The sight, however, not only impresses our minds through the eye with a given picture, but, as there is a correlation existing between all our faculties, it also impresses the voice with a given inflection, expressive of such impression upon the mind, and of no other impression; any given sight or mental conception of any kind always producing an inflection of the voice corresponding therewith. The vocal expression of an idea might thus be called an _audible_ "photographic" reproduction of the impression made by the original object upon the eyesight, and, respectively, upon the brain, or it might be called a phonographic reproduction thereof, supposing that the picture of an object could be impressed upon the wax and could thus become audible. How such a reproduction may be made from an _immaterial_ subject would be more difficult to comprehend. Of the fact, however, that an impression from abstract subjects _is_ made, and that an audible expression of such impression is produced through the voice, and that this is the case with all people alike, I expect to furnish positive proof in a future publication. The fact of our not being accustomed to distinguish in this manner between various expressions through inflections of the voice is no proof that they do not exist. The soul impresses every word with a seal of its own, characteristic of the idea it embodies, there being as many accents or inflections of the voice as there are _separate ideas_, or, rather, _groups of ideas_. I beg leave to copy the following from the _Saturday Evening Post_ of April 8, 1899: "Mr. Kipling recently told an interviewer: 'We write, it is true, in letters of the alphabet; but, psychologically regarded, every printed page is a picture book; every word, concrete or abstract, is a picture. The picture itself may never come to the reader's consciousness, but deep down below, in the unconscious realms, the picture works and influences us.'" The accent is not subject to the will any more than the rhythm. The will can do _this_, however: it can give greater weight, force, and expression, and a wider scope, to the correlated forces of metre, rhythm, and accent, through the _Emphasis_ which it infuses into them. Through the emphasis, inlet upon inlet is opened, an additional stream of fresh air is infused into them, flooding the spiritual system. Valve upon valve is then opened to let it out. Hence, emphasis is not an "element" of speech proper, but an amplification, an addition to existing elements, rather, impregnating them with the life of the heart, the feelings, the emotions.