thinking, therefore, allows a warmer and more glowing and enthusiastic manner of expression, than is assumed in the first impression the mere words or melody may make on the judgment. The colouring of the fine arts always oversteps the modesty of nature; the sympathy of observers accompanies it to a certain point; and being dissolved, whenever this colouring becomes too violent, may be esteemed the test of excellence. This is the personification as well as the poetry of the art.

PITCH OF THE VOICE.

The voice, in all its varieties of utterance in speaking and singing, may be remarked to move within a limited compass, above or below which it cannot reach without disagreeable straining. The mode, however, of moving within this compass is different in each. The musical tones are placed at considerable intervals, which are passed by complete leaps. The speaking tones are at very small intervals, through which the voice slides by the ascending or descending inflexions, as above described in the system of Mr. Walker. Within the limits of the excursion of both, there are certain favourable stations, which are preferred for the pitch or key note from which the intervals are calculated, and to which the modulations are referred.

It may be said, according to these principles, that every man has a certain pitch of voice, within the compass of which he can speak or sing with most ease to himself, and most agreeably to others. This may be called the natural pitch, and is that in which we usually converse: it is this which must be the basis of every improvement acquired from art or exercise.

As a basis, therefore, or starting-point for this natural pitch of the voice, the middle tones are evidently the most advantageous; as well because the voice has the command of the tones both above and below, within its compass, as that these tones are generally used in common discourse, and the organs must consequently be much strengthened in them by habitual exercise.

Much of the ease of the speaker, and much also of the effect of his discourse, depends upon the proper pitching of the voice. If he deliver his sentiments with facility, they are heard so far with pleasure; but if his efforts to make himself heard are attended with manifest pain, his audience will be impatient for his relief and for their own, whatever may be the merit of his disHe who shouts at the top of his voice, is almost sure to break it, while he destroys his own feelings, becomes a mere brawler, and stuns his

course.

audience. He who mutters below the natural pitch of his voice, soon wearies himself, becomes inaudible, and altogether oppresses his hearers. Each extreme, therefore, is almost equally disagreeable and disadvantageous to the object of public speaking, though not equally irremediable.

It is agreed to from experience by all public speakers, that it is much easier to raise than to lower the pitch of a discourse; and therefore the high extreme is most particularly to be guarded against. From the lower, unless the speaker be altogether exhausted, he may with less difficulty ascend. A change of key, where that is advisable, must be conducted on the same principles by the speaker as by the musician. This occurs in music, in a new movement or division, and must take place in speaking after a considerable pause; or, if it be necessary to make the change before, it must not take place abruptly, but go through certain gradations, or, as it were, modulations, otherwise the sudden transition will offend in the extreme. The descending modulations are found to be much more difficult to the speaker than the ascending ones, for a cause which has not been assigned, and therefore he should be more particularly careful not to remain long in that pitch, whence it may be beyond his ability to descend without exposing his want of skill. He must

consequently be cautious in the commencement of his discourse, and so construct the spirited parts of it, that they shall only occasionally run him into the high tones of his voice, but not detain him too long there. This precept will apply figuratively with equal advantage to his composition, which ought not to dwell very long on the vehement strain.

This rule is carefully observed by the composers of Italian song. The voice is made to slide gradually, or to make a run up to its very highest notes, from which it is also made to descend speedily. This contrivance gives to the air and to the performer every advantage of brilliancy, without fatigue to the voice or pain to the hearer. It is worthy of imitation, though it is but seldom attended to by our composers. The upper parts of glees, which are sometimes executed by female voices, if they are not intended for them, particularly err against the rule; and are found to squeak perpetually within small limits, at the very extreme pitch of the voice.

With respect to the pitch of the voice, nothing will lead to greater mistakes than the confounding of high and low tones with those which are loud and soft; for if, in an attempt to make the voice louder and better heard, the key is raised to a pitch at which the tones become shrill and

feeble, the speaker's intention will be quite frustrated. It may be useful, therefore, to explain this distinction, in order to prevent this mistake. -By a high tone, then, we mean that which we naturally assume when we wish to be heard at a distance, as the same degree of voice is more audible in a high than in a low tone, from the acuteness of the former and the gravity of the latter. By a low tone, again, we mean that which we naturally assume when we are speaking to a person at a small distance, and wish not to be heard by others, as in these circumstances a low tone with the same force is less audible than a high one. If, therefore, we raise our voice to the pitch we should naturally use if we were calling to a person at a great distance, and at the same time exert so small a degree of force as to be heard only by a person who is near us, we shall have an example of a high note in a soft tone. If we suppose ourselves, on the contrary, speaking to a person at a small distance, and wish to be heard by those who are at a greater, we will, in these circumstances, naturally sink the voice into a low note, and throw just as much force or loudness into it as is necessary to make it audible to the persons at a distance. The low tone conveys the idea of speaking to a person near us, and the loud tone enables us to convey this idea to