Some allow them to sing too loud, others too feebly; some philosophize earnestly about beauty in the voice, and others grumble about unpleasantness in the same; some are enthusiastic about extraordinary talents, others fret about the want of talent; some have a passion for making all the sopranos sing alto, others do just the reverse; some prefer a shadowy, others a clear voice.

They all rest their opinions upon the authority of some famous screaming-master who has written a singing-system.

Upon like authority, some cultivate chiefly the deep tones, because it is very fine, and "creates an effect," for soprano voices to be able suddenly to sing like men, or rather to growl, and because it is the fashion in Paris.

Others, on the contrary, pride themselves upon the head-tones; but they are none of them willing to pay much attention to the medium voices: that is too critical and too delicate a matter, and requires too much trouble, for the modern art of singing.

As a last resort, they bethink themselves of kind Nature, and lay the blame upon her.
Well, I will say no more upon this point, but will proceed.