Twenty-five years ago the school children used to chant their lessons. The manner of their delivery was a singsong recitative between the utterance of an Episcopal minister and the drone of a tired sawmill.

I mean no disrespect. We must have lumber and sawdust.

I remember one beautiful and instructive little lyric that emanated from the physiology class. The most striking line of it was this:

"The shin-bone is the long-est bone in the hu-man bod-y."

What an inestimable boon it would have been if all the corporeal and spiritual facts pertaining to man bad thus been tunefully and logically inculcated in our youthful minds! But what we gained in anatomy, music and philosophy was meagre.

The other day I became confused. I needed a ray of light. I turned back to those school days for aid. But in all the nasal harmonies we whined forth from those bard benches I could not recall one that treated of the voice of agglomerated mankind.

In other words, of the composite vocal message of massed humanity.

In other words, of the Voice of a Big City.

Now, the individual voice is not lacking. We can understand the song of the poet, the ripple of the brook, the meaning of the man who wants $5 until next Monday, the inscriptions on the tombs of the Pharaohs, the language of flowers, the "step lively" of the conductor, and the prelude of the milk cans at 4 A. M. Certain large-eared ones even assert that they are wise to the vibrations of the tympanum pro- need by concussion of the air emanating from Mr.

H. James. But who can comprehend the meaning of the voice of the city?

I went out for to see.

First, I asked Aurelia. She wore white Swiss and a bat with flowers on it, and ribbons and ends of things fluttered here and there.

"Tell me," I said, stammeringly, for I have no voice of my own, "what does this big - er - enormous - er - whopping city say? It must have a voice of some kind. Does it ever speak to you?

How do you interpret its meaning? It is a tremen- dous mass, but it must have a key:'

"Like a Saratoga trunk?" asked Aurelia.

"No," said I. "Please do not refer to the lid. I have a fancy that every city has a voice. Each one has something to say to the one who can hear it.

What does the big one say to you? "

"All cities," said Aurelia, judicially, "say the same thing. When they get through saying it there is an echo from Philadelphia. So, they are unanimous."

"Here are 4,000,000 people," said I, scholastic- ally, "compressed upon an island, which is mostly lamb surrounded by Wall Street water. The conjunc- tion of so many units into so small a space must result in an identity - or, or rather a homogeneity that finds its oral expression through a common chan- nel. It is, as you might say, a consensus of transla- tion, concentrating in a crystallized, general idea which reveals itself in what may be termed the Voice of the City. Can you tell me what it is?

Aurelia smiled wonderfully. She sat on the high stoop. A spray of insolent ivy bobbed against her right ear. A ray of impudent moonlight flickered upon her nose. But I was adamant, nickel- plated.

"I must go and find out," I said, "what is the Voice of this city. Other cities have voices. It is an assignment. I must have it. New York," I con- tinned, in a rising tone, "had better not hand me a cigar and say: ' Old man, I can't talk for publication.'

No other city acts in that way. Chicago says, unhes- itatingly, 'I will;' I Philadelphia says, 'I should;'

New Orleans says, ' I used to;' Louisville says, 'Don't care if I do;' St. Louis says, 'Excuse me;'

Pittsburg says, 'Smoke up.' Now, New York - "

Aurelia smiled.

"Very well," said I, "I must go elsewhere and find out."

I went into a palace, tile-floored, cherub-ceilinged and square with the cop. I put my foot on the brass rail and said to Billy Magnus, the best bartender in the diocese:

Billy, you've lived in New York a long time what kind of a song-and-dance does this old town give you? What I mean is, doesn't the gab of it seem to kind of bunch up and slide over the bar to you in a sort of amalgamated tip that bits off the burg in a kind of an epigram with a dash of bitters and a slice of - "

"Excuse me a minute," said Billy, "somebody's punching the button at the side door."

He went away; came back with an empty tin bucket; again vanished with it full; returned and said to me:

"That was Mame. She rings twice. She likes a glass of beer for supper. Her and the kid. If you ever saw that little skeesicks of mine brace up in his high chair and take his beer and - But, say, what was yours? I get kind of excited when I bear them two rings -was it the baseball score or gin fizz you asked for?"

"Ginger ale," I answered.

I walked up to Broadway. I saw a cop on the cor- ner. The cops take kids up, women across, and men in. I went up to him.