e thing is certain: harm, and harm only, is done by any form of
forcing or straining. At the same time, as the athlete increases the
height to which he can jump, or the speed with which he can run, even
during a single season, it seems illogical to conclude that in no case
can a singer safely reach tones that are not originally in his
voice--meaning thereby that he is unable to sing them at the outset of
his career. This is one of those subjects on which common sense and
science unite in admonishing us to test cautiously and to progress
gradually, if the purpose is to be achieved with good results for the
individual and for art.

It is also unwise for a singer to attempt those selections in public
the range of which taxes him to the very utmost. They lead to undue
anxiety as to success, violate the principle of reserve force, to
which reference has several times been made, and may lead to vocal
failure, if not to injury to the throat. Though it is true that
occasionally a song suffers by transposition to a lower key, if the
vocalist is determined to sing a composition even slightly beyond his
easy range, it is better to resort to it than to risk the
possibilities mentioned above and other undesirable ones.

Everyone who purposes to follow the arduous career of the vocal or
dramatic artist would do well to realize early the importance of
learning the art of conserving energy, or making the most of all that
Nature has given him. When a man or woman is small, and has less
breath power than some others, it becomes more important that they
observe the laws of contrast, rest, etc., in their public efforts. A
_forte_ has much the same effect, if it be preceded by darker, quieter
tones, as if it were really louder. In like manner, a pause may often
serve a very good purpose in preparing the ear of the listener for an
effect that should be telling, yet a difficult one for a person of
limited physical powers.

In reality, all the best art recognizes, mostly unconsciously, the
peculiarities of our physical and mental nature. A continuous _forte_,
for example, ceases to be a _forte_, in reality, since the ear and the
mind weary under it, and all the effect of contrast is lost. As we
have more than once said, good art is physiological--in harmony with
the laws of the body, as well as of the mind. It follows that each one
should study especially how to make the wisest, the most effective,
use of his powers, for what is best for on