In distinguishing in this manner, as I have in the above, between the will, the mind, and the soul, I consider them parts of a great spiritual system intimately connected with corresponding parts of our physical system, but lay no claim as to the correctness of the _terms_ I have used. On the contrary, I feel that they are inadequate, and, at most, a makeshift for more fitting expressions. There is a dearth of expressional terms, and I am doing the best I can with such as are at my disposal. In the same sense, also, I distinguish between material-spiritual, spiritual-material, and spiritual issues; and consider them the outcome, respectively, of the will, the mind, and the soul. I wish it were in my power to at once fully explain, as far as I am able to offer any explanation at all, how it is _mechanically_ possible to express these four elements of metre, rhythm, accent, and emphasis (so widely differing from each other) at one and the same time, by four different modes of breathing, carried on simultaneously, in addition to our regular mode of breathing. The _perfection_ of elocution and of singing is to carry on all these various processes simultaneously in as perfect a manner as the subject and the occasion may demand. I can explain the preceding, in part at least, as follows: Verse is generally marked by the signs of long and short. While they denote time or metre in the first instance, they are also used to mark what is called "rhythm." Yet, while metre and rhythm are _apparently_ of the same order, they are, as a matter of fact, invariably of an inverse order. We cannot produce two distinctly different expressions while breathing in one and the same direction. While we breathe for metre in one direction, we breathe for rhythm in the opposite direction. Regarding that mode of breathing expressive of the soul, and pertaining to words in conformity with their _meaning_, and which, in the absence of any more significant word, I have called the "accent," it is of an altogether different order and does not conflict with these other modes of breathing. Having stated that rhythm and accent are involuntary productions, and that metre alone is subject to the will, we must look to the metre, measure, or time for our guide in our artistic vocal performances. To this, emphasis must be added, as being likewise subject to the will. As every language has its own time, or tempo, and cannot be properly produced except in conformity therewith, it appears to me that it should be the first aim of vocal science _to ascertain the exact nature of such tempo_ for every separate language. _When the correct time is kept, all other component parts of speech fall into line correctly and involuntarily._ Just what the proportionate tempo is for English as against German vocal utterance, I am unable to say, but it is much quicker for the latter than it is for the former.