I shot an arrow into the air,
It fell to earth, I knew not where;
For, so swiftly it flew, the sight
Could not follow it in its flight.

I breathed a song into the air,
It fell to earth, I knew not where;
For who has sight so keen and strong
That it can follow the flight of song?

Long, long afterward, in an oak
I found the arrow, still unbroke;
And the song from beginning to end
I found again in the heart of a friend.
The Arrow and the Song.

LONGFELLOW.

CHAPTER IX

QUALITY

The three chief characteristics of tone are pitch, force and quality. The first two have been considered. We have seen that pitch depends on the number of vibrations per second, and force on the amplitude of the vibration; quality is dependent on the character of the vibrations.

Every sound wave has two kinds of vibrations, the fundamental, the vibration of the entire string; and secondary vibrations, the movement of definite parts of the string. The number and arrangement of these overtones determine the quality of the sound.

In the human voice this character is very complex. As we have seen, the voice is not made by the vocal cords alone, but is modified by the resonating cavities. Hence these cavities, to a large degree, determine the quality of the sound. And, thirdly, the texture of the vibrating surfaces aids in modifying the nature of the sound. This is sometimes called "timbre."

The form of the resonating chambers and the texture of its walls can be slightly modified at will; but under normal circumstances this condition remains the same, thus permitting each individual to possess a quality of voice peculiar to himself alone. But if you put a pebble in your mouth or in some other manner change the size or shape of the resonating chambers, your voice will change its character.

Most people can name the kind of instrument when they hear a certain note struck upon it. A note of the same pitch and force played on a violin can easily be told from

the same one played on the organ or flute.

Why? Even two violins do not have the same quality. A Stradivarius violin has a much sweeter tone than our modern make. The difference lies in the texture of the wood rather than in the size of the resonating surfaces.

A flute is said to have fourteen overtones, a violin twentyThis accounts for the richness of the tone of the

one.

violin.

The human voice is capable of producing a very great variety of overtones. The character or shape of the secondary vibrations of the voice is modified unconsciously by the emotions. Hence by the quality of voice is meant that subtle change in the tone produced sympathetically in expressing the various emotions.

ATMOSPHERE. By atmosphere is meant the general quality of voice used in interpreting a literary selection, or a part of a selection. It is the "setting" or general spirit of the piece as a whole.

Kinds. Co-ordinate with the three phases of mental activity—the intellect, the emotions, and the will-we may characterize three main divisions of atmosphere. These three divisions are also co-ordinate with the three chief purposes in expressing thought. Every sentence that is spoken or written appeals to one or more of these phases of the mind. Every sentence is expressed for the purpose of (1) giving information, (2), awakening emotions, or (3) arousing to action, or the making of a choice-the volitional type.

Broadly speaking, the Essay (descriptive, narrative, expository, or argumentative) is a type of the intellectual quality. True literature (poetry and the best of prose) belongs to the second group. The oration belongs to the third division. Frequently a selection will contain all three elements; but usually one predominates. In poetry the emotional element is never wholly absent, even in those

poems usually termed "descriptive," e.g., The Bells, by Poe.

It might be helpful at times to speak of a selection as having an "atmosphere," or general tone of sadness, joy, animation, sublimity, smoothness, meditation, humor, etc. What is called "local coloring" of a selection will aid in determining its atmosphere. Where is the scene laid? What were the circumstances which gave rise to the selection? Is it an expression of the author's own experience? Did he "sing because he was happy," or because he got two dollars per line?

DOMINANT VOICE QUALITIES. As the voice is the index of the soul, and since "out of the abundance of the heart the mouth speaketh," we find three qualities of voice to correspond to the three types of expression:

I. The intellectual voice is used to interpret the intellectual type of selection. It is used in descriptive matter, in imparting information; it is the didactic voice; it is the voice the teacher often uses in explaining a problem to her class. This quality is characterized by a clear, hard, distinct, metallic resonance. It is often high pitched and lacks agreeable modulations and flexibility. The intellectual voice has been called a "white" voice; it belongs to the analytical mind, and is used much by the debater. The intellectual gestures are used. This quality is used largely in ordinary conversation.

II. The spiritual voice expresses feeling. It is characterized by a soft, smooth, musical, and inflectional tone. Literature is read in this tone. It is "colored" and modulated to express the various emotions of the author. Beauty is expressed by the spiritual voice; it is the persuasive tone; it is used in animated discourse, and whenever the heart is touched as well as the mind. The open hand is used in gesturing. A great range of pitch is demanded. A spiritual quality should be cultivated by every one. "Her voice

was ever soft, gentle and low, an excellent thing in woman." An expressive, agreeable, well-modulated voice is a priceless possession. Manliness is not characterized by a rough, grouchy, lion-like, bull-dog voice. The spiritual voice is indicative of refinement and culture.

III. The vital voice is characterized by a full, deep, strong, loud tone; the pitch is often low and re-enforced by chest resonance. It is the voice of command, the voice of the leader, the orator. This type is used to arouse; it stirs men to action; but it must not be degraded into a harsh, throaty, raspy, brute tone. It must be clear, pure, powerful, earnest, and express ideas and thoughts of great weight and importance. This quality is used in Carlyle's The Triumph of Truth (See Part III). Most orations contain all three of the general qualities. Gesturing with a clinched hand is not rare; however, the entire body must be sympathetically expressive of the earnestness of feeling dominated by a strong will.

Intellectual.

I.

ILLUSTRATIVE TYPES

Love all, trust a few,

Do wrong to none; be able for thine enemy
Rather in power, than use; and keep they friend
Under thy own life's key; be check'd for silence,

But never tax'd for speech.

All's Well That Ends Well.

II.

SHAKESPEARE.

Truth is always congruous, and agrees with itself; every truth in the universe agrees with every other truth in the universe; whereas falsehoods not only disagree with truth but usually quarrel among themselves.-DANIEL WEBSTER.

Emotional.

I. Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch thee.

I have thee not, and yet I see thee still.

Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,