been the case. By an extension of the powers of musical execution, in the voice and on instruments, this art is, through misused mechanical skill, and the waywardness of undiscerning patronage, frequently exercised to the indifference or disgust of those, whose approbation would be durable; and to the thoughtless satisfaction of those whom the united caprice of ignorance and fashion may urge equally to support or to destroy.

A full knowledge of the principles and practice of an art, enables an industrious and ambitious votary to approach perfection; whilst idle followers are contented with the defaults of imitation. With most men, the labor of the mind, equally with that of the body, ceases with the removal of its necessity; and a shameless dependence on the intellectual alms of others is not less common, than the populous growth of pauperism upon the increasing provisions of benevolence. The unbounded distributions of genius, prompt to excuses for indolence and to claims for succour, and the empire itself of the art, at last falls under the insurrection and anarchy of its former servile dependants.

It is thus readily admitted that a full analysis of speech, together with the establishment of a system of principles in the art, will not always exempt it from abuse or ruin. But I cannot therefore, refrain from recommending a mode of cultivation, which must ensure the highest satisfaction, whilst the art remains uncorrupted, and which, by the record of its definitions and method, will afford the best means for any needed restoration.

Perhaps there is no error in asserting that the art of speaking well, does not consist of those accidents, which, by arbitrary use, are apt to lead to debasement. Some of the fine arts may receive the addition of Ornament, properly so called; which holding but a separable relationship to its subject or principal, leaves taste to order the degree of its application, or its total exclusion. The art of speaking is subject to no such conditions. The embodying of sense by sound, and the coloring of feeling by its expressive modes,

are fixed in their amenity by the unalterable instincts of nature, or the satisfactory decisions of convention. All addition to the numbered signs of its language is redundancy, and all misplaced utterance is affectation.

The following history of the voice is addressed especially to those who pursue science with attention and perseverance; who prefer its useful accuracy to its ostentation; who are satisfied with the 'few-but fit audience;'-and who know, from their own happy experience, that exactness of knowledge is the bright felicity of intellect. To inquirers of this character, it need not be said, that even the rapid flight of speech may be more easily followed, when the general principles of its movement are understood. The hesitation of the ear will be prompted by the mind, and we shall more readily discern what is, by knowing what ought to be.

After the preceding representation of our limited knowledge of the functions of the voice, and upon the promises of a more extended and precise analysis, the reader must not be surprised to find, in the following essay, a new and copious nomenclature. When unnamed additions are made to the system and detail of an art, terms must be invented for them: and even when its known phenomena are exhibited under varied relationships, the purpose of description is less perplexed by the novelty of terms, than by an attempt to give another application or meaning to former names.

Many of the varieties of pitch having been accurately designated and clearly arranged in music, its applicable nomenclature has been transferred to the description of speech: and whenever a language has been purposely framed, I have endeavored to make it, by direct or metaphorical use, purely explanatory of the nature of the vocal functions.

Although I have gone deeply into the philosophical analysis of speech, and have spared no pains in illustrating whatever might, from its novelty, be otherwise obscure; I have not pretended to make specific application of all the principles here laid down, to every case of the reading and speaking voice. As the design of this essay is, to promulgate a

new Institute of Elocution, I have endeavored to accommodate the full requisitions of the subject, to the limitations of my time, by brief generalities of explanation and method: which in holding the light of instruction, broadly but distinctly over the whole, may enable others to perceive the nature and relationship of the parts; and thus with the closer and more particular hand of detail, to unite in purpose for the completion of the work. The full development of an art, in all its practical bearings, must be the united product of many, and of their lives. Here is the result of the leisure of about three years, snatched from the daily duty of extensive professional occupation. If in discharging the duties of that profession, I have selected from its physiological department, a subject of inquiry which gives its ultimate services in another art, I have not therein forgotten that nature, who never is ungrateful to the eyes that watch her, has still her secrets in the human frame, yet to be told for the health or happiness of man: the future search after which, may not be without success, and will not be without the satisfaction experienced in conducting these offered scrutinies of the tongue and ear.

The reception which may await the following work, can be of no important interest to me. By taking care to antedate the season of its rewards and punishments, I have already found them in the varied pleasure and perplexity of its accomplishment. I leave it therefore for the service of him who may in future desire to read the history of his voice. The system here exhibited will satisfy much of his curiosity: for I feel assured, by the result of the rigid mode of observation employed throughout the inquiry, that if science should ever come to one consent on this point, it will not differ essentially from the ensuing record. The world has long asked for light on this subject. It may not choose to accept it now: but having idly suffered its own opportunity for discovery to go by, it must, under any capricious postponement, at last receive it here.

Sir Joshua Reynolds has a pretty thought on the labors of ambition and the choice of fame. I do not remember his words exactly; but he figures the present age and posterity as rivals, and those who receive the favor of the one, as being outcasts from the other. This condition, while it allows a full but transient satisfaction to the zeal which works only for a present reward, does not exclude all prospect from those who are contented in the anticipation of deferred success.-Truth, whose first steps should be always vigorous and alone, is often obliged to lean for support and progress on the arm of Time; who then only, when supporting her, seems to have laid aside his wings.

Philadelphia, January, 1827.

THE

PHILOSOPHY

OF

THE HUMAN VOICE.

NEW-YORK

SECTION I

Of the general Divisions of Vocal Sound: with a more particular account of its Pitch.

ALL the varieties of sound in the human voice, may be referred to the following general heads:

QUALITY,
FORCE,
TIME,

ABRUPTNESS,

PITCH.

The detail of these five genera, and of the multiplied combination of their species, includes the enumeration of the articulating and the expressive powers of speech.

It would be fruitless to attempt to give an analytical history of the voice, without the use of definite terms for the appreciable modes of sound. It is therefore proper to inquire how far common nomenclature fulfils the purposes of precision; and by what means any obvious deficiency may be supplied.

The terms by which the Quality or kind of voice is distinguished, are-rough, smooth, harsh, full, slender, thin, musical, and some others of the same metaphorical structure.