518 THE POPULAR SCIENCE MONTHLY. 



fluence on the glottic sounds, and we possess no means of measuring 

 these qualities. 



The character of the voice is fixed from the time when the larynx 

 has reached its full development. So long as the activity of youth 

 continues, the voice will retain this character without any very con- 

 siderable modification; still, by exercise it will perhaps gain intensity, 

 and may be improved in point of timbre. Suppleness and agility of 

 the organs are acquired only at the cost of labor; this is shown from 

 the history of many a singer. The voice of the young Marie Garcia 

 was at first harsh and husky, but afterward it became the sweet voice 

 of Malibran. Still, as a rule, natural physical gifts manifest them- 

 selves prior to any attempt at culture. 



As old age approaches, the play of the larynx becomes difficult ; at 

 first the tone of the voice is lowered, and then its intensity is lessened ; 

 the breath comes with less force. Sometimes disease impairs the in- 

 strument before the advent of age. While appearing to be intact, the 

 organ often ceases to discharge its functions perfectly, owing to more 

 or less serious affection of the nervous action. Mandl has, by means 

 of electricity, momentarily restored voices that had been thus de- 

 stroyed. Songstresses have now and then irretrievably lost their 

 voices in consequence of overstrain of the vocal organs. Here we are 

 reminded of the case of Cornelia Falcon. 



Amid the refinements of civilized life, singing is prized only in so 

 far as it is an art ; when it rises to that dignity, it attracts crowds. 

 A man or a woman possessing no matter how fine a voice, must begin 

 by going to school. The instrument, whose admirable mechanism we 

 have seen, is not entirely under control, except after much study and 

 long-continued and methodical exercise. This is true of all organs 

 subject to the will, as every one knows from experience, as in the 

 employment of the hands. Though expert in all the movements of 

 the larynx and the mouth, the singer cannot, even with a superb 

 voice, produce brilliant effects, save by the aid of mind. From mind 

 alone come expression, taste, style, and these qualities are all personal. 

 Sensibility, whether real or feigned, is always an element of success. 

 The artist is advised never to give way to the passions which he 

 expresses, for mental commotion is quickly succeeded by extreme 

 fatigue; he may attain a perfect imitation of passions, meanwhile pre- 

 serving a tranquil mind. Still, are not emotions which are felt always 

 the most communicable ? 



After we have studied the human voice in its various manifestations, 

 the voice of animals seems to us to be scarcely worthy of notice. The 

 barking of the dog, the mewing of the cat, the bleating of the sheep, 

 undoubtedly constitute a very scanty language. These cries of animals 

 do but annoy us ; but it must be remembered that they are intended 

 for other ears than ours. The warbling of small birds alone affords us 

 pleasure; it possesses resemblances which cause pleasing illusions; it 



