he is related to the physical plane through his bodily senses and that the varying needs and requirements of the body should all be fittingly observed. He should be no more the ascetic than the glutton, but live his physical life in a thoroughly poised manner, getting real pleasure from such living. In his mental life he should learn to cultivate his mind and be able to give clear expression to his thoughts, for the development of beautiful imagination adds greater happiness to his life than does any physical pleasure. His mind should be taught to rule or direct his physical nature, because it is one step higher in the evolution of his life. He should never strain the mind or allow it to become either too relaxed or too tense, because just as sure as the pendulum swings too far in one direction, it must swing correspondingly far in the other. Self-control is something that each one must work for, and only by working for it will it come. Live the mental life to the full. Know as much as it is possible to know, but neither overuse nor underuse the mind and expect to be happy in so doing. Happiness is the result of right mental living. Again, the mind should be under the dominion of the spirit; for the spirit in man is the controlling factor in life. Love and joy, faith and hope, and all qualities kindred to these constitute in man the real dynamic of life, the light that is to illumine the whole life, the power that is to be expressed through everything man does. Remember that all three of these varying phases of life exist all the way from the elemental man up. Only in the elemental man they are rudimentary, while in the highly civilised man they have become a more conscious realisation. From first to last, all proceeds from the indwelling spirit; from first to last, it is a state of consciousness. of realising in part or in whole. It is a mistake on the part of the vocal master or student to think that the voice can be developed through a study of anatomy or physiology. Sooner or later they will come to see that knowledge of the various planes of life and conformity to the requirements of these planes will bring about the desired end in a shorter time and a better way. Art means making the best possible form through which the tone can be expressed. Ruskin says: "High art consists neither in altering nor in improving nature; but in seeking throughout nature for whatsoever things are lovely, whatsoever things are pure; in loving these, in displaying to the utmost of the painter's power such loveliness as is in them, and directing the thoughts of others by winning art, or gentle emphasis. Art (cæteris paribus) is great in exact proportion to the love of beauty shown by the painter, provided that the love of beauty forfeit no atom of truth." What Ruskin wrote concerning painting, an art that has far less of inner revelation than has music, is also true of music, only in a much greater way. If the painter is not to sacrifice an atom of truth, surely in an art like music, which is the very soul of all arts, there must be far less occasion for any sacrifices. A great singer like Jenny Lind will, first of all, use her voice for the glory of God. God gave her the voice, God gave her the health, feeling, and beauty that lived in her soul, and she glorified God through singing the songs that would enlighten and uplift the souls of men and women. The greatest glory we can render God is loving service to mankind. When composers, singers, and instrumental musicians realise that they are the true prophets and priests of God, then they will try, in order to be of greater service to mankind, to purify both their minds and bodies; thereby fitting themselves to become receptive to the indwelling Spirit, and thus be able to render the best service to their fellow-man. It is a singular thing that notwithstanding how large a number of the greatest men who ever lived have attached such value to music, the world as a whole to-day still continues to consider it as something apart from what they call practical living. Surely anything that can change the nature of man or beast, and make the intractable, tractable, anything, too, that can awaken such a sense of joy and satisfaction, must have in it something more practical than the mere pleasure of eating a good dinner or drinking a glass of wine. The trouble is that comparatively few people ever think deeply concerning anything in life. The customary or the conventional thought of the people one associates with is taken for granted, no matter how right or how wrong it may be; it is the easy way that people seek. Why not? They pay their doctors to care for their bodies and clergymen to save their souls. Goethe was right when he wrote: "To customary roads men still will link Their faith-poor dolts-imagining they think!" It is still more singular that those who are so intimately associated with music,—the ordinary composer, the singer, or the instrumental musician,— should know so little of the power with which they are dealing; while people like Darwin, Spencer, Schopenhauer, Carlyle, and many other great men whose work did not really come within the province of music, nevertheless were conscious in a far greater way of the magical power and beauty of music than either the musician or the musical critic. Said Carlyle: "Music is a kind of inarticulate unfathomable speech which leads us to the edge of the infinite, and lets us, for moments, gaze into it." Schopenhauer says: “The world is but realised music." He might have gone still farther and said the universe is an expression of divine music; that the morning stars did sing together and have ever continued to sing together; that love and its expression, music, are fundamental to all form, to all expression. When people begin to think and when they know music better than they do, then the expression of music will be universal. It will not be necessary to teach people how to sing, for all will sing, from the youngest to the oldest, and all life will become realised music. Oh, that the composers and singers, and those who play instrumental music, and the critics of music might be made to realise that the influence and power exerted by them could bring to the life of man such untold satisfaction, such joy and peace, that the whole world might be made to rejoice! If for once they could realise the truth that they have a far greater power than any priesthood, a greater power than the kings of the earth, surely new effort, new aspirations, new desire would come into their lives in order that they might give to music the highest and best expression. This day will come, and it will not be very long delayed, because the old world is ready for a new spring-time, a further renaissance, and instead of being ruled by the dead thoughts and forms of by-gone ages, it will enter into full universal consciousness of the rhythm, melody, and harmony of celestial music. CHAPTER IX COLOUR TONICS "White knowledge, if we win it, Is granted from One Source-for joy and dolour- Stains the pure beam enkindled from the East, -SIR EDWIN ARNOLD. "A thing of beauty is a joy forever: Full of sweet dreams and health and quiet breathing." -KEATS. As music has its tonic, mediant, and dominant notes represented in their order by the first, third, and fifth notes of the octave, so colour has its fundamental or tonic in the red, its mediant in the yellow, and its dominant in the blue; all the secondary colours being but reflections and refractions of the three primaries. Very few people who have investigated the subjects of sound and colour will take other than the position that there must be a very intimate relationship between the two. While there are many things that have not been made satisfactorily clear to the minds of investigators, nevertheless, we know, that after sound vibration ceases; as far as the human ear is concerned, vibration still continues, and that thirty-four octaves from the ending of what we are pleased to call sound vibrations, we find the beginning of the first note in the octave of colour. The interesting fact that there |