entiment and the moral emotions. The head-voice interprets
everything pertaining to scientific or mental phenomena. By observing
the laugh in the vital, moral and intellectual states, we shall see that
the voice takes the sound of the vowel corresponding to each state.

We understand the laugh of an individual; if upon the _i_ (_e_ long), he
has made a sorry jest; if upon _e_ (_a_ in _fate_), he has nothing in
his heart and most likely nothing in his head; if upon _a_ (_a_ short),
the laugh is forced. _O, a_, (_a_ long) and _ou_ are the only normal
expressions. Thus every one is measured, numbered, weighed. There is
reason in everything, even when unknown to man. In physical pain or
joy, the laugh or groan employs the vowels _e, e, i_.[3]

2. The chest-voice should be little used, as it is a bestial and very
fatiguing voice.

3. The head-voice or the medium voice is preferable, it being more noble
and more ample, and not fatiguing. In these voices there is far less
danger of hoarseness. The head and medium voices proceed more from the
mouth, while the chest-voice has its vibrating point in the larynx.

4. The articulation of the three syllables, _la, mo_ and _po_, is a very
useful exercise in habituating one to the medium voice. Besides
reproducing the tone of this voice, these are the musical consonants
_par excellence_. They give charm and development to the voice. We can
repeat these tones without fatiguing the vocal chords, since they are
produced by the articulative apparatus.

5. It is well to remark that the chest, medium and head voices are
synonymous with the eccentric, normal or concentric voice.

6. It is only a hap-hazard sort of orator who does not know how to
attain, at the outset, what is called the white voice, to be colored
afterward at will. The voice should resemble the painter's pallet, where
all the colors are arranged in an orderly manner, according to the
affinities of each. A colorless tint may be attained in the same way as
a pure tint. It may be well to remark here, although by anticipation,
that the expressions of the hand and brow belong to the voice. The
coloring of the larynx corresponds to the movements of the hand or
brows.

Sound is painting, or it is nothing. It should be in affinity with the
subject.

Chapter III.

The Voice in Relation to Intensity of Sound.

_What is Understood by Intensity of Sound._

The voice has three dimensions--height, depth and breadth