Contraction and expansion for motion are of the same order as they are for vocal utterance. In fact, both are so closely connected that we cannot utter a sound unless it is accompanied by a motion. In stopping the motion accompanying a sound, we stop our ability of uttering such sound. I shall have occasion to call attention to numerous conditions under which it will be impossible to utter sounds, either separate or connected, by stopping the motion necessary to produce such sounds. It is all due to the fact that we are homogeneous beings, _whose powers are interdependent upon one another_. The effect of the teacher's _voice_ upon his or her scholar's organization is of a _similar_ order to that made by _thought_ upon the teacher's own organization. That it is not of the _same_ order is due to the fact that the organization upon which it is made is but rarely constituted the same, is not as highly organized and developed or "schooled," as the one from which the voice emanated. The impression made by the singing-teacher's _voice_ is of the same order as that made upon the deaf by the _features_ of their instructor which are representative of his voice. We are living, breathing _phonographs_. Every impression we receive through any of our senses must be made in a material manner before it can have its immaterial expression. We engrave upon living tissue, instead of on rubber or wax. I repeat that, to obtain a pure sound, the _thought_ underlying such sound or sounds must be _purely, clearly defined_. We cannot obtain a clear impression from a seal whose engraving is blurred, or when the sealing-wax is not in a proper condition of softness, or when the hand is not steady which makes the impression. The same conditions prevail with vocal utterance. Thought makes the impression; the æther, passing through its narrowed passages at a rate as swift as thought, creates the sound. The impression is made as _thought_ progresses, the expression as _sound_ progresses. While the _impression is thoughtful, the expression is thoughtless_. While we think for a sound during the impression, we do not think for it during its expression; _but we think, during the latter, for the next sound_. If this were not the case, consecutive speech would be a matter of impossibility. The artist's thought is embodied in the creation of the model for his statue from which a mould is made. The casting of the statue, equal to its expression, is mechanical, thoughtless.