lanation of all kinds of vocal expression
must be sought in this general relation between mental and muscular
excitements. Let us, then, see whether we cannot thus account for the
chief peculiarities in the utterance of the feelings: grouping these
peculiarities under the heads of _loudness_, _quality_, _or_ _timbre_,
_pitch_, _intervals_, and _rate of variation_.

* * * * *

Between the lungs and the organs of voice there is much the same
relation as between the bellows of an organ and its pipes. And as the
loudness of the sound given out by an organ-pipe increases with the
strength of the blast from the bellows; so, other things equal, the
loudness of a vocal sound increases with the strength of the blast from
the lungs. But the expulsion of air from the lungs is effected by
certain muscles of the chest and abdomen. The force with which these
muscles contract, is proportionate to the intensity of the feeling
experienced. Hence, _a priori_, loud sounds will be the habitual results
of strong feelings. That they are so we have daily proof. The pain
which, if moderate, can be borne silently, causes outcries if it becomes
extreme. While a slight vexation makes a child whimper, a fit of passion
calls forth a howl that disturbs the neighbourhood. When the voices in
an adjacent room become unusually audible, we infer anger, or surprise,
or joy. Loudness of applause is significant of great approbation; and
with uproarious mirth we associate the idea of high enjoyment.
Commencing with the silence of apathy, we find that the utterances grow
louder as the sensations or emotions, whether pleasurable or painful,
grow stronger.

That different _qualities_ of voice accompany different mental states,
and that under states of excitement the tones are more sonorous than
usual, is another general fact admitting of a parallel explanation. The
sounds of common conversation have but little resonance; those of strong
feeling have much more. Under rising ill temper the voice acquires a
metallic ring. In accordance with her constant mood, the ordinary speech
of a virago has a piercing quality quite opposite to that softness
indicative of placidity. A ringing laugh marks an especially joyous
temperament. Grief unburdening itself uses tones approaching in _timbre_
to those of chanting: and in his most pathetic passages an eloquent
speaker similarly falls into tones more vibratory than those common to
him. Now an