son day after day until at last he succeeds, for it must be borne in mind that the proportion of cases in which a fairly skilled laryngoscopist is unable to get a satisfactory view of the interior of the larynx is very small indeed.

It is generally supposed that it is necessary for the singer to put out his tongue and hold it with a cloth in order to get a good laryngeal image, but this is a great mistake. The tongue and the larynx being intimately connected, any movement of the former cannot fail to affect the latter; if, therefore, the investigations with the laryngoscope are to be of any value with regard to the hidden configurations of the voice-box in the production of tone, the formation of the registers, etc., it is clear that no contortions of any sort must be indulged in. They might help to show the larynx in making some noise, but such revelations are of no use. The tongue must remain in its natural place, and if the singer has the power, which he ought to have, of keeping it flat, it will not interfere in the least with the proposed observations. This is shown very plainly in Fig. 5, where the mirror is at the back of the throat, in which a complete image of the larynx is reflected, while the tongue lies so flat as to be practically not visible.

We have thus demonstrated the utter groundlessness of the objection urged in some quarters with so much persistency, that all observations with the laryngoscope are untrustworthy on account of the contortions they involve. In medical practice, it is true, patients are generally directed to put out the tongue and to hold the tip of it between the index finger and thumb. But patients are not always singers, and the object in their case is to observe disease and

not a physiological process. The practitioner consequently avails himself of every help to remove diffi

culties, though even in medical examinations it is now found that the protruding of the tongue is by no means indispensable, and that in some instances it even defeats its own object.

Beginners in laryngoscopy will do well to practice upon a model of some sort and then upon themselves, before asking another to submit to the operation. A great deal is said about the sensitiveness of throats and that they cannot endure the touch of the mirror; but we have no hesitation in asserting that inexperience and consequent clumsiness on the part of the operator are the chief cause of failure, and that his difficulties will diminish in proportion as his dexterity increases.

For auto-laryngoscopy, the student proceeds in every particular with himself as he was advised to proceed upon others. A little square mirror, supplied for this purpose with the laryngoscope, must be attached to the reflector, and in this square mirror the student will see a reproduction of the image in the laryngeal mirror in his own throat. This image may also be seen quite distinctly by another person taking the place of the observer, and looking through the space between the reflector and the square mirror.

It will thus be noticed that the laryngoscope is a very complete little instrument, and may be used for three purposes, namely: (1) For observations upon a second person; (2) for observations upon one's self; (3) for demonstrating results

others.

THE TEACHINGS OF THE LARYNGOSCOPE.

The first thing we see after having introduced the mirror into the throat is the back of the tongue, which presents a more or less uneven appearance and is covered with gray and sometimes elevated spots. We then notice the lid or epiglottis, which

greatly varies in shape and position and is connected with the tongue by an elastic band forming a sort of bridge, on either side of which there is a little hollow. The lid in many instances hangs over the larynx, thus hiding a great part of it from view, in which case nothing more than, perhaps, the pyramids will be visible.

The result is often the same although the lid

is not pendant; in that case, the position of the laryngeal mirror is at fault and must be altered until a perfect view is obtained. But even when the lid

does overshadow the voice-box in a position of rest, we soon find that it rises during respiration, as also in pho

bule widely open; while in louder and more brilliant tone the lid falls and the vestibule is more constricted.

When no longer hampered by difficulties arising from want of skill and experience, we are in a position to extend our observations and to notice the following particulars.

The color of the upper surface of the lid is of a warm, pinkish yellow, resembling that of the inner surface of the eyelids, and upon it may frequently be observed a delicate network of fine red bloodvessels, which in some cases looks exceedingly pretty. The under surface of the

whole vocal apparatus in the most favorable position for observation. In addition to this, in auto-laryngoscopy we soon get a great deal of command over the lid and, indeed, over most parts of the voice-box, and the process of investigation becomes easier in every way. It may be added that soft, veiled tones afford the best opportunity for investigation, as with these the lid is almost perpendicular and the vesti

lid is always

of a deeper color than the upper surface and the cushion which shows itself at the lower extremity is of a bright red.

Immediately below the free part of the lid there

are the two folds of mucous membrane connecting it with the pyramids, which we know under the name of the ary-epiglottic folds. They are thick when relaxed and thin when tense. In the hinder ends of these folds there are four little elevations, caused by the cartilages of Wrisberg and those of Santorini (the "buffers ") which are embedded here. Connecting the pyramids behind, there is another fold of

mucous membrane, completing the upper rim of that tube described as the vestibule of the larynx.

A little below this there are the pocket-ligaments, formerly called false vocal cords, and, nowadays, in medical phraseology, ventricular bands. The color of the ary-epiglottic folds, as well as of the pocketligaments, is that of the mucous membrane lining the cheeks, while the portion covering the cartilages has a color resembling that of the gums.

Beneath the pocket-ligaments there are the entrances to the pockets or ventricles of the larynx. At first sight, they show only as dark lines. between the pocket-ligaments and the vocal ligaments; but on turning the mirror so as to get a lateral view, these spaces will be seen to be much larger than they appear when looking directly down the centre of the larynx.

left vocal ligament, which is on the observer's right, is also on the right in the mirror. It is plain that this equally applies to the pocket-ligaments, to the ary-epiglottic folds, and to everything else which exists on both sides of the larynx. But with regard to front and back, the image in the mirror is reversed.

The reader who has given us his attention so far is sufficiently familiar with details to conceive a true picture of the process of voice-formation which we are now going to describe.

Fig. 6 shows the laryngeal image in a deep and vigorous inspiration.

The glottis is here very widely opened, and we are enabled even to see the opening of the bronchial tubes at the bottom of the DEEP BREATHING. windpipe. If we sing a tone, we see the pyramids, with the vocal ligaments attached to

FIG. 6.

In a

When the vocal ligaments are separated in the act of breathing, we can, with a strong, well-directed light, look below them, and see a portion of the ring-cartilage and some rings of the windpipe. few rare and exceptionally favorable cases we can see right to the bottom of the windpipe, where we notice its division into the two branches entering the lungs.

It must be borne in mind that the laryngeal image is a reflection in a mirror, and is, therefore, in some respects reversed. The singer's right vocal ligament, which, of course, is on the observer's left, is also on the left in the mirror, and the singer's

the pocket ligaments also move toward the centre. But these, in a state of health, never meet in phonation, so that we always see the broad, white vocal ligaments forming, as it were, the floor of the

vocal ligaments, fly asunder again, and we see once more the triangular space between them. From these movements we learn, as a first lesson, that the approximation of the vocal ligaments is an indispensable condition of tone-production (Fig. 7).

But upon studying these movements carefully we further observe that the glottis may close under different conditions, each of which is followed by a different result.

1. The vocal ligaments meet after the air has commenced to pass between them; this constitutes an aspirate, or, in other words, the sound of the letter h. The mechanism by which it is produced is called the glide of the glottis, and a further attribute of it is that the vocal ligaments are often not held together sufficiently tightly, thus allowing more air to pass than is necessary for the process of phonation. The tone consequently not only lacks a prompt, decisive beginning, but it also suffers from an admixture of "wild" air which makes it breathy or "wooly." This kind of tone-production is, unfortunately very com

mon.

2. The vocal ligaments meet before the air has had time to reach them, the pyramids come into close contact with their inner surfaces and the ligaments are held firmly together.

The gate is securely shut, the air accumulates below, until the pressure becomes great enough to overcome the resistance above. Then the gate is forced open, and the action is accompanied by a distinct click. The mechanism by which this is accomplished is called the check of the glottis. It is generally followed by a continued tight closure of the vocal ligaments, so that the air has, from the beginning to the end, an unnecessary amount of opposition to overcome. This also interferes with the tone, and tends to make it hard and metallic.

3. The vocal ligaments meet just at the very moment when the air strikes against them; they are, moreover, not pressed together more tightly than is necessary. No preliminary escape takes place as in No. 1, and no obstacle has to be overcome as in No. 2; but the attack is clear and decisive, and the tone, consequently, gets a proper start. The mechanism by which this is done is the "coupe de glotte," or shock of the glottis. The closure of the vocal ligaments being maintained at the most suitable degree, the tone-production is carried on, so far as the glottis is concerned, under the most favorable conditions, and the result is the best that can be obtained.

W

WEBSTER defines "harmonics"

as "the doctrine or science of musical sounds." In this paper I have endeavored to use this word in a somewhat different sense, as applied to elocution. I would here make the word include a science which treats of the harmonizing of all apparent contradictions in the theories of human expression by means of voice and action. In this use of the term harmonics, I would also include the word harmony. God's whole universe beautifully exemplifies and emphasizes the value of perfect harmony in time and movement, and the myriad spheres are ever singing in perfect rhythm their symphony of unity.

It is intended that man shall follow this divine law; but, alas! through the evil effects of inheritance and environment, we find in him much that is discordant, inharmonious, inappropriate, "like sweet bells jangled, out of tune." We see great minds in dwarfed and ugly bodies; grand, graceful physiques enclosing a minimum soul; and many bodies afflicted with "the thousand ills that flesh is heir to." We might, therefore, expect from such conditions to see much that is discordant; but, unfortunately, this lack of harmony is not confined to these abnormal men and women.

Great masses of people in apparently normal conditions of mind and body are also more or less discordant, and when these people have any theories at all as to the true system of expression, such theories are as conflicting as can well be imagined. Indeed, the would-be student of expression in scanning these discordant systems, may well be reminded of

the story of the two doctors called in consultation upon a critical case. Each physician told the patient that if he took the remedy offered by the other he would certainly die. The patient wisely took neither remedy, and rapidly recovered.

May it not be well for the members of our profession to heed this suggestion, before a justly outraged public arises and exclaims that it will have none of us, or our remedies or theories? I know a druggist who advertises a dozen different kinds of famous spring waters, but fills each. bottle from the same barrel, and labels it to suit the call of the customer.

A person may apply to certain schools of elocution to-day, and asking, "Do you teach the Smith System of Elocution?" be told, "Oh, yes, certainly." Another applying, asks, "Do you teach the Jones system?" "Oh, yes, we teach them all; all systems are ours." Such schools seem to be, metaphorically speaking, reservoirs where every known and unknown system is on draught, ready to be labeled to suit, and one has only to touch a magic spring in order to receive an elocutionary tonic suited to the minds and whims of all patients; and, on the principle of the mind-cure system, all go away thinking that each has received a different dose, especially adapted to his particular taste, needs, and desires, unconscious that all are essentially the same stuff. I use the term "stuff" in its most literal sense, for, indeed, it is the worst kind of stuff with which to stuff the minds of the innocent and unwary.

Some schools pride themselves upon teaching, as they claim, noth