientifically this may 
 be rather difficult to explain, but prac- 
 tically it is simple. Every musical tone is 
 made up of what we may call the raw tone 
 which is acted upon by certain surfaces 
 and the air and converted into a beautiful 
 musical tone. The raw tone of the voice is 
 made in the larynx by the vibration of the 
 air by the vocal cords. This vibrated air 
 then is acted upon by the air in the chest, 
 the throat, the mouth, the nasal and the 
 frontal cavities, and made into a stronger 
 and more beautiful tone. The last things to 
 affect the human tone are the lips and, 
 
28 TKAINING OF THE VOICE 
 
 therefore, we say all finished tone is to be 
 placed at the lips. In the great majority 
 of voices the centre of the finished tone is 
 anywhere from the teeth back to the lar- 
 ynx. And so our processes of training will 
 assist us in bringing the finished tone to 
 the lips. 
 
 EXERCISES FOR PLACEMENT 
 OF TONE. 
 
 Under the heading, " Exercises for Se- 
 curing Position of the Lips," there were 
 given a small group of exercises. These 
 may be made the basis of the work in tone- 
 placing. The end desired is that of bring- 
 ing the finished tone forward, as it is 
 called, until it is localized or focused at 
 the lips. The physical sensation will be 
 this, that the tone seems to be created at 
 and proceed from the lips. The tone will 
 appear to be entirely separated from the 
 vocal cords, which would naturally be the 
 point, it would seem, at which the tone 
 ought to be localized. 
 
 Any physical sensation, during tone 
 production, at any point in the throat is 
 
TRAINING OF THE VOICE 
 
 29 
 
 proof that the process of making the tone 
 is wrong. It is desired to relieve the 
 throat, and especially the vocal cords, 
 from all effort, tension, rigidity and forc- 
 ing. Physical sensation in the throat 
 while tone is being made indicates effort, 
 forcing, or some kind of activity that ought 
 not to be present. Such unwarranted ac- 
 tivity will mean interference with the cor- 
 rect vocal action, and a subsequent poorer 
 tone. If continued, there may follow 
 permanent injury to the vocal cords. 
 What is known as the public speaker 's and 
 clergyman's sore throat is caused by this 
 forcing of the vocal process. Of all cau- 
 tions to remember, the most important is, 
 that vocal production, whatever the vol- 
 ume, must be perfectly free and easy. 
 
 It is essential, therefore, that the voice 
 user learn to localize the voice at some 
 other point than at the vocal cords. Ex- 
 perience has shown that this other point 
 is at the edge of the lips. Since also the 
 position of the lips affects the quality of 
 the tone, this is found to be another reason 
 for placing the voice at the lips. 
 
30 TRAINING OF THE VOICE 
 
 Having mastered the exercises in the 
 preceding section given for securing the 
 rounded, gently puckered lip position, be- 
 gin to use the same exercises for placing 
 the tone at the lips. In the first use of the 
 syllables there was to be no voice or whis- 
 pered quality. The exercise was physical, 
 pure and simple. Now use the voice. 
 
 Take the first syllable, "wo." Use it 
 three times in succession, "wo-wo-wo," 
 seeing that the tone flow is continuous. 
 Use the looking glass to see that the lips 
 round well, that they pucker slightly, and 
 that the corners of the mouth are not 
 drawn back. Keep the corners of the 
 mouth as still as possible, without stiff- 
 ness, at all times. As each syllable is 
 spoken let the voice use the rising inflec- 
 tion, the pitch in general being that which 
 would be used in ordinary conversa- 
 tion. The rising inflection is that which 
 is used in a question. Ask the question, 
 "Who?" as if asking for the repetition of 
 a name, in the usual pitches and there will 
 be secured the typical rising inflection. 
 
 In this same manner follow the prac- 
 
TRAINING OF THE VOICE 31 
 
 tice of "wo" with "waw," "wah," 
 "wou," in "wound," and "woi," as in 
 " voice." During the use of the syllables 
 in this manner, the student is continually 
 to think the tone at the lips. He is to be- 
 lieve that the mind, and not the throat nor 
 the vocal cords, is making the tone. Lo- 
 calize, that is, place, the tone at the lips. 
 As the mind grows in its power to concen- 
 trate upon this point the results will ap- 
 pear more rapidly. 
 
 Having mastered the vowels already 
 given, proceed to the practice of all the 
 other vowel qualities in the same manner. 
 The student will soon learn when the ex- 
 ercise has been mastered, for there will 
 come to him a physical sensation that the 
 tone actually dwells at the lips. 
 
 Having mastered all the vowels with the 
 use of the rising inflection, continue the 
 practice by mastering the same vowels 
 with the falling inflection. The falling in- 
 flection is used in a statement, in an asser- 
 tion. "I am well." In speaking this sen- 
 tence the voice will use the falling inflec- 
 tion upon "well." Use the same inflection 
 
32 TRAINING OF THE VOICE 
 
 in practicing the vowel work of the new 
 series. 
 
 When the student thinks he has accom- 
 plished the work thus set forth fairly well, 
 he may continue the practice for placement 
 by taking some of the sentences, the 
 shorter ones first, and practicing them 
 with the idea of localizing the tones at the 
 lips. In this new work there is to be given 
 no thought concerning the inflections. 
 Compel the brain to recognize the thought, 
 and to create the thought as the voice 
 speaks the sentence, but as before use the 
 looking glass to see that the lips are form- 
 ing the mould correctly, and also see that 
 the mind is thinking the tones at the lips. 
 Daily practice of this work will in due 
 time bring about an instinctive placement 
 of the tone at the proper point. 
 
 After the sentences have been practiced 
 sufficiently, the student may use an entire 
 stanza or paragraph. After a while a 
 habit is formed of continually giving some 
 attention to this matter. 
 
CHAPTER II. 
 
 CORRECT BREATHING. 
 
 The last consideration that must be 
 brought out in connection with correct tone 
 production is the matter of breathing. 
 Great confusion has existed in the minds 
 of many concerning the true method of 
 breathing for tone production, but it may 
 be confidently asserted that among the best 
 teachers of both the singing and the speak- 
 ing voice the general agreement is that the 
 proper method of breathing established by 
 nature for health is identically the same 
 method for tone production, and anat- 
 omists and physiologists have called this 
 system of breathing the diaphragmatic. 
 
 This mode of breathing is called the dia- 
 phragmatic from the fact that the center 
 of its control is established in the dia- 
 phragm. The diaphragm is a large muscle 
 dividing the thorax, or upper cavity, of the 
 
 33 
 
34 TRAINING OF THE VOICE 
 
 body from the abdominal cavity. At rest 
 it resembles an inverted basin. The cir- 
 cumference of the diaphragm is attached 
 to the inner wall of the body. Its location 
 may easily be ascertained by placing the 
 hand over the soft spot a few inches di- 
 rectly below the breast bone. If the hand 
 is placed over the pit of the stomach, it 
 would be in proper position to note the ac- 
 tion of the diaphragm in the breathing 
 process. 
 
 PROCESS OF HEALTH BREATHING. 
 
 This process is as follows: It was said 
 that the diaphragm at rest and relaxed is 
 like an inverted basin. "When an inhalation 
 of breath is made, this large muscle begins 
 to flatten itself and in so doing presses for- 
 ward the edge of the diaphragm at its point 
 of contact with the wall of the body. As a 
 natural consequence there is an expansion 
 of the wall of the body — an expansion 
 which is readily felt if the palm is placed at 
 the point indicated above. This expansion 
 ©f the wall of the body begins at the very 
 
TRAINING OF THE VOICE 35 
 
 instant of inhalation directly in the centre 
 of the front wall. The expansion continues 
 until the entire circumference of the body 
 has participated in it, but it will be observed 
 in tracing the expansion from the front to 
 the backbone that the amount of expansion 
 decreases the nearer the backbone is 
 approached. This is due to the fact that 
 from the sides to the backbone the attach- 
 ment of the diaphragm to the wall of the 
 body shows the presence of more of muscle 
 and of cartilage. At the very back there is 
 the backbone with all of its muscles and ten- 
 dons. At the front wall of the body there 
 is very little of the accompanying muscle 
 or cartilage, and as the floating or lower 
 ribs are unattached to the breast bone, this 
 provides for the possibility of very great 
 expansion of the wall of the body in the 
 front. 
 
 Accompanying this expansion at the cir- 
 cumference of the diaphragm there will 
 also be an expansion of the entire chest be- 
 ginning at the diaphragm and passing up- 
 ward. It will be noted, and carefully noted, 
 that there must be no upward movement of 
 
36 TRAINING OF THE VOICE 
 
 the chest. The law is that the chest is to 
 be held high and free and flexible in the full- 
 est inhalation of breath. When the lungs 
 are expanded to their capacity there will be 
 practically no raising of the chest wall if 
 it is held normally high. 
 
 This is what is meant properly by the 
 term deep breathing : Beginning at the dia- 
 phragm there is an expansion of the entire 
 torso, reaching to the chest. In the exhala- 
 tion there is a gradual receding of the ex- 
 pansion that has been secured. The center 
 of the receding movement, however, is the 
 same as the center of the expansive move- 
 ment, namely, the diaphragm. In both in- 
 halation and exhalation the diaphragm is 
 the governing agent and it needs to be 
 brought under such intelligent control of 
 the mind and will that the supply of air 
 given to the vocal cords will be properly 
 conditioned to the particular type of speech 
 involved. 
 
 One further point needs to be made if 
 the voice is to create volume with safety 
 to the vocal cords and with the preservation 
 of a pleasing quality, and if it is to stand 
 
TRAINING OF THE VOICE 37 
 
 the strain of a long period of speaking. It 
 must have what is called support. As has 
 been said the diaphragm is the muscle con- 
 trolling the entire breathing situation, but 
 it is not alone in that control. It in turn is 
 aided by other muscles. Directly under the 
 diaphragm, at its front circumference, are 
 two sets of muscles attached to both the 
 diaphragm and the wall of the body. These 
 muscles are called the transversalis and 
 obliqui muscles. 
 
 These are the supporting muscles, acting 
 according to the degree of power and 
 steadiness needed by the voice. The dia- 
 phragm contracts or strengthens itself 
 without rigjdity, and immediately begins to 
 press down upon the transversalis and 
 obliqui muscles, which in turn contract and 
 strengthen themselves and begin to press 
 up, thus affording a support to the dia- 
 phragm. 
 
 BREATHING FOR TONE PRODUC- 
 TION. 
 
 This, then, is the process of breathing for 
 tone production : 
 
38 TRAINING OF THE VOICE 
 
 "When there is a desire to speak an inhal- 
 ation of breath is made, and the diaphragm 
 contracting flattens itself, bringing about 
 an expansion of the wall of the body ac- 
 cording to the amount of air inhaled. This 
 expansion continues upward from the dia- 
 phragmatic region to the chest. When the 
 desired amount of air is secured the exhala- 
 tion does not begin immediately as in health 
 breathing. The diaphragm stops its con- 
 tracting and downward movement, and 
 practically speaking, holds itself still in 
 that position, at the same instant the sup- 
 porting muscles, the transversalis and 
 obliqui, directly under the diaphragm con- 
 tract themselves permitting the strong dia- 
 phragm to rest upon them, and then, they 
 gently or more vigorously, and slowly or 
 more rapidly, force the diaphragm up. 
 This action whereby the diaphragm, slowly 
 or rapidly, easily or vigorously, is forced 
 up is the mode whereby the breath is sup- 
 plied to the vocal apparatus for the produc- 
 tion of the tone or speech. 
 
BREATHING EXERCISES. 
 NO. 1. 
 
 Stand with the back to the wall touching 
 the wall at every point possible from the 
 back of the head to the heels. See that the 
 chest is held high, that the shoulder blades 
 touch the wall. If this condition is brought 
 about the abdominal w T all will recede and 
 become fiat. The higher the chest is held, 
 the flatter the abdominal wall will become. 
 Let hands hang easily, relaxedly at the 
 sides. Now place palm of one hand over the 
 stomach directly below the breast bone, the 
 soft spot which is easily discovered ; exhale 
 all the air possible, seeing that there is no 
 sinking or lowering of the chest wall, but at 
 the same time that there is an inward move- 
 ment of the wall of the body under the palm. 
 
 Now begin an inhalation easily and 
 smoothly, seeing that the expansion of the 
 body begins directly underneath the palm 
 below the breast bone. If the expansion 
 
 39 
 
40 TRAINING OF THE VOICE 
 
 does not begin there, keep persistently at 
 the practice until it does begin there, be- 
 cause there can be no proper breathing 
 method that does not have its beginning 
 with the diaphragm ; and this will be indi- 
 cated by the expansion of the circumference 
 as already explained. 
 
 When it is sure that there is this 
 beginning of the expansion at the point 
 indicated, it will need to be noted next 
 that in exhalation the wall of the body 
 recedes. 
 
 When this habit of expansion and con- 
 traction has been thoroughly established 
 with a very medium supply of air, continue 
 the practice until there has been brought 
 about the expansion of the whole upper 
 torso. It must be observed, however, that 
 in the completest inhalation there is no 
 upward movement of the chest wall, and in 
 the exhalation no sinking of the chest wall. 
 It must be further observed that when the 
 lungs have filled to their capacity there is 
 brought about no stiffness or rigidity of 
 the muscles of the chest, or neck, or sides. 
 See that in all of this inhalation and exhala- 
 
TRAINING OF THE VOICE 41 
 
 tion the movement is smooth, steady ami 
 controlled. 
 
 NO. 2. 
 Take the standing position indicated in 
 exercise one, away from the wall, however, 
 and with the weight of the body poised 
 gently forward on the balls of the feet. 
 Inhale, noting by test of the hand, that 
 there is the proper expansion at the proper 
 point. Taking but a normal breath in this 
 inhalation, do not permit the exhalation 
 to begin at once. Hold the breath for a f ew 
 seconds, seeing that the breath is held by 
 preventing the diaphragm from receding 
 and not by stiffening and tightening the 
 muscles in the throat. Care must be taken 
 at this point to free the throat from any 
 inclination to retain the breath. Let it be 
 remembered always, at all times, there 
 must be the open, relaxed, and still throat. 
 Now noting that the diaphragm has not re- 
 ceded and thus has prevented any breath 
 from being exhaled, see how slowly you can 
 permit the breath to be exhaled by a 
 smooth, steady, relaxation of the dia- 
 phragm. 
 
42 TRAINING OF THE VOICE 
 
 NO. 3. 
 
 After securing position take a nor- 
 mally large breath. Hold a moment at the 
 diaphragmatic center, exhale part of the 
 air, hold again with the diaphragm, exhale 
 again, hold again, then exhale the re- 
 mainder of air not suddenly, but smoothly, 
 and controlledly. Continue this exercise 
 until a fairly large inhalation is exhaled 
 with at least five controlled interruptions. 
 
 NO. 4. 
 
 Take your position, inhale a somewhat 
 more than ordinary amount of air and let 
 the air be expelled this time slowly and 
 steadily in the following manner: Pucker 
 the lips until there is a very small opening 
 and press the air through that opening 
 with some little force seeing that that force 
 is supplied at the diaphragmatic center and 
 not by any muscles in the throat. 
 
 NO. 5. 
 
 Correct standing position, inhale, hold 
 the diaphragm, pucker the lips, expel the 
 air in three short puffs as if you were blow- 
 
TRAINING OF THE VOICE 43 
 
 ing out a candle. See that the power for 
 this expulsion of air comes from the dia- 
 phragm assisted by the supporting muscles 
 and not by the throat. 
 
 NO. 6. 
 
 Proper position, inhale, hold, press the 
 air out now rather rapidly through the 
 puckered position in one continuous stream. 
 
 NO. 7. 
 
 Correct position, inhale fully, pucker the 
 lips, expel the air very forcefully in three 
 to five expulsions. 
 
 NO. 8. 
 
 Take the preceding exercises indicated 
 with the puckered lips in the same man- 
 ner except that now the mouth position 
 should be that of a gentle yawn, the teeth 
 separated the distance of between two and 
 three fingers. These exercises if persist- 
 ently practiced will establish a proper con- 
 trol of the air column for speech. 
 
 Exercise, perhaps, ought to be given as 
 a means of strengthening the diaphragm. 
 
44 TKAHsTING OF THE VOICE 
 
 Assume the correct standing position, 
 place the hand over the diaphragm and 
 without any inhalation of air, by means of 
 a sudden contraction of the diaphragm 
 press the hand away. Relax immediately. 
 Do this a number of times until you have 
 a complete will control of the diaphragm. 
 
 Next press the diaphragm down and out 
 as in the preceding exercises, but instead 
 of relaxing at once, hold the diaphragm 
 strongly at first. Hold it in this position 
 for a few seconds, but as you practice 
 from week to week increase the length of 
 the holding to several seconds, at the same 
 time putting greater and greater strength 
 into the contraction of the diaphragm. 
 
 If the foregoing exercises have been 
 mastered the application to speech will 
 be comparatively easy. Breath will be 
 taken at every pause. The length of the 
 succeeding phrase will, together with the 
 power desired, determine the amount of 
 air to be needed and the degree of pressure 
 by the controlling muscles in order that 
 there may be a correct air supply. 
 
 In smooth, steady speech, there will have 
 
TBAINLNG OF THE VOICE 45 
 
 to be a smooth, evenly controlled supply 
 of air; in a phrase or sentence where the 
 volume grows as the speech proceeds, there 
 will have to be a greater supply of air, 
 secured through a more rapid and stronger 
 pressure of the controlling muscles. In the 
 so-called explosive utterance, the breath is 
 supplied to the vocal apparatus in larger 
 quantity, and with much greater rapidity 
 and force, by a very quick muscular pres- 
 sure. 
 
 It is to be always remembered that vol- 
 ume can be safely developed only as there 
 has been secured, first, purity of tone; 
 second, a thoroughly relaxed throat with 
 the proper support of the controlling 
 muscles, and third, the placement of the 
 tone at the lips. 
 
CHAPTER III. 
 
 THE PSYCHOLOGY OF TONE 
 PEODUCTION. 
 
 Already, in the exercises given for tone 
 placement, it has been suggested that the 
 making of the tone is not governed en- 
 tirely by the physical processes, — that 
 tone is not a thing entirely produced by 
 mechanical operation. 
 
 There is a school of voice teachers who 
 maintain that tone production is wholly a 
 matter of correct action of the tone pro- 
 ducing apparatus. There is another school 
 which maintains that tone is wholly a mat- 
 ter of proper thought. One of the teach- 
 ers of this latter school has written that 
 one who can think a beautiful tone can 
 make it, without giving any attention to 
 those matters which have been set forth in 
 the discussion and the exercises of this 
 treatise. 
 
 46 
 
TRAINING OF THE VOICE 47 
 
 The author cannot believe completely 
 with either school. It cannot be success- 
 fully proven that a musical tone can be 
 made under whatever adjustment and op- 
 eration the vocal apparatus may take. The 
 scientific adjustment and action of the vo- 
 cal organs are necessary if excellent tone is 
 to result. 
 
 It is also true that the mind plays a very 
 large part in this process. There can be 
 no question of the fact that when the 
 mind thinks a quality of tone the vocal ap- 
 paratus tends to adjust itself for the mak- 
 ing of that quality. But if through long 
 use of incorrect adjustments and opera- 
 tions these adjustments and operations 
 have become fixed, thoroughly habitual, it 
 will be found that the conception by the 
 mind of a beautiful tone is not sufficient to 
 bring about that adjustment which will 
 make a beautiful tone. It is then that there 
 is made necessary the use of the methods 
 of mechanics. When through conscious 
 attention and continued practice there 
 has been fixed the correct adjustment and 
 operation, then the whole situation may be 
 
48 TKAINING OF THE VOICE 
 
 controlled through the mind's demanding 
 a quality of tone rather than a given me- 
 chanical operation. It is believed, further, 
 though, that it will be necessary that a con- 
 tinual watchfulness of the adjustment and 
 operation be maintained. Wrong habits 
 easily assert and fix themselves. Even 
 when seemingly conquered these habits 
 may again assert themselves with but lit- 
 tle encouragement. 
 
 It will be wise, therefore, for the student 
 to make a practice of listening to tones, 
 human and those produced by musical in- 
 struments, that he may develop a sense of 
 what good tone is, and learn to make intel- 
 ligent discriminations between that which 
 is good, and that which is poor. It will be 
 particularly of use to fix in the mind the 
 qualities of fine musical tone. As the mind 
 learns to know what is satisfactory mu- 
 sical tone there will become fixed for the 
 student a standard of excellent speech 
 tones, for an acceptable speech tone will 
 have the same qualities that an acceptable 
 musical tone possesses — purity, fullness, 
 resonance, softness and richness, flexibility 
 
TRAINING OF THE VOICE 49 
 
 and brilliance. What cannot the human 
 voice express with these qualities at its 
 call! 
 
 When there has been developed in the 
 mind a standard of musical tone this 
 standard will be demanded by the will as 
 the tone is made. When the physical op- 
 erations of tone production can do so they 
 will respond correctly and give forth the 
 standard asked, but when the adjustment 
 and operation do not come spontaneously 
 into correct action, then it will be nec- 
 essary for the student to set his mind upon 
 securing these and nothing else. Thus the 
 two forces will work hand in hand, bring- 
 ing about in a reasonable length of time a 
 reformation of the vocal quality. 
 
 Let the mind ever think of the qualities 
 of tone desired; let the student think the 
 tone at the lips ; let the mind think relaxa- 
 tion of the entire vocal apparatus ; let the 
 mind thinl: tone control; and so on to the 
 end. When through the vocal practice a sat- 
 isfactory quality of tone has been secured, 
 it is a simple matter to carry these same 
 qualities into one's speech, for by this time 
 
50 TRAINING OF THE VOICE 
 
 vocal habits of the correct type have been 
 fixed, and the speaker can give his entire 
 attention to thought and feeling with the 
 confidence that proper tones will follow 
 spontaneously. Vocal efficiency will then 
 mean speech effectiveness. 
 
CHAPTER IV. 
 
 PRACTICE OF THE VOICE 
 EXERCISES. 
 
 After the vowels have been mastered 
 through the exercises provided in the pre- 
 ceding discussion, 1 the student is ready to 
 take up the practice of the following sen- 
 tences and phrases. 
 
 The first caution is to remember that 
 one is not speaking words, but phrases. 
 The units of speech and of tone production 
 are identical, namely, the phrase. The 
 length of the phrase is decided, not by the 
 punctuation, but by the thought relations. 
 This was pretty thoroughly discussed here- 
 tofore 
 
 The phrase, then, is the unit of voice, 
 and the phrase from the standpoint of 
 tone production is but a group of sylla- 
 bles, and it is to be spoken as a word of a 
 number of syllables is spoken, that is, with 
 
 i Exercises for Placement, page 24. 
 51 
 
52 TKAINING OF THE VOICE 
 
 a smooth, close grouping of the syllables, 
 thus preventing any break in the flow of 
 tone within the phrase. The breath is to 
 be taken at the end of every phrase. 
 
 As each exercise is taken, determine first 
 what the thought is ; before beginning the 
 speech see that there is an easy control of 
 a comfortable breath; that the throat is 
 well open and relaxed; let the mind focus, 
 that is, localize, the tone at the lips ; see to 
 it that the lips are rounded well, and form 
 the consonants cleanly ; speak in the usual 
 middle pitches of the voice, and finally, let 
 the mind demand free, easy changes of pitch 
 called modulations. The nature of the 
 thought will determine these modulations. 
 
 See that the exercises are repeatedly 
 practiced, each exercise over and over 
 again. The secret of education is repeti- 
 tion. "When the exercise is a short one 
 fifty thoughtful and careful repetitions 
 would be none too much. However, it will 
 not be wise at the start to practice too 
 long at one period. Fifteen minutes will 
 be a sufficient period of vocal practice at 
 the beginning. 
 
TRAINING OF THE VOICE 53 
 
 Do not forget as the practice of the 
 short sentences is taken up, to compel the 
 mind to focus the tone at the lips. Watch 
 that the lips assume the correct mould, 
 and do not let the corners of the mouth 
 draw back to any extent. 
 
 Watch always that the open, relaxed, 
 and still throat is maintained during the 
 sentence practice. If this condition can 
 be mastered in these exercises it is mas- 
 tered for all voice production. Let the 
 mind take particular pains to demand the 
 open throat upon the more easy vowels, — 
 o, ah, aw, and the diphthongs ou and oi. 
 
 PHRASES AND SENTENCES FOR 
 
 PRACTICE, TO SECURE PURITY 
 
 AND RESONANCE. 
 
 Then Heaven tries Earth if it be in tune, 
 And over it softly her warm ear lays. 
 
 We sit in the warm shade. 
 
 Whether we look, or whether we listen. 
 
 Over our manhood. 
 
 Not only around our infancy. 
 
54 TRAINING OP THE VOICE 
 
 Where the ships with their wavering 
 shadows were riding at anchor. 
 
 What one had was another's. 
 
 Under the open sky, in the odorous air of 
 the orchard. 
 
 Shadow and light from the leaves alter- 
 nately played on his snow-white 
 hair. 
 
 Glowed like a living coal. 
 
 Merrily, merrily whirled the wheels of the 
 dizzying dances. 
 
 With a summons sonorous. 
 
 Over the meadows a drum beat. 
 
 Without waited the women. 
 
 Food fresh from the forest. 
 
 Made of marble ; men might march on nor 
 
 be pressed, twelve abreast. 
 Slowly the ponderous portal closed. 
 
 When the air is serene in the sultry solstice 
 
 of summer. 
 Stanza ten in " Exile of Acadians." 
 Silent a moment they stood in speechless 
 
 wonder. 
 
CHAPTER V. 
 
 TO SECURE DISTINCT ARTICULA- 
 
 TION WITH SMOOTHNESS 
 
 OF UTTERANCE. 
 
 The following groups of words and sen- 
 tences are to be used to acquire a clean- 
 cut, flexible, free and perfectly smooth 
 consonant articulation. Someone has said 
 that in proper speech there is a flow of tone 
 produced by the vowels, with the con- 
 sonants as islands in the stream of tone. 
 The consonants must be heard, but they 
 must not be allowed to cut into and inter- 
 rupt the flow of tone. "While paying par- 
 ticular attention to the consonants, the stu- 
 dent must not fail to apply the instructions 
 given for the preceding sentences. Give 
 each group of words as if they formed a 
 single phrase ; do not give them one word 
 at a time. 
 
 Bold, hailed, tolled, scold. 
 Elf, wolf, gulf, sylph, health. 
 
 55 
 
56 TKAINING OF THE VOICE 
 
 Milk, silk, bulk, hulk, sulk. 
 Elm, helm, whelm, film, whilst. 
 Help, gulp, alp, scalp, halp. 
 Falls, tells, toils, halls, stalls. 
 Fault, melt, bolt, hilt, silt. 
 Elve, delve, revolve, resolve. 
 Maim'd, claim 'd, gloom 'd, doom'd. 
 Streams, gleams, climes, stems. 
 Land, band, and, hand, gland, strand. 
 Dens, runs, gains, gleans, weans. 
 Bank, dank, sank, link, trink, slink. 
 Dance, glance, hence, advance, trance. 
 Ant, want, gaunt, point, voice, groin. 
 Chasm, schism, prison, listen, glisten. 
 Asp, clasp, grasp, fast, passed. 
 Vast, mast, lest, vest, vestiture. 
 Act, fact, reject, select. 
 Able, Bible, double, trouble. 
 Ample, triple, topple, bubble. 
 TroubPd, bubbl'd, doubl'd, mumbPd. 
 CradPd, saddPd, idPd, bridPd. 
 Arm'st, charm 'st, grow'st, bestow 'st. 
 
 Benjamin Bramble Blimber, a blunder- 
 ing banker, borrowed the baker's birchen 
 broom to brush the blinding cobwebs from 
 his brain. 
 
TRAINING OF THE VOICE 57 
 
 That fellow shot a minnow on a willow, 
 in a narrow meadow, near the yellow 
 house. 
 
 Surely slowness and slovenliness should 
 be shunned. 
 
 Masses of immense magnitude move ma- 
 jestically through the vast empire of the 
 solar system. 
 
 Three thousand soldiers thoughtlessly 
 threw themselves away. 
 
 "Amidst the mists with angry boasts, 
 He thrusts his fists against the posts, 
 And still insists he sees the ghosts." 
 
 Two toads tried to trot to Tedburg. 
 
 The bleak breeze blighted the bright 
 broom blossoms. 
 
 Give Grimes Jim's great gilt gig whip. 
 
 "My weak words have struck but thus 
 much show of fire." 
 
5S TRAINING OF THE VOICE 
 
 If a plaid-clad caddy laddie 's daddy had a 
 
 fad for adding, 
 Would the plaid-clad caddy laddie 's daddy 
 
 be an adder? 
 And if the plaid-clad caddy laddie addled 
 
 daddy in his adding, 
 Would the plaid-clad laddie 's daddy make 
 
 the plaid-clad caddy laddie sadder? 
 
 " Men's manners, more than merit, make 
 or mar their fortunes/ ' 
 
 "Vice often wears variegated velvet, 
 while virtue walks in vulgar velveteen.' ' 
 
 "A figure regal-like, with solemn march, 
 Goes slow and stately by, whilst they, 
 
 distilled 
 Almost to jelly with the act of fear, 
 Stand dumb, and speak not to him. ' ' 
 
 "In this — God's — world, with its wild, 
 whirling eddies and mad foam oceans, 
 where men and nations perish as if without 
 law, dost thou think there is therefore no 
 justice?" 
 
TRAINING OF THE VOICE 59 
 
 Benjamin Brown brought the book. 
 
 Both brown beauties bit the black bait. 
 
 Value virtue highly. 
 
 Brawny brown brutes bounded back, 
 breaking the big bridge. 
 
 Pictures of palaces please the eye. 
 
 Be bold, be bold, be not too bold. 
 
 Poverty and pride are poor companions. 
 
 Many men are misled by fame. 
 
 Bind boughs upon his brow. 
 
 Much learning hath made thee mad. 
 
 Milestones mark the march of time. 
 
 Basely they bound him to the beach. 
 
 Various views are valuable. 
 
 Vile villains vent their vengeance. 
 
 Pickwick Papers, Part First. 
 
 The measure of man is mind. 
 
 Through the thin cloth the thief thrust 
 thorns. 
 
 Thick and thicker fell the hail. 
 
 Tie taut the tent and test it. 
 
 Double double, toil and trouble. 
 
 Fire burn and cauldron bubble. 
 
 Bring a bit of buttered brown bran 
 bread. 
 
 A big black bug bit a big black bear. 
 
/ 
 
 60 TRAINING OF THE VOICE 
 
 Ponto, the puppy, puffing uninterrupt- 
 edly, jumped up on the top of the porch. 
 
 Pluma placed a pewter platter on a pile 
 of plates. 
 
 Up a high hill he heaved a huge, round 
 stone. 
 
 The glassy glaciers gleamed in glowing 
 light. 
 
 It raineth and then it ceaseth to rain. 
 
 The listlessness and laziness of the friv- 
 olous. 
 
 Many unmanageable monsters, married 
 to magnanimous men, make much mischief. 
 
 Eound the rough and rugged rocks the 
 ragged rascal ran. 
 
 Flags fluttered fretfully from foreign 
 fortifications and fleets. 
 
 The stripling stranger strayed straight 
 toward the struggling stream. 
 
 When William went west where Wheeler 
 was working, we wished we were where we 
 could watch him. 
 
 Tom treated the delicate subject touch- 
 ingly, tenderly and tactfully. 
 Now from the country around, from the 
 farms and the neighboring hamlets, 
 
TRAINING OF THE VOICE 61 
 
 Came in their holiday dresses the blithe 
 
 Acadian peasants. 
 Many a glad good-morrow and jocund laugh 
 
 from the young folk 
 Made the bright air brighter, as up from 
 
 the numerous meadows, 
 Where no path could be seen but the track 
 
 of wheels in the greensward, 
 Group after group appeared, and joined, 
 
 or passed on the highway. 
 
 — Longfellow. 
 
CHAPTER VI. 
 
 SHORT EXERCISES FOR PURITY OF 
 
 TONE, EASY PHRASING AND 
 
 DISTINCT ARTICULATION. 
 
 The next thirteen excerpts are to be 
 used in the applying to a few sentences, 
 either prose or poetic, the suggestions 
 made in the two preceding groups of exer- 
 cises. Always must the students deter- 
 mine: first, what the thought is; second, 
 how that thought determines the phrasing. 
 These two matters being fixed upon, pro- 
 ceed with the practice, bearing in mind the 
 suggestions for open throat, placement, 
 breath supply, and ease and flexibility of 
 modulations. The student will need to 
 carry in his mind all the time the ideal 
 voice which he desires to acquire. 
 
 When there has been satisfactory prac- 
 tice of these excerpts as voice exercises, 
 speak them several times to an imaginary 
 
 62 
 
TBAINISTG OF THE VOICE 63 
 
 audience, thinking of conveying to the au- 
 dience the sense and the feeling, and giv- 
 ing but slight attention to matters of voice. 
 Let the ear give enough attention to the 
 vocal quality that it may detect any poor 
 quality. If such there be, emphasize prac- 
 tice upon that point of failure until it is 
 mastered, and then speak the same exer- 
 cise as a speech. Keep at it until the 
 defective part has been eliminated. 
 
 Our minds are like certain vehicles, when 
 they have little to carry they make much 
 noise about it, but when heavily loaded 
 they run quietly .—Elihu Burritt. 
 
 Were I so tall to reach the pole, 
 Or grasp the ocean with my span, 
 
 I must be measured by my soul : 
 The mind's the standard of the man. 
 
 —Dr. Watts. 
 
 There is a tide in the affairs of men, 
 Which, taken at the flood, leads on to 
 
 fortune ; 
 Omitted, all the voyage of their life 
 Is bound in shallows, and in miseries; 
 
64 TKAINING OF THE VOICE 
 
 i 
 
 And we must take the current when it 
 
 serves, 
 Or lose our ventures. 
 
 — Shakespeare. 
 
 A certain amount of opposition is a 
 great help to a man. Kites rise against 
 and not with the wind. Even a head wind 
 is better than none. No man ever worked 
 his passage anywhere in a dead calm. Let 
 no man wax pale, therefore, because of 
 opposition. — John Neal. 
 
 Of all the causes that conspire to blind 
 Man's erring judgment, and misguide the 
 
 mind, 
 What the weak head with strongest bias 
 
 rules, 
 Is pride, the never-failing vice of fools. 
 
 — Pope. 
 
 If you wish success in life make perse- 
 verance your bosom friend, experience 
 your wise counsellor, caution your elder 
 brother, and hope your guardian genius. 
 
 — Addison. 
 
TRAINING OF THE VOICE 65 
 
 1 * To all the prize is open ; 
 But only he can take it 
 Who says, with Boman courage, 
 ' I '11 find a way, or make it ! ' " 
 
 11 Think for thyself — one good idea, 
 But known to be thine own, 
 Is better than a thousand gleaned 
 From fields by others sown." 
 
 No man is without some quality, by the 
 due application of which he might deserve 
 well of the world ; and whoever he be that 
 has but little in his power should be in 
 haste to do that little, lest he be confounded 
 with him that can do nothing. — Dr. John- 
 son. 
 
 Work with your hands, work with your 
 
 mind, 
 Just as your nature has fitly designed ; 
 Build ye a temple, hew out a stone, 
 Do ye a work, just to call it your own. 
 Write out a thought — to lighten the labor 
 Of that one who reads it, it may be your 
 
 neighbor. 
 Work, as each day hastens away, 
 
66 TRAINING OF THE VOICE 
 
 Bearing along the bright and the gay ; 
 Live out a life of excellent worth, 
 Having bestowed on the source of your 
 
 birth 
 Garlands in works, to brighten the earth! 
 
 — Henry Proverb. 
 
 The law of the harvest is to reap more 
 than you sow. Sow an act, and you reap a 
 habit; sow a habit, and you reap a char- 
 acter; sow a character, and you reap a 
 destiny. — G. D. Boardman. 
 
 We live in deeds, not years; in thoughts, 
 
 not breaths; 
 In feelings, not in figures on a dial. 
 We should count time by heart-throbs. He 
 
 most lives, 
 Who thinks most, feels the noblest, acts the 
 
 best. 
 
 — Bailey. 
 
 i ' The ocean old, 
 Centuries old, 
 Strong as youth, and as uncontrolled, 
 Paces restless to and fro, 
 Up and down the sands of gold." 
 
CHAPTER VII. 
 
 EXERCISES TO SECUEE FLEXI- 
 BILITY. 
 
 The following poems are lyric in nature. 
 They possess a very tripping, free, and 
 rhythmical movement. The practice vocally 
 of these poems should bring a far greater 
 freedom, ease, and flexibility to the voice. 
 Because of the meter and rhythm of the 
 poetry the student will need to see clearly 
 the thought values, if he is to avoid a sing- 
 song utterance. It must be remembered 
 also that a pause is not necessarily to be 
 made at the end of each line. If the thought 
 runs over into the next line the pause is 
 omitted. As in prose so in poetry, — the 
 pause comes at the end of the phrase unit, 
 regardless of line or punctuation. Stu- 
 dents will need also to feel the sense of 
 the poetic spirit of the poem. When a 
 word or a phrase stands for a feeling 
 rather than a fact, let the emotional nature 
 
 67 
 
68 TKAINING OF THE VOICE 
 
 experience that feeling. For instance, in 
 the poem by Wordsworth, c ' The Daffodils ' y 
 there occur the two lines, 
 
 Continuous as the stars that shine 
 And twinkle on the milky way. 
 
 To the reader these two lines must come 
 as more than a fact. He is to feel all 
 the beauty, the brilliance, the throb, the 
 sparkle, and the mystery suggested by the 
 milky way. 
 
 L 'ALLEGRO. 
 
 Haste thee, nymph, and bring with thee 
 
 Jest and youthful Jollity, 
 
 Quips, and cranks, and wanton wiles, 
 
 Nods, and becks, and wreathed smiles, 
 
 Such as hang on Hebe 's cheek, 
 
 And love to live in dimple sleek; 
 
 Sport, that wrinkled Care derides, 
 
 And Laughter holding both his sides. 
 
 Come, and trip it as you go 
 
 On the light fantastic toe ; 
 
 And in thy right hand lead with thee 
 
 The mountain nymph, sweet Liberty ; 
 
 And, if I give thee honour due, 
 
TRAINING OF THE VOICE 69 
 
 Mirth, admit me of thy crew, 
 To live with her, and live with thee, 
 In unreproved pleasures free ; 
 To hear the lark begin his flight, 
 And singing startle the dull night, 
 From his watch-tower in the skies, 
 Till the dappled dawn doth rise; 
 
 Then to come, in spite of sorrow, 
 And at my window bid good-morrow, 
 Through the sweet-briar, or the vine. 
 Or the twisted eglantine. 
 
 — John Milton. 
 
 DRIFTING. 
 
 My soul today 
 
 Is far away, 
 Sailing the Vesuvian Bay; 
 
 My winged boat, 
 
 A bird afloat, 
 Swims round the purple peaks remote; 
 
 Bound purple peaks 
 It sails and seeks 
 Blue inlets, and their crystal creeks, 
 
70 TRAINING OF THE VOICE 
 
 Where high rocks throw, 
 Through deeps below, 
 A duplicated golden glow. 
 
 Yon deep bark goes 
 
 Where traffic blows, 
 From lands of sun to lands of snows; 
 
 This happier one, 
 
 Its course is run 
 From lands of snow to lands of sun. 
 
 Oh, happy ship, 
 
 To rise and dip, 
 With the blue crystal at your lip! 
 
 Oh, happy crew, 
 
 My heart with you 
 Sails, and sails, and sings anew! 
 
 No more, no more 
 
 The worldly shore 
 Upbraids me with its loud uproar ! 
 
 With dreamful eyes 
 
 My spirit lies 
 Under the walls of Paradise. 
 
 — Thomas Buchanan Read. 
 
TRAINING OF THE VOICE 71 
 
 THE DAFFODILS. 
 
 I wander 'd lonely as a cloud 
 
 That floats on high o'er vales and hills, 
 
 When all at once I saw a crowd, 
 
 A host, of golden daffodils ; 
 
 Beside the lake, beneath the trees, 
 
 Fluttering and dancing in the breeze. 
 
 Continuous as the stars that shine 
 And twinkle on the milky way, 
 They stretch 'd in never-ending line 
 Along the margin of the bay : 
 Ten thousand saw I at a glance, 
 Tossing their heads in sprightly dance. 
 
 The waves beside them danced ; but they 
 
 Out-did the sparkling waves in glee : 
 
 A poet could not but be gay, 
 
 In such a jocund company : 
 
 I gazed — and gazed — but little thought 
 
 What wealth the show to me had brought : 
 
 For oft, when on my couch I lie 
 In vacant or in pensive mood, 
 They flash upon that inward eye 
 
72 TRAINING OF THE VOICE 
 
 Which is the bliss of solitude ; 
 
 And then my heart with pleasure fills, 
 
 And dances with the daffodils. 
 
 — Wordsworth. 
 
 HYMN TO THE NIGHT. 
 
 I heard the trailing garments of the Night 
 Sweep through her marble halls ! 
 
 I saw her sable skirts all fringed with light 
 From the celestial walls ! 
 
 I felt her presence, by its spell of might, 
 
 Stoop o 'er me from above ; 
 The calm, majestic presence of the Night, 
 
 As of the one I love. 
 
 I heard the sounds of sorrow and delight, 
 
 The manifold, soft chimes, 
 That fill the haunted chambers of the Night, 
 
 Like some old poet's rhymes. 
 
 From the cool cisterns of the midnight air 
 
 My spirit drank repose ; 
 The fountain of perpetual peace flows 
 there, — 
 
 From those deep cisterns flows. 
 
TRAINING OF THE VOICE 73 
 
 O holy Night ! from thee I learn to bear 
 What man has borne before ! 
 
 Thou layest thy finger on the lips of Care, 
 And they complain no more. 
 
 Peace! Peace! Orestes-like I breathe this 
 prayer ! 
 Descend with broad-winged flight, 
 The welcome, the thrice-prayed for, the 
 most fair, 
 The best-beloved Night! 
 
 — Henry Wadsworth Longfellow. 
 
 THANATOPSIS. 
 
 To him who in the love of Nature holds 
 Communion with her visible forms, she 
 
 speaks 
 A various language. For his gayer hours 
 She has a voice of gladness, and a smile 
 And eloquence of beauty ; and she glides 
 Into his darker musings, with a mild 
 And gentle sympathy, that steals away 
 Their sharpness ere he is aware. When 
 
 thoughts 
 Of the last bitter hour come like a blight 
 Over thy spirit, and sad images 
 Of the stern agony, and shroud and pall, 
 
74 TRAINING OF THE VOICE 
 
 And breathless darkness, and the narrow 
 
 house, 
 Make thee to shudder, and grow sick at 
 
 heart, 
 Go forth under the open sky, and list 
 To Nature's teachings, while from all 
 
 around — 
 Earth and her waters, and the depths of 
 
 air- 
 Comes a still voice, — Yet a few days, and 
 
 thee 
 The all-beholding Sun shall see no more 
 In all his course ; nor yet in the cold ground, 
 Where thy pale form was laid, with many 
 
 tears, 
 Nor in th' embrace of ocean, shall exist 
 Thy image. Earth, that nourished thee, 
 
 shall claim 
 Thy growth, to be resolved to earth again ; 
 And, lost each human trace, surrendering 
 
 up 
 Thine individual being, shalt thou go 
 To mix forever with the elements, 
 To be a brother to th' insensible rock, 
 And to the sluggish clod which the rude 
 
 swain 
 
TRAINING OF THE VOICE 75 
 
 Turns with his share, and treads upon. 
 
 The oak 
 Shall send his roots abroad, and pierce thy 
 
 mould. 
 Yet not to thine eternal resting-place 
 Shalt thou retire alone; nor couldst thou 
 
 wish 
 Couch more magnificent. Thou shalt lie 
 
 down 
 With patriarchs of the infant world ; with 
 
 kings, 
 The powerful of the Earth, — the wise, the 
 
 good, 
 Fair forms, and hoary seers of ages past, — 
 All in one mighty sepulchre. The hills 
 Bock-ribb'd and ancient as the Sun; the 
 
 vales 
 Stretching in pensive quietness between; 
 The venerable woods ; rivers that move 
 In majesty, and the complaining brooks 
 That make the meadows green ; and, pour 'd 
 
 round all, 
 Old ocean's gray and melancholy waste, — 
 Are but the solemn decorations all 
 Of the great tomb of man. The golden Sun, 
 The planets, all the infinite host of heaven, 
 
76 TKAINING OF THE VOICE 
 
 Are shining on the sad abodes of death, 
 Through the still lapse of ages. All that 
 
 tread 
 The globe are but a handful to the tribes 
 That slumber in its bosom. Take the wings 
 Of morning, and the Barcan desert pierce ; 
 Or lose thyself in the continuous woods 
 Where rolls the Oregon, and hears no 
 
 sound 
 Save his own dashings, — yet the dead are 
 
 there ; 
 And millions in those solitudes, since first 
 The flight of years began, have laid them 
 
 down 
 In their last sleep, — the dead reign there 
 
 alone. 
 So shalt thou rest ; and what if thou shalt 
 
 fall 
 Unnoticed by the living, and no friend 
 Take note of thy departure? All that 
 
 breathe 
 Will share thy destiny. The gay will laugh 
 When thou art gone, the solemn brood of 
 
 care 
 Plod on, and each one, as before, will chase 
 
TRAINING OF THE VOICE 77 
 
 His favorite phantom; yet all these shall 
 
 leave 
 Their mirth and their employments, and 
 
 shall come 
 And make their bed with thee. As the long 
 
 train 
 Of ages glide away, the sons of men, 
 The youth in life's green spring, and he 
 
 who goes 
 In the full strength of years, matron, and 
 
 maid, 
 The bow'd with age, the infant in the 
 
 smiles 
 And beauty of its innocent age cut off, 
 Shall, one by one, be gather 'd to thy side 
 By those who in their turn shall follow 
 
 them. 
 So live that when thy summons comes to 
 
 join 
 Th* innumerable caravan, that moves 
 To the pale realms of shade, where each 
 
 shall take 
 His chamber in the silent halls of death, 
 Thou go not, like the quarry-slave at night 
 Scourged to his dungeon; but, sustain 'd 
 
 and soothed 
 
78 TRAINING OF THE VOICE 
 
 By an unfaltering trust, approach thy 
 
 grave, 
 Like one who wraps the drapery of his 
 
 couch 
 About him, and lies down to pleasant 
 
 dreams. 
 
 — W. C. Bryant. 
 
 THE MEECY SPEECH IN "MER- 
 CHANT OF VENICE. " 
 
 Portia. The quality of mercy is not 
 
 strained ; 
 It droppeth as the gentle rain from heaven 
 Upon the place beneath : it is twice bless 'd; 
 It blesseth him that gives and him that 
 
 takes : 
 ? Tis mightiest in the mightiest : it becomes 
 The throned monarch better than his 
 
 crown ; 
 His sceptre shows the force of temporal 
 
 power, 
 The attribute to awe and majesty, 
 "Wherein doth sit the dread and fear of 
 
 kings ; 
 But mercy is above this sceptred sway ; 
 
TRAINING OF THE VOICE 79 
 
 It is enthroned in the hearts of kings, 
 
 It is an attribute to God himself; 
 
 And earthly power doth then show likest 
 
 God's 
 When mercy seasons justice. Therefore, 
 
 Jew, 
 Though justice be thy plea, consider this, — 
 That in the course of justice none of us 
 Should see salvation: we do pray for 
 
 mercy, 
 And that same prayer doth teach us all to 
 
 render 
 The deeds of mercy. 
 
 — Shakespeare. 
 
 GOOD-MORROW. 
 
 Pack, clouds, away, and welcome day, 
 
 With night we banish sorrow ; 
 Sweet air, blow soft, mount, lark, aloft, 
 
 To give my love good-morrow. 
 Wings from the wind to please her mind, 
 
 Notes from the lark I'll borrow; 
 Bird, prune thy wing, nightingale, sing, 
 
 To give my love good-morrow ; 
 To give my love good-morrow, 
 Notes from the lark I'll borrow. 
 
80 TRAINING OF THE VOICE 
 
 Wake from thy rest, robin-redbreast, 
 
 Sing, birds, in every furrow ; 
 And from each hill let music shrill 
 Give my fair love good-morrow. 
 Blackbird and thrush in every bush, 
 
 Stare, linnet and cock-sparrow, 
 You pretty elves, amongst yourselves 
 Sing my fair love good-morrow; 
 To give my love^good-morrow 
 Sing birds in every furrow. 
 
 — Heywood. 
 
 THE ISLE OF LONG AGO. 
 
 O a wonderful stream is the river Time, 
 As it runs through the realm of tears, 
 With a faultless rhythm and a musical 
 
 rhyme, 
 And a boundless sweep and a surge 
 sublime, 
 As it blends with the Ocean of Years. 
 
 How the Winters are drifting, like flakes 
 
 of snow, 
 And the Summers like buds between, 
 And the year in the sheaf; so they come 
 
 and they go, 
 
TRAINING OF THE VOICE 81 
 
 On the river 's breast, with its ebb and flow, 
 
 As it glides in the shadow and sheen. 
 There 's a magical isle up the river Time, 
 Where the softest of airs are playing; 
 There's a cloudless sky and a tropical 
 
 clime, 
 And a song as sweet as a vesper chime, 
 And the Junes with the roses are stray- 
 ing. 
 
 And the name of that Isle is the Long Ago, 
 
 And we bury our treasures there ; 
 There are brows of beauty and bosoms of 
 
 snow ; 
 There are heaps of dust, — but we loved 
 them so! 
 There are trinkets and tresses of hair; 
 
 There are fragments of song that nobody 
 sings, 
 And a part of an infant's prayer; 
 There 's a lute unswept, and a harp without 
 
 strings ; 
 There are broken vows and pieces of rings, 
 And the garments that she used to wear. 
 There are hands that are waved when the 
 fairy shore 
 
82 TRAINING OF THE VOICE 
 
 By the mirage is lifted in air ; 
 And we sometimes hear through the turbu- 
 lent roar 
 Sweet voices we heard in the days gone 
 before, 
 When the wind down the river is fair. 
 
 0, remember 'd for aye be the blessed Isle, 
 
 All the day of our life until night ; 
 When the evening comes with its beautiful 
 
 smile, 
 And our eyes are closing to slumber awhile, 
 May that "Greenwood" of Soul be in 
 sight ! 
 
 — Benj. F. Taylor. 
 
 THE BROOKSIDE. 
 
 I wandered by the brookside, 
 
 I wandered by the mill ; 
 I could not hear the brook flow, — 
 
 The noisy wheel was still; 
 There was no burr of grasshopper, 
 
 No chirp of any bird, 
 But the beating of own heart 
 
 Was all the sound I heard. 
 
TRAINING OF THE VOICE 83 
 
 I sat beneath the elm tree ; 
 
 I watched the long, long shade, 
 And, as it grew still longer, 
 
 I did not feel afraid ; 
 For I listened for a footfall, 
 
 I listened for a word, — 
 But the beating of my own heart 
 
 Was all the sound I heard. 
 
 THE BALLAD OF THE BROOK. 
 
 Oh, it was a dainty maid that went a-may- 
 ing in the morn, 
 A dainty, dainty maiden of degree ; 
 The ways she took were merry, and the 
 ways she missed forlorn, 
 And the laughing water tinkled to the 
 sea. 
 
 The little leaves above her loved the dainty, 
 dainty maid, 
 The little winds they kissed her, every 
 one; 
 At the nearing of her little feet the flowers 
 were not afraid, 
 And the water lay a-wimpling in the sun. 
 
84 TRAINING OF THE VOICE 
 
 Oh, the dainty, dainty maid to the borders 
 of the brook, 
 Lingered down as lightly as the breeze ; 
 And the shy water-spiders quit their 
 scurrying to look, 
 And the happy water whispered to the 
 trees. 
 
 She was fain to cross the brook, was the 
 dainty, dainty maid, 
 But first she lifted up her elfin eyes 
 To see if there were cavalier or clown 
 anear to aid, 
 And the water-bubbles blinked in sur- 
 prise. 
 
 The brook bared its pebbles to persuade 
 her dainty feet, 
 But the dainty, dainty maid was not con- 
 tent ; 
 She had spied a simple country lad (for 
 dainty maid unmeet), 
 And the shy water twinkled as it went. 
 
 As the simple lad drew nigh, then this 
 dainty, dainty maid, 
 
TKAINING OF THE VOICE 85 
 
 Oh, maidens, well you know how it was 
 
 done! 
 Stood a-gazing at her feet, until he saw she 
 
 was afraid 
 Of the water there a-wimpling in the sun. 
 
 Now that simple lad had in him all the 
 making of a man, 
 And he stammered, "I had better lift 
 you over. ' ' 
 Said the dainty, dainty maid, "Do you 
 really think you can ? J ' 
 And the water hid its laughter in the 
 clover. 
 
 So he carried her across, with his honest 
 eyes cast down, 
 And his foolish heart a-quaking with de- 
 light, 
 And the maid, she looked him over with her 
 elfin eyes of brown, 
 And the limpid water giggled at his 
 plight. 
 
 He reached the other side ; he set down the 
 dainty maid ; 
 
86 TRAINING OF THE VOICE 
 
 But lie trembled so lie couldn't speak a 
 
 word; 
 Then the dainty, dainty maid, " Thank 
 
 you, sir ! Good-day ! ' ' she said, 
 And the water-bubbles chuckled as they 
 
 heard. 
 
 Oh, she tripped away so lightly, a-maying 
 in the morn, 
 That dainty, dainty maiden of degree ; 
 But she left the simple country lad a-sigh- 
 ing and forlorn, 
 Where the mocking water twinkled to the 
 sea. 
 
 — Charles G. D. Roberts. 
 
 SONG OF THE BROOK. 
 
 I come from haunts of coot and hern : 
 
 I make a sudden sally 
 And sparkle out among the fern, 
 
 To bicker down a valley. 
 
 By thirty hills I hurry down, 
 
 Or slip between the ridges, 
 By twenty thorps, a little town, 
 
 And half a hundred bridges. 
 
TRAINING OF THE VOICE 87 
 
 Till last by Philip 's farm I flow 
 
 To join the brimming river, 
 For men may come and men may go, 
 
 But I go on forever. 
 
 I chatter over stony ways, 
 
 In little sharps and trebles, 
 I bubble into eddying bays, 
 
 I babble on the pebbles. 
 
 With many a curve my banks I fret 
 
 By many a field and fallow, 
 And many a fairy foreland set 
 
 With willow-weed and mallow. 
 
 I chatter, chatter, as I flow 
 To join the brimming river ; 
 
 For men may come and men may go, 
 But I go on forever. 
 
 I wind about, and in and out, 
 With here a blossom sailing, 
 
 And here and there a lusty trout, 
 And here and there a grayling ; 
 
 And here and there a foamy flake 
 Upon me, as I travel 
 
88 TRAINING OF THE VOICE 
 
 With many a silvery waterbreak 
 Above the golden gravel; 
 
 And draw them all along, and flow 
 To join the brimming river; 
 
 For men may come and men may go, 
 But I go on forever. 
 
 I steal by lawns and grassy plots ; 
 
 I slide by hazel covers ; 
 I move the sweet forget-me-nots 
 
 That grow for happy lovers : 
 
 I slip, I slide, I gloom, I glance, 
 Among my skimming swallows ; 
 
 I make the netted sunbeams dance 
 Against my sandy shallows. 
 
 — Alfred Tennyson. 
 
 THE BELLS. 
 
 Hear the sledges with the bells, — silver 
 
 bells ; 
 What a world of merriment their melody 
 
 foretells ! 
 
 How they tinkle, tinkle, tinkle, 
 In the icy air of night ! 
 
TRAINING OF THE VOICE 89 
 
 While the stars, that oversprinkle 
 All the heavens, seem to twinkle 
 
 With a crystalline delight; 
 Keeping time, time, time, 
 In a sort of Runic rhyme, 
 To the tintinnabulation that so musically 
 wells 
 From the bells, bells, bells, bells, bells, — 
 From the jingling and the tinkling of the 
 bells. 
 
 Hear the mellow wedding-bells, — golden 
 
 bells! 
 What a world of happiness their harmony 
 foretells ! 
 
 Through the balmy air of night 
 
 How they ring out their delight ! 
 
 From the molten-golden notes, 
 
 And all in tune, 
 What a liquid ditty floats 
 To the turtle-dove that listens, while she 
 gloats 
 
 On the moon ! 
 0, from out the sounding cells, 
 What a gush of euphony voluminously 
 wells ! 
 
90 TKAIETING OF THE VOICE 
 
 How it swells ! how it dwells 
 On the Future ! how it tells 
 Of the rapture that impels 
 To the swinging and the ringing 
 Of the bells, bells, bells, bells, bells, — 
 To the rhyming and the chiming of the 
 bells! 
 
 Hear the loud alarum bells, — brazen bells ! 
 What a tale of terror, now, their turbulency 
 tells! 
 
 In the startled ear of night 
 How they scream out their affright ! 
 Too much horrified to speak, 
 They can only shriek, shriek, 
 Out of tune, 
 In a clamorous appealing to the mercy of 
 
 the fire, 
 In a mad expostulation with the deaf and 
 frantic fire 
 Leaping higher, higher, higher, 
 With a desperate desire, 
 And a resolute endeavor, 
 Now — now to sit or never, 
 By the side of the pale-faced Moon. 
 O, the bells, bells, bells ! 
 
TRAINING OF THE VOICE 91 
 
 What a tale their terror tells 
 Of despair ! 
 How they clang, and clash, and roar ! 
 What a horror they outpour 
 Qn the bosom of the palpitating air ! 
 
 Yet the ear, it fully knows, 
 By the twanging and the clanging, 
 
 How the danger ebbs and flows; 
 Yet the ear distinctly tells, 
 In the jangling and the wrangling, 
 How the danger sinks and swells, 
 By the sinking or the swelling in the anger 
 of the bells, — 
 Of the bells, bells, bells, bells, bells, — 
 In the clamor and the clangor of the bells ! 
 
 — Edgar A. Poe. 
 
CHAPTER VIII. 
 
 EXERCISES FOR FULLNESS, 
 BREADTH AND POWER OF TONE. 
 
 If the practice of the preceding work has 
 been carried on faithfully, the student is 
 ready for this last group of selections. 
 In these selections the student will work 
 for larger, broader, rounder, and more 
 powerful tones. The ideas are larger 
 and more significant, and this must be 
 experienced in his thinking as the student 
 practices. Once the voice is a free and 
 normal agent, vocal effects are entirely 
 a matter of thought and feeling. That is, 
 the voice will reflect that thought and that 
 feeling which the speaker actually experi- 
 ences vividly. First the idea, then the 
 spirit of the idea, and then the utterance. 
 But even then, the voice technic is not to 
 be forgotten: the open relaxed and still 
 throat ; the flat tongue ; the rounded mouth ; 
 the focus of tones at the lips; the dia- 
 
 92 
 
TRAINING OF THE VOICE 93 
 
 phragmatic supply of air and diaphrag- 
 matic support of the tone. 
 
 HOW THEY BROUGHT THE GOOD 
 NEWS FROM GHENT TO AIX. 
 
 I sprang to the stirrup, and Joris and he ; 
 
 I galloped, Dirck galloped, we galloped all 
 three ; 
 
 1 ' Good speed ! ' 9 cried the watch as the gate- 
 bolts undrew, 
 
 "Speed I" echoed the wall to us galloping 
 through. 
 
 Behind shut the postern, the lights sank to 
 rest, 
 
 And into the midnight we galloped abreast. 
 
 Not a word to each other ; we kept the great 
 pace, — 
 
 Neck by neck, stride by stride, never chang- 
 ing our place ; 
 
 I turned in my saddle and made its girths 
 tight, 
 
 Then shortened each stirrup and set the 
 pique right, 
 
 Rebuckled the cheek-strap, chained slacker 
 the bit, 
 
 Nor galloped less steadily Roland a whit. 
 
94 TRAINING OF THE VOICE 
 
 'Twas a moonset at starting; but while we 
 
 drew near 
 Lokeren, the cocks crew and twilight 
 
 dawned clear ; 
 At Boom a great yellow star came out to 
 
 see; 
 At Diiffeld 'twas morning as plain as could 
 
 be; 
 And from Mecheln church-steeple we heard 
 
 the half -chime, — 
 So Joris broke silence with "Yet there is 
 
 time!" 
 
 At Aerschot up leaped of a sudden the sun, 
 And against him the cattle stood black 
 
 every one, 
 To stare through the mist at us galloping 
 
 past; 
 And I saw my stout galloper Eoland at last, 
 With resolute shoulders, each butting 
 
 away 
 The haze, as some bluff river headland its 
 
 spray; 
 And his low head and crest, just one sharp 
 
 ear bent back 
 
TRAINING OF THE VOICE 95 
 
 For my voice, and the other pricked out on 
 
 his track ; 
 And one eye's black intelligence, — ever 
 
 that glance 
 O'er its white edge at me, his own master, 
 
 askance ; 
 And the thick heavy spume-flakes, which 
 
 aye and anon 
 His fierce lips shook upward in galloping 
 
 on. 
 
 By Hasselt Dirck groaned ; and cried Joris, 
 
 "Stay spur! 
 Your Eoos galloped bravely, the fault's 
 
 not in her ; 
 -We'll remember at Aix," — for one heard 
 
 the quick wheeze 
 Of her chest, saw the stretched neck, and 
 
 staggering knees, 
 And sunk tail, and horrible heave of the 
 
 flank, 
 As down on her haunches she shuddered 
 
 and sank. 
 So we were left galloping, Joris and I, 
 Past Looz and past Tongres, no cloud in 
 
 the sky; 
 
96 TEAINING OF THE VOICE 
 
 The broaa sun above laughed a pitiless 
 
 laugh ; 
 'Neath our feet broke the brittle, bright 
 
 stubble like chaff; 
 Till over by Dalhem a dome-spire sprang 
 
 white, 
 And "Gallop," gasped Joris, "for Aix is 
 in sight!" 
 
 "How they'll greet us!" — and all in a 
 
 moment his roan 
 Eolled neck and croup over, lay dead as a 
 
 stone ; 
 And there was my Eoland to bear the whole 
 
 weight 
 Of the news which alone could save Aix 
 
 from her fate, 
 With his nostrils like pits full of blood to 
 
 the brim, 
 And with circles of red for his eye-sockets' 
 
 rim. 
 
 Then I cast loose my buff-coat, each holster 
 
 let fall, 
 Shook off both my jack-boots, let go belt 
 
 and all, 
 
TRAINING OF THE VOICE 97 
 
 Stood up in the stirrup, leaned, patted his 
 
 ear, 
 Called my Roland his pet name, my horse 
 
 without peer, — 
 Clapped my hands, laughed and sung, any 
 
 noise, bad or good, 
 Till at length into Aix Roland galloped and 
 
 stood. 
 
 And all I remember is friends flocking 
 
 round, 
 As I sate with his head 'twixt my knees on 
 
 the ground ; 
 And no voice but was praising this Roland 
 
 of mine, 
 As I poured down his throat our last 
 
 measure of wine, 
 Which (the burgesses voted by common 
 
 consent) 
 Was no more than his due who brought 
 
 good news from Ghent. 
 
 — Robert Browning. 
 
 Herald of Burgundy, in God's name and 
 the King's, I bid you go back to your master 
 and say this ; Kings are great in the eyes 
 
98 TKAINIJSTG OF THE VOICE 
 
 of the people, but the people are great in 
 the eyes of God, and it is the people of 
 France who speak to you in the name of this 
 epitome. The people of Paris are not so 
 poor of spirit that they fear the croak of 
 the Burgundian Eavens. "We are well 
 victualed, we are well armed, we lie snug 
 and warm behind our stout walls. "We 
 laugh at your leaguer. But when we who 
 eat are hungry, when we who drink are 
 dry, when we who glow are frozen, when 
 there is neither bite on the board, nor drop 
 in the pitcher, nor spark on the hearth, 
 our answer to rebellious Burgundy will 
 be the same. You are knocking at our 
 doors ; beware lest we open them and come 
 out and hold talk with the enemy at our 
 gates. We give you back defiance for defi- 
 ance, menace for menace, blow for blow. 
 This is our answer, this and the drawn 
 sword. God and St. Denis for the King 
 of France. — McCarthy. Answer to Bur- 
 gundy, in "If I Were King." 
 
 Once more unto the breach, dear friends, 
 once more ; 
 
TRAINING OF THE VOICE 99 
 
 Or close the wall up with our English dead. 
 In peace there *s nothing so becomes a man 
 As modest stillness and humility: 
 But when the blast of war blows in our ears, 
 Then imitate the action of the tiger; 
 Stiffen the sinews, summon up the blood, 
 Disguise fair nature with hard favored 
 
 rage; 
 Then lend the eye a terrible aspect ; 
 Let it pry through the portage of the head 
 Like the brass cannon; let the brow over- 
 whelm it 
 As fearfully as doth a galled rock 
 'erhang and jutty his confounded base, 
 Swill M with the wild and wasteful ocean. 
 Now set the teeth, and stretch the nostrils 
 
 wide, 
 Hold hard the breath and bend up every 
 
 spirit 
 To his full height. On, on, you noblest 
 
 English, 
 Whose blood is fet from fathers of war 
 proof! 
 
 — Shakespeare. King Henry V to His 
 Soldiers. 
 
100 TRAINING OF THE VOICE 
 
 APOSTROPHE TO THE OCEAN. 
 
 There is a pleasure in the pathless woods, 
 
 There is a rapture on the lonely shore, 
 There is society, where none intrudes, 
 
 By the deep sea, and music in its roar. 
 
 I love not man the less, but Nature more, 
 From these our interviews, in which I steal 
 
 From all I may be, or have been before, 
 To mingle with the universe and feel 
 What I can ne'er express, yet cannot all 
 conceal. 
 
 Roll on, thou deep and dark blue Ocean — 
 
 roll! 
 
 Ten thousand fleets sweep over thee in 
 
 vain, 
 
 Man marks the earth with ruin — his control 
 
 Stops with the shore ; — upon the watery 
 
 plain 
 The wrecks are all thy deed, nor doth 
 remain 
 A shadow of man's ravage, save his own, 
 When for a moment, like a drop of rain, 
 He sinks into thy depths with bubbling 
 groan, 
 
TRAINING OF THE VOICE 101 
 
 Without a grave, unknelled, uncoffined, and 
 unknown. 
 
 The armaments which thunderstrike the 
 walls 
 Of rock-built cities, bidding nations 
 quake, 
 And monarchs tremble in their capitals ; 
 The oak leviathans, whose huge ribs 
 
 make 
 Their clay creator the vain title take 
 Of lord of thee, and arbiter of war, — 
 These are thy toys, and, as the snowy 
 flake, 
 They melt into thy yeast of waves, which 
 
 mar 
 Alike the Armada *s pride, or spoils of 
 Trafalgar. 
 
 Thy shores are empires, changed in all save 
 thee — 
 Assyria, Greece, Eome, Carthage, — what 
 are they? 
 Thy waters wasted them while they were 
 free, 
 And many a tyrant since; their shores 
 obey 
 
102 TRAINING OF THE VOICE 
 
 The stranger, slave, or savage; their 
 
 decay 
 Has dried up realms to deserts: — not so 
 
 thou, 
 Unchangeable, save to thy wild waves' 
 
 play- 
 Time writes no wrinkle on thine azure 
 
 brow — 
 Such as creation's dawn beheld, thou 
 
 rollest now. 
 
 Thou glorious mirror, where the Al- 
 mighty's form 
 Glasses itself in tempests ; in all time, 
 Calm or convulsed — in breeze or gale or 
 storm, 
 Icing the pole, or in the torrid clime 
 Dark heaving; — boundless, endless, and 
 sublime — 
 The image of Eternity — the throne 
 
 Of the Invisible ; even from out thy slime 
 The monsters of the deep are made ; each 
 
 zone 
 Obeys thee : thou goest forth, dread, fath- 
 omless, alone. 
 
TRAINING OF THE VOICE 103 
 
 FROM "THE BUILDING OF THE 
 SHIP." 
 
 Thou, too, sail on, Ship of State ! 
 Sail on, Union, strong and great ! 
 Humanity, with all its fears, 
 With all the hopes of future years, 
 Is hanging breathless on thy fate ! 
 
 We know what Master laid thy keel, 
 What workmen wrought thy ribs of steel, 
 Who made each mast, and sail, and rope, 
 What anvils rang, what hammers beat, 
 In what a forge, and what a heat, 
 Were shaped the anchors of thy hope ! 
 
 Fear not each sudden sound and shock; 
 'Tis of the wave, and not the rock ; 
 'Tis but the flapping of the sail, 
 And not a rent made by the gale ! 
 In spite of rock and tempest's roar, 
 In spite of false lights on the shore, 
 Sail on, nor fear to breast the sea ! 
 Our hearts, our hopes, are all with thee : 
 Our hearts, our hopes, our prayers, our 
 tears, 
 
104 TEAINING OF THE VOICE 
 
 Our faith triumphant o'er our fears, 
 Are all with thee, — are all with thee! 
 — Henry Wadsworth Longfellow. 
 
 PATRIOTISM. 
 
 Breathes there the man, with soul so dead, 
 Who never to himself hath said, 
 
 This is my own, my native land ! 
 Whose heart hath ne'er within him burn'd, 
 As home his footsteps he hath turn'd, 
 
 From wandering on a foreign strand! 
 If such there breathe, go, mark him well : 
 For him no minstrel raptures swell ; 
 High though his titles, proud his name, 
 Boundless his wealth as wish can claim; 
 Despite those titles, power, and pelf, 
 The wretch, concentred all in self, 
 Living, shall forfeit fair renown, 
 And, doubly dying, shall go down 
 To the vile dust, from whence he sprung, 
 Unwept, unhonor'd, and unsung, 
 O Caledonia ! stern and wild, 
 Meet nurse for a poetic child! 
 Land of brown heath and shaggy wood, 
 Land of the mountain and the flood, 
 
TRAINING OF THE VOICE 105 
 
 Land of my sires ! what mortal hand 
 
 Can e 'er untie the filial band, 
 
 That knits me to thy rugged strand ! 
 
 Still, as I view each well-known scene, 
 
 Think what is now, and what hath been, 
 
 Seems as, to me, of all bereft, 
 
 Sole friends thy woods and streams were 
 
 left; 
 And thus I love them better still, 
 Even in extremity of ill. 
 
 — Sir Walter Scott. 
 
 THE RISING OF 1776. 
 
 Out of the North the wild news came, 
 Far flashing on its wings of flame, 
 Swift as the boreal light which flies 
 At midnight through the startled skies. 
 And there was tumult in the air, 
 
 The fife's shrill note, the drum's loud 
 beat, 
 And through the wide land everywhere 
 
 The answering tread of hurrying feet ; 
 While the first oath of Freedom's gun 
 Came on the blast from Lexington ; 
 And Concord roused, no longer tame, 
 
106 TRAINING OF THE VOICE 
 
 Forgot her old baptismal name, 
 Made bare her patriot arm of power, 
 And swelPd the discord of the hour. 
 
 Within its shade of elm and oak 
 
 The church of Berkley Manor stood ; 
 There Sunday found the rural folk, 
 
 And some esteem ? d of gentle blood. 
 
 In vain their feet with loitering tread 
 Pass'd mid the graves where rank is 
 
 nought ; 
 All could not read the lesson taught 
 
 In that republic of the dead. 
 How sweet the hour of Sabbath talk, 
 
 The vale with peace and sunshine full, 
 Where all the happy people walk, 
 
 Deck'd in their homespun flax and wool; 
 
 Where youth's gay hats with blossoms 
 bloom 
 And every maid, with simple art, 
 Wears on her breast, like her own heart, 
 
 A bud whose depths are all perfume ; 
 While every garment's gentle stir 
 Is breathing rose and lavender. 
 
 And now before the open door — 
 
TRAINING OF THE VOICE 107 
 
 The warrior priest had order 'd so — 
 Th' enlisting trumpet's sudden roar 
 Eang through the chapel, o 'er and o 'er, 
 
 Its long reverberating blow, 
 So loud and clear, it seem'd the ear 
 Of dusty death must wake and hear. 
 
 And there the startling drum and fife 
 Fired the living with fiercer life ; 
 While overhead, with wild increase, 
 Forgetting its ancient toll of peace, 
 
 The great bell swung as ne'er before : 
 It seem'd as it would never cease; 
 And every word its ardor flung 
 From off its jubilant iron tongue 
 
 Was, "War! War! WAR!" 
 
 "Who dares" — this was the patriot's cry, 
 As striding from the desk he came — 
 "Come out with me, in Freedom's name, 
 For her to live, for her to die?" 
 A hundred hands flung up reply, 
 A hundred voices answer 'd, "I!" 
 
 — Thomas Buchanan Read. 
 
108 TRAINING OF THE VOICE 
 
 THE REVENGE. 
 
 At Flores in the Azores Sir Eichard Gren- 
 
 ville lay, 
 And a pinnace, like a flutter 'd bird, came 
 
 flying from far away: 
 "Spanish ships of war at sea! we have 
 
 sighted fifty-three ! ' ' 
 Then sware Lord Thomas Howard: 
 
 " 'Fore God, I am no coward; 
 But I cannot meet them here, for my ships 
 
 are out of gear, 
 And the half my men are sick. I must fly, 
 
 but follow quick. 
 We are six ships of the line ; can we fight 
 
 with fifty-three?" 
 Then spake Sir Richard Grenville: "I 
 
 know you are no coward ; 
 You fly them for a moment to fight with 
 
 them again. 
 But I've ninety men and more that are 
 
 lying sick ashore. 
 I should count myself the coward if I left 
 
 them, my Lord Howard, 
 To these Inquisition dogs and the devil- 
 doms of Spain.' ' 
 
TBAIXIXG OF THE VOICE 109 
 
 So Lord Howard passed away with five 
 
 ships of war that day, 
 Till he melted like a cloud in the silent 
 
 summer heaven; 
 But Sir Richard bore in hand all his sick 
 
 men from the land 
 Very carefully and slow, 
 Men of Bideford in Devon, 
 And we laid them on the ballast down 
 
 below ; 
 For we brought them all aboard, 
 And they blest him in their pain, that they 
 
 were not left to Spain, 
 To the thumbscrew and the stake, for the 
 
 glory of the Lord. 
 
 He had only a hundred seamen to work the 
 
 ship and to fight, 
 And he sailed away from Flores till the 
 
 Spaniard came in sight, 
 With his huge sea-castles heaving upon the 
 
 weather bow. 
 "Shall we fight, or shall we fly? 
 Good Sir Richard, tell us now, 
 For to fight is but to die ! 
 
110 TRAINING OF THE VOICE 
 
 There '11 be little of us left by the time this 
 sun be set." 
 
 And Sir Richard said again: "We be all 
 good English men. 
 
 Let us bang these dogs of Seville, the chil- 
 dren of the devil, 
 
 For I never turn'd my back upon Don or 
 devil yet." 
 
 Sir Richard spoke and he laugh 'd, and we 
 
 roar'd a hurrah, and so 
 The little Revenge ran on sheer into the 
 
 heart of the foe, 
 With her hundred fighters on deck, and her 
 
 ninety sick below ; 
 For half of their fleet to the right and half 
 
 to the left were seen, 
 And the little Revenge ran on thro* the 
 
 long sea-lane between. 
 
 Thousands of their soldiers look'd down 
 
 from their decks and laugh 'd, 
 Thousands of their seamen made mock at 
 the mad little craft 
 
TKAINING OF THE VOICE 111 
 
 Running on and on, till delay 'd 
 
 By their mountain-like San Philip that, of 
 
 fifteen hundred tons, 
 And up-shadowing high above us with her 
 
 yawning tiers of guns, 
 Took the breath from our sails, and we 
 
 stay'd. 
 
 And while now the great San Philip hung 
 
 above us like a cloud 
 Whence the thunderbolt will fall 
 Long and loud, 
 Four galleons drew away 
 From the Spanish fleet that day, 
 And two upon the larboard and two upon 
 
 the starboard lay, 
 And the battle-thunder broke from them 
 
 all. 
 
 But anon the great San Philip, she be- 
 thought herself and went, 
 
 Having that within her womb that had left 
 her ill-content; 
 
 And the rest they came aboard us, and they 
 fought us hand to hand, 
 
 For a dozen times they came with their 
 pikes and musqueteers, 
 
112 TRAINING OF THE VOICE 
 
 And a dozen times we shook 'em off as a 
 
 dog that shakes his ears 
 When he leaps from the water to the land. 
 
 And the sun went down, and the stars came 
 out far over the summer sea, 
 
 But never a moment ceased the fight of the 
 one and the fifty-three. 
 
 Ship after ship, the whole night long, their 
 high-built galleons came, 
 
 Ship after ship, the whole night long, with 
 her battle-thunder and flame ; 
 
 Ship after ship, the whole night long, drew 
 back with her dead and her shame. 
 
 For some were sunk and many were shat- 
 ter M, and so could fight us no more — 
 
 God of battles, was ever a battle like this 
 in the world before? 
 
 For he said, " Fight on! fight on!" 
 Tho' his vessel was all but a wreck; 
 And it chanced that, when half of the short 
 
 summer night was gone, 
 With a grisly wound to be drest he had left 
 
 the deck, 
 
TRAINING OF THE VOICE 113 
 
 But a bullet struck him that was dressing 
 
 it suddenly dead, 
 And himself he was wounded again in the 
 
 side and the head 
 And he said, " Fight on; fight on!" 
 
 And the night went down, and the sun 
 
 smiled out far over the summer sea, 
 And the Spanish fleet with broken sides lay 
 
 round us all in a ring; 
 But they dared not touch us again, for 
 
 they fear'd that we still could sting, 
 So they watch 'd what the end would be. 
 And we had not fought them in vain, 
 But in perilous plight were we, 
 Seeing forty of our poor hundred were 
 
 slain, 
 And half of the rest of us maim'd for life 
 In the crash of the cannonades and the 
 
 desperate strife ; 
 And the sick men down in the hold were 
 
 most of them stark and cold, 
 And the pikes were all broken or bent, and 
 
 the powder was all of it spent ; 
 And the masts and the rigging were lying 
 
 over the side ; 
 
114 TKAINING OF THE VOICE 
 
 But Sir Richard cried in his English pride, 
 "We have fought such a fight for a day 
 
 and a night 
 As may never be fought again ! 
 We have won great glory, my men ! 
 And a day less or more 
 At sea or ashore, 
 We die — does it matter when? 
 Sink me the ship, Master Gunner — sink 
 
 her, split her in twain ! 
 Fall into the hands of God, not into the 
 
 hands of Spain !" 
 
 And the gunner said, "Ay, ay," but the 
 seamen made reply : 
 
 "We have children, we have wives, 
 
 And the Lord hath spared our lives. 
 
 We will make the Spaniard promise, if we 
 yield, to let us go ; 
 
 We shall live to fight again, and to strike 
 another blow/ ' 
 
 And the lion there lay dying, and they 
 yielded to the foe. 
 
 And the stately Spanish men to their flag- 
 ship bore him then, 
 
TRAINING OF THE VOICE 115 
 
 Where they laid liim by the mast, old Sir 
 
 Richard caught at last, 
 And they praised him to his face with their 
 
 courtly foreign grace ; 
 But he rose upon their decks, and he cried : 
 "I have fought for Queen and Faith like a 
 
 valiant man and true ; 
 I have only done my duty as a man is bound 
 
 to do: 
 With a joyful spirit I Sir Richard Gren- 
 
 ville die ! ' * 
 And he fell upon their decks, and he died. 
 
 And they stared at the dead that had been 
 
 so valiant and true, 
 And had holden the power and glory of 
 
 Spain so cheap 
 That he dared her w^ith one little ship and 
 
 his English few; 
 Was he devil or man? He was devil for 
 
 aught they knew, 
 But they sank his body with honor down 
 
 into the deep, 
 And they mann'd the Revenge with a 
 
 swarthier alien crew, 
 
116 TRAINING OF THE VOICE 
 
 And away she sail'd with her loss and 
 
 long'd for her own; 
 When a wind from the lands they had 
 
 ruin'd awoke from sleep, 
 And the water began to heave and the 
 
 weather to moan, 
 And or ever that evening ended a great 
 
 gale blew, 
 And a wave like the wave that is raised by 
 
 an earthquake grew, 
 Till it smote on their hulls and their sails 
 
 and their masts and their flags, 
 And the whole sea plunged and fell on the 
 
 shot-shatter 'd navy of Spain, 
 And the little Kevenge herself went down 
 
 by the island crags 
 To be lost evermore in the main. 
 
 — Lord Tennyson. 
 
 
INDEX 
 
 A 
 
 Addison, exercise quoted from, 64. 
 
 "Allegro, L'," Milton, quoted as an exercise, 68, 69. 
 
 "Apdstrophe to the Ocean" quoted as an exercise, 100- 
 
 102. 
 Audience, speaking to an imaginary, 62, 63. 
 
 B 
 
 Bailey, exercise quoted from, 66. 
 
 "Ballad of the Brook, The," Charles G. D. Roberts, 
 
 quoted as an exercise, 83-86. 
 "Bells, The," Poe, correct reading of, 13; quoted as an 
 
 exercise, 88-91. 
 Bernhardt, Mme., voice of, 7. 
 Boardman, G. D., exercise quoted from, 66. 
 Breathing, 33-45; at end of each phrase, 52. 
 Breathy tone denned, 13; types of speech which can not 
 
 be adequately expressed by, 14. 
 "Brookside, The," quoted as an exercise, 82, 83. 
 Browning, Robert, exercise quoted from, 93-97. 
 Bryant, W. C, exercise quoted from, 73-78. 
 "Building of the Ship, The," Longfellow, selection from, 
 
 quoted as an exercise, 103, 104. 
 Burritt, Elihu, exercise quoted from, 63. 
 
 Chest, position of, in tone production, 35, 36, 39. 
 
 117 
 
118 INDEX 
 
 "Clergyman's sore throat," 29. 
 
 Color of tone, 10, 15, 16. 
 
 Complexity of emotions to be expressed by voice, 
 
 7, 9, 10. 
 Consonant articulation, exercises to acquire, 55-61. 
 Corson, Dr. Hiram, quoted, 8. 
 
 "Daffodils, The," appreciation of thought of, 68; quoted 
 as an exercise, 71, 72. 
 
 Deep breathing defined, 36. 
 
 Demosthenes, voice of, 7. 
 
 Diaphragm, structure and action of, 33-38; exercises to 
 strengthen, 43, 44. 
 
 Diaphragmatic breathing, 33-45. 
 
 Dramatic or oratorical greatness dependent on voice, 7. 
 
 "Drifting," Thomas Buchanan Read, quoted as an exer- 
 cise, 69, 70. 
 
 Education, repetition the secret of, 52. 
 Emotions, how best expressed by tones, 13. 
 Exercises — 
 
 for flexibility, 12, 67. 
 
 value of faithful and persistent practice of, 20. 
 
 to secure an open, relaxed throat, 22, 23. 
 
 to train the tongue, 24. 
 
 to train the lips, 25, 26. 
 
 for tone-placing, 28. 
 
 breathing, 39-44. 
 
 to strengthen diaphragm, 43, 44. 
 
 thought of, to be first determined, 52, 62. 
 
 repetition of, 52. 
 
 to secure purity and resonance, 53, 54. 
 
INDEX 119 
 
 Exercises (continued) — 
 
 to acquire consonant articulation, 55-61. 
 
 how best to practice, 62, 63. 
 
 for larger, broader, rounder, and more powerful 
 tones, 92, et seq. 
 Explosive utterance, breathing to produce, 45. 
 
 Falling inflection, practice of, 31. 
 Finished tone, 28. 
 
 Flexibility of voice much to be desired, 11, 12; lyric 
 poems as exercises in practice for, 67. 
 
 G 
 
 "Good-morrow," Hey wood, quoted as an exercise, 79, 80. 
 
 H 
 
 Habits, wrong, of tone production, 1, 48. 
 
 Heywood, exercise quoted from, 79, 80. 
 
 "How They Brought the Good News from Ghent to 
 Aix," Robert Browning, quoted as an exercise, 93-97. 
 
 "Hymn to the Night," Longfellow, quoted as an exer- 
 cise, 72, 73. 
 
 Ideal voice, thought of, to be carried in mind of stu- 
 dent, 62. 
 
 "If I Were King," McCarthy, selection from, quoted as 
 an exercise, 97, 98. 
 
 Impurity or purity of tone, 10, 14. 
 
 "Isle of Long Ago, The," Benj. F. Taylor, quoted as an 
 exercise, 80-82. 
 
120 INDEX 
 
 J 
 
 Johnson, Dr., exercise quoted from, 65. 
 
 L 
 
 Laws which govern production of voice, 6. 
 
 Lips in tone production, 25-32, 53. 
 
 Longfellow, exercises quoted from, 60, 61, 72, 73, 103, 
 
 104. 
 Lyric poems, practice of, 67. 
 
 M 
 
 Massage of jaw muscles, 23. 
 
 McCarthy, exercise quoted from, 97, 98. 
 
 "Merchant of Venice, The," the "Mercy Speech" from, 
 quoted as an exercise, 78, 79. 
 
 Milton, exercise quoted from, 68, 69. 
 
 Mind, the part it plays in tone production, 46-50, 62. 
 
 Musical instruments compared to voice, 6; laws in- 
 volved in construction of, 19. 
 
 Musical tones, what made up of, 27; learning to dis- 
 tinguish the good, 48, 49. 
 
 N 
 
 Neal, John, exercise quoted from, 64. 
 
 
 
 Obliqui and transversalis muscles, 37, 38. 
 
 Oratorical or dramatic greatness dependent on voice, 7. 
 
INDEX 121 
 
 "Patriotism," Sir Walter Scott, quoted as an exercise, 
 
 104, 105. 
 Phillips, Wendell, voice of, 7. 
 Phrase from standpoint of tone production, 51. 
 Phrase unit determines pause, 67. 
 Pitch movement, 10, 11. 
 
 "Placing" of the voice, 27; exercises for, 28-32. 
 Poe, Edgar A., exercise quoted from, 88-91. 
 Poetry, the reading of, 12, 13, 67. 
 Pope, exercise quoted from, 64. 
 Practice, value of, 1, 2, 18, 52, 62, 63, 67. 
 Printed lesson, its value in voice-training, 17. 
 Proverb, Henry, exercise quoted from, 66. 
 Psychology of tone production, 46-50, 62. 
 Public speakers of past ages, 6. 
 "Public speaker's sore throat," 29. 
 Public speakers, voices of, 5-8, 14. 
 Pure tone defined, 13. 
 
 Purity and resonance, exercises to secure, 53, 54. 
 Purity or impurity of tone, 10, 14. 
 
 R 
 
 Raw tone defined, 27. 
 
 Read, Thomas Buchanan, exercises quoted from, 69, 70, 
 105-107. 
 
 Repetition the secret of education, 52. 
 
 Resonance of voice, 10; exercises to secure, 53, 54. 
 
 "Revenge, The," Lord Tennyson, quoted as an exer- 
 cise, 108-116. 
 
 Rising inflection, practice of, 30. 
 
 "Rising of 1776, The," Thomas Buchanan Read, quoted 
 as an exercise, 105-107. 
 
 Roberts, Charles G. D., exercise quoted from, 83-86. 
 
122 INDEX 
 
 Science of tone production, 19. 
 Scott, Sir Walter, exercise quoted from, 104, 105. 
 Sentences, practice with, 32, 51. 
 
 Shakespeare, exercises quoted from, 63, 64, 78, 79, 98, 99. 
 Singing and speaking voices, pitches of, 10. 
 Sing-song utterance, to avoid, 67. 
 
 "Song of the Brook," Tennyson, quoted as an exer- 
 cise, 86-88. 
 Sounds represented by words, 8, 9. 
 Speaking and singing voices, pitches of, 10. 
 Speech tone, qualities of an acceptable, 48. 
 Support of voice, 37. 
 Syllables, practice with, 30, 31. 
 
 Taylor, Benj. F., exercise quoted from, 80-82. 
 Teachers of tone production, 46, 47. 
 Tennyson, exercises quoted from, 86-88, 108-116. 
 "Thanatopsis," W. C. Bryant, correct reading of, 13; 
 
 quoted as an exercise, 73-78. 
 Thought of each exercise to be first determined, 52, 62. 
 Throat, open, relaxed position of, 22-24, 41, 53. 
 Time rate, 10, 11. 
 
 Time to be devoted to voice practice, 2, 18, 52. 
 Tone and tone production — 
 
 one of the qualities of the voice, 10. 
 
 pure and breathy tones defined, 13. 
 
 impure tones, 14. 
 
 nature of thought determines tones to be em- 
 ployed, 14-16. 
 
 color of tone, 10, 15, 16. 
 
 tone production a scientific process, 19. 
 
 method of tone production and conditions neces- 
 sary to it, 21, 22. 
 
INDEX 123 
 
 Tone and tone production (continued) — 
 
 correct position for, 22, 23. 
 
 the so-called raw, 27. 
 
 "placing" of voice a requisite of, 27. 
 
 exercises for tone-placing, 28. 
 
 process of, as related to the throat, 28, 29. 
 
 effect of lips on tone, 29, 30. 
 
 syllable practice for, 30, 31. 
 
 sentence practice for, 32. 
 
 and breathing, 33-45. 
 
 schools of teachers of, 46, 47. 
 
 psychology of, 46-50, 62. 
 
 developing an appreciation of good tone, 48. 
 
 phrase from standpoint of tone production, 51. 
 
 exercises for larger, broader, rounder, and more 
 powerful tones 92 et seq. 
 Tongue, exercises for the training of, 24; position of, 
 
 in relation to vowel production, 26. 
 Training of voice, possibilities of, 16; value of printed 
 
 lesson in, 17; time and study required in, 18, 19. 
 Transversalis and obliqui muscles, 37, 38. 
 
 Vocal cords and tone production, 29. 
 Vocal effort and incorrect adjustment of vocal ap- 
 paratus, 21. 
 Voice — 
 
 habits of, 1, 48. 
 
 practice to develop, 1, 2, 18. 
 
 laws which govern production of, 6. 
 
 is a musical instrument, 6. 
 
 dramatic or oratorical greatness dependent on, 7. 
 
 complexity of emotions to be expressed by, 7, 9, 10. 
 
 qualities which it has at command, 10, 11. 
 
 pitch of, 10, 11. 
 
 flexibility of, much to be desired, 11. 
 
124 INDEX 
 
 Voice (continued) — 
 
 an inefficient, 11. 
 
 training to produce a remarkably fine, 16, 17. 
 
 the trained and the untrained, 17. 
 
 is a scientific instrument, 19. 
 
 qualities of a normally excellent, 20. 
 
 to secure the best results for the, 21. 
 
 "placing" of, 27. 
 
 learning to localize properly the, 29-32. 
 
 to create volume and preserve quality of, 36. 
 
 support of, 36, 37. 
 
 thought of ideal voice to be carried in mind of 
 student, 62. 
 
 when a free and normal agent, 92. 
 Voices of public speakers, 5-8, 14. 
 Volume of voice, 10, 14; to produce, 45. 
 Vowels, adequate tone production of, 23; proper posi- 
 tion of lips to produce, 25, 26; difference between, 
 26; tongue position to produce, 26; practice of, 31. 
 
 W 
 
 Watts, Dr., exercise quoted from, 63. 
 Word symbols, 9. 
 Words stand for sounds, 8, 9. 
 Wordsworth, exercise quoted from, 71, 72. 
 
 Yawn, position of throat in, 22. 
 
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 Deacidified using the Bookkeeper process 
 Neutralizing agent: Magnesium Oxide 
 Treatment Date: Dec. 2007 
 
 PreservationTechnologies 
 
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