Rides in the whirlwind and directs the storm."

The development of the top of the voice requires practice upon passages
expressing brisk, gay, and joyous emotions, and the extremes of pain, fear,
and grief. The following examples may serve as illustrations:

Last came Joy's ecstatic trial:
He, with viny crown advancing,
First to the lively pipe his hand addressed:
But soon he saw the brisk, awakening viol,
Whose sweet entrancing voice he loved the best.
They would have thought, who heard the strain,
They saw, in Tempe's vale, her native maids,
Amidst the festal-sounding shades,
To some unlearned minstrel dancing;
While, as his flying fingers kissed the strings,
Love framed with Mirth a gay fantastic round.
Strike--till the last armed foe expires;
Strike--for your altars and your fires;
Strike--for the green graves of your sires,--
God.--and your native land!

QUALITY. A voice may possess the properties we have considered, strength
and compass, and yet be very far from perfection. It may be neither loud,
nor round, nor clear, nor full, nor sweet. While on the other hand, it may
be hollow, or aspirated, or guttural, or nasal, or possibly it may be
afflicted with a combination of these faults. As one of the most important
conditions of success in the cultivation of the voice, it is necessary that
the student should acquire a distinct conception of the qualities and
characteristics of a good voice, as a standard, a beau-ideal, which he may