The "muddle" of which I have spoken is oftentimes so great that no sound of any kind can ensue, the rhythmic flow of sound-producing streams having been disturbed and prevented from assuming the necessary shape for their formation into proper sound-waves by this hasty mode of thinking. The consequence is a hiatus in the natural flow of speech, which prevents the thought from materializing in the shape of the word intended to be spoken. This hiatus the victim of such precipitate mode of thinking generally attempts to bridge over by spasmodic efforts, which but serve to aggravate the situation, increasing, as they do, the disorder in the sound-producing lines. Stuttering being caused by a disorder in these lines, the remedy is to again restore them to order. The disorder having been caused by a too hasty mode of thinking, superinduced, as a rule, by a desire _not_ to stutter, or a _fear_ of stuttering, the remedy lies in allaying this fear. The fear of stuttering, or the anxiety not to stutter, which obtains while the speaker is producing thought, _itself being thought_, and coming on top of the thought intended to be uttered, brings about, or at least aggravates, the very difficulty he was trying to overcome. Mere thought may wander off and again return to its theme, unrestrained, and without causing disturbance; but thought which is to be _vocally_ uttered must strictly adhere to its subject. There is no impression to be made by the former which must remain until it is released by vocal sound; impression and expression being almost simultaneous. In place of making a spasmodic effort, therefore, the stutterer should endeavor to be calm, and to then calmly _think_ the word or sentence over again which has become a stumbling-block in his way. After doing so, he will have no trouble uttering it. The fact that stutterers experience no difficulty in singing is a proof of the correctness of these assertions. While singing, the performer's streams of life and organs of speech are all _tuned_ to one harmonious measure. His frame of mind being securely in accord with his theme, his thought, devoid of fear, flows evenly along with his song. There is no occasion for haste or trepidation in this instance,--there cannot be, haste being the opposite to and the enemy of harmony, the latter meaning a continuous return of the same measure and the same mode of breathing, the former irregularity and disorder in the mode of breathing. Besides, song, belonging to the pharynx, is spiritual; it is of our inner nature, and therefore restful and continuous. While speech, which belongs to the oral cavity, is material; it is of our outer nature, and therefore subject to every impression, influence, and consequent change. Elocution, declamation, or recitation, on the other hand, partake of both our inner and our outer nature. They belong in part to the pharynx and in part to the oral cavity.