There are few really deep voices in the House. Mr. C. Fenwick may lay claim to the lowest pitch. His strong, vigorous, ringing style is a good index to the character which has raised its owner from work in the collieries to a seat in Parliament. Added to his excellent voice, which fills the House, he has a natural and forcible manner of gesture. The dominant note is somewhere between lower A and B flat. Sir Edgar Vincent also possesses a pronounced bass organ, which is musical, resonant, and full of tone, and which would be even more effective with added "light and shade." Lower G and A occur frequently in his speech. Sir F. Powell, Sir John Brunner, and Sir Samuel Hoare are other deep-voiced members. The late Sir William Allan's speaking suggested that he was trolling out notes impossible to the rest of mankind; but, though he had a big, rugged, splendid voice, in keeping with his handsome stature and leonine head, we find he said the many candid things that helped to stiffen the back of the Admiralty on an average note about D. One good quality of his speaking was the prolonged singing tone which he gave to some syllables. The Welsh members, however, display this peculiarity more than others. [Music: C. Fenwick] [Music: Sir E. Vincent] [Music: Sir Wᵐ. Allan] There are a considerable number of members who vary but little from monotone. That is to say, their speech strikes the ear of the ordinary listener as running along pretty nearly on one tone. As has already been pointed out, there are always considerable variations on single syllables and even on consonants, which are more or less perceptible, and which have their own due effect in rendering a voice agreeable. The existence of a perfect monotone through a passage of spoken sounds, vowels and consonants, in singing or speaking is well-nigh impossible. At all events, the beginning and the end of a spoken sound, unless that sound be a simple vowel, have each a certain twist which may often be detected. In many voices it is very noticeable. But the volume of tone that reaches the ear in a sound that is meant to be sustained overwhelms the little twist at the beginning or the end, and is for all practical purposes one note. In singing that is always true. In speaking it is true up to a certain point. Some speaking voices appear to be almost entirely confined to one tone, because to the auditor it is only one dominant note throughout that is appreciable. Many members, designedly and undesignedly, depart but little from this apparent monotone, which is to some extent associated with the dignified and solemn manner, but may be due in some cases to inability to render the delivery responsive to the mood. If there is little inflection and no accentuation the result is bad. But it does not follow that good delivery requires a continual coursing up and down the gamut.