"The English language is probably the one that has been described by foreigners as the most unfit for singing. Greater calumny has never been uttered. I contend for just the opposite: That English is the very best language for an artistic singer to use, for it contains the greatest variety of vocal and aspirate elements, which afford an artistic singer the strongest, most natural and expressive means of dramatic reality. The English language has all the pure vowels and vocal consonants of the Italian; and, besides, it is full of rich elements, mixed vowels, diphthongs and an army of vigorous aspirates. I admit that it is not as easy for singing as Italian is; but just here its true merit and advantage arise. The difficulties thus forced upon the singer compel him to study deeply and perseveringly; but the treasures thus unearthed and placed within his reach will amply repay for hard work. My advice to American students is: Study your own language thoroughly, and practise its difficult articulation with the utmost fidelity. If once you find the application of its forces to dramatic expression, you will like it for singing as well as I do. But never forget that the appreciation of a science comes only from a thorough mastery of it." The truth of the matter is, that each language has its own peculiar genius for song, and that a vocal composer unconsciously is under the influence of his native language. Italian music is as smooth as the Italian tongue; French music has the elegance of the French language; German the ruggedness of the German; and the music of English composers also partakes of the characteristics of the language. The highly trained modern singer should be a linguist as well as a vocalist. As for the amalgamation of the spoken word with the sung tone--that again is a matter of unconscious adjustment of the vocal tract; and, not to word and tone separately, but a single adjustment to what I may call "the word-tone." CHAPTER X HYGIENE OF THE VOICE I should say that no one should be more scrupulous in his habits than the singer. It is more difficult to keep the keen edge of the voice in good repair than that of the sharpest razor, and nothing should be done to dull it. No one more than the singer requires to observe the moral and physical laws. The singer should always be in training, always in the pink of condition. By nature, women should be more subject to impairment of voice than men. But they are not. They are brought up to take better care of themselves and, to put it bluntly, to behave themselves better. As a result, in spite of recurring disorders, they stand up and do the work demanded of them when men do not or cannot.