Thought in voice form always manifests itself rhythmically. In sculpture, painting and architecture, that which corresponds to rhythm in music and poetry is called symmetry. Symmetry involves proportion, and gives a feeling of life to these forms of art. =_QUALITY OF VOICE._= There are certain characteristics of voice which are denominated “qualities.” Among these are: Color, Form and Equilibrium. By color of voice I mean that quality which affects us when we hear it, just as color affects us when we see it; so that color as applied to voice is really the name of the feeling it produces, which is the same as that produced by color received through the sense of sight. We judge of form of voice as we judge of color of voice, that is, by its effect upon the feelings. There are certain tones which affect us as certain forms do. When we see objects in equilibrium, we speak of them as being well poised, or centered; they give us the feeling of certainty; right tones affect us in the same way. Other tones which lack center give us the same kind of mental pain which things do when we perceive they are not in equilibrium. Color appeals to the feelings; form appeals to the intellect; equilibrium appeals to the will, so that color, form and equilibrium appeal to the mind as a unit. _THE FOUR FORMS OF EMPHASIS._ Force (Energy), Pitch, Volume, Time. Each form possesses a distinct meaning and expresses definite states of mind. Force indicates the degree of energy a particular thought arouses in an individual. Pitch includes slide or inflection, and indicates the feeling aroused by the thought. Volume indicates the condition of the will—whether it is perfectly free or struggling against difficulties. Time indicates the value the intellect places upon the thought. All forms of emphasis may be reduced to these four; and these four may be combined in an infinite variety of ways. PROJECTION OF TONE. The state of mind which will project the tone is that of reciprocity, that is, concentrating the mind upon persons in a distant portion of the audience, as if receiving from them and giving to them, thus establishing a sympathy between the speaker and the hearer. This will project the tone without noise. The mental effort of a speaker should be to draw his audience nearer that they may hear, rather than to place his mind exclusively on sending his voice to a great distance. This effort to draw the hearers nearer will give the voice carrying quality without interfering with its naturalness and sympathy. =_VOCAL TECHNIQUE AS ILLUSTRATED IN THE FIRST AND SECOND VOLUMES OF THE EVOLUTION OF EXPRESSION._=