well illustrated by the following anecdote respecting the education of the
ear and the singing voice:--

"Porpora, one of the most illustrious masters of Italy, having
conceived a friendship for a young pupil, exacted from him the
promise that he would persevere with constancy in the course
which he should mark out for him. The master then noted upon a
single page of ruled paper, the diatonic and chromatic scales,
ascending and descending; the intervals of third, fourth, fifth,
&c. This eternal page occupied master and pupil until the sixth
year, when the master added some lessons in articulation and
declamation. At the end of this year, the pupil, who still
supposed himself in the elements, was much surprised when Porpora
said to him, 'Go, my son, you have nothing more to learn; you are
the first singer of Italy, and of the world.' The master had
spoken the truth, for this singer was Caffarelli, the greatest
singer of the eighteenth century."


EXPRESSION

This term is used here, not in its limited and technical meaning, but in
its largest sense, as a convenient one to denote the practical application
of the principles of vocal culture which I have recommended. We will
suppose the student to be thoroughly trained in enunciation, that his
utterance is distinct and his pronunciation is correct, and that his voice
is fully developed and well modulated. The question now arises, How is he
to be guided in the right use of his powers of speech in the delivery of a
given piece? On this point there is a wide difference of opinion among
writers on elocution. On the one hand there are those who contend that, in