That old artist spoke the truth-we Americans-most of us-do squeeze the life out of our words and they are born dead. We squeeze the life out by the strain which runs all through us and reflects itself especially in our voices. Our throats are tense and closed; our stomachs are tense and strained; with many of us the word is dead before it is born.

Watch people talking in a very noisy place; hear how they scream at the top of their lungs to get above the noise. Think of the amount of nervous force they use in their efforts to be heard.

Now really when we are in the midst of a great noise and want to be heard, what we have to do is to pitch our voices on a different key from the noise about us. We can be heard as well, and better, if we pitch our voices on a lower key than if we pitch them on a higher key; and to pitch your voice on a low key requires very much less effort than to strain to a high one.

I can imagine talking with some one for half an hour in a noisy factory-for instance-and being more rested at the end of the half hour than at the beginning. Because to pitch your voice low you must drop some superfluous tension and dropping superfluous tension is always restful.

I beg any or all of my readers to try this experiment the next time they have to talk with a friend in a noisy street. At first the habit of screaming above the noise of the wheels is strong on us and it seems impossible that we should be heard if we speak below it. It is difficult to pitch our voices low and keep them there. But if we persist until we have formed a new habit, the change is delightful.

There is one other difficulty in the way; whoever is listening to us may be in the habit of hearing a voice at high tension and so find it difficult at first to adjust his ear to the lower voice and will in consequence insist that the lower tone cannot be heard as easily.

It seems curious that our ears can be so much engaged in expecting screaming that they cannot without a positive effort of the mind readjust in order to listen to a lower tone. But it is so. And, therefore, we must remember that to be thoroughly successful in speaking intelligently below the noise we must beg our listeners to change the habit of their ears as we ourselves must change the pitch of our voices.

The result both to speaker and listener is worth the effort ten times over.

As we habitually lower the pitch of our voices our words cease gradually to be "born dead." With a low-pitched voice everything pertaining to the voice is more open and flexible and can react more immediately to whatever may be in our minds to express.

Moreover, the voice itself may react back again upon our dispositions. If a woman gets excited in an argument, especially if she loses her temper, her voice will be raised higher and higher until it reaches almost a shriek. And to hear two women "argue" sometimes it may be truly said that we are listening to a "caterwauling." That is the only word that will describe it.

But if one of these women is sensitive enough to know she is beginning to strain in her argument and will lower her voice and persist in keeping it lowered the effect upon herself and the other woman will put the "caterwauling" out of the question.

"Caterwauling" is an ugly word. It describes an ugly sound. If you have ever found yourself in the past aiding and abetting such an ugly sound in argument with another-say to yourself "caterwauling," "caterwauling," "I have been 'caterwauling' with Jane Smith, or Maria Jones," or whoever it may be, and that will bring out in such clear relief the ugliness of the word and the sound that you will turn earnestly toward a more quiet way of speaking.

The next time you start on the strain of an argument and your voice begins to go up, up, up-something will whisper in your ear "caterwauling" and you will at once, in self-defense, lower your voice or stop speaking altogether.

It is good to call ugly things by their ugliest names. It helps us to see them in their true light and makes us more earnest in our efforts to get away from them altogether.

I was once a guest at a large reception and the noise of talking seemed to be a roar, when suddenly an elderly man got up on a chair and called "silence," and having obtained silence he said, "it has been suggested that every one in this room should speak in a lower tone of voice."

The response was immediate. Every one went on talking with the same interest only in a lower tone of voice with a result that was both delightful and soothing.

I say every one-there were perhaps half a dozen whom I observed who looked and I have no doubt said "how impudent." So it was "impudent" if you chose to take it so-but most of the people did not choose to take it so and so brought a more quiet atmosphere and a happy change of tone.

Theophile Gautier said that the voice was nearer the soul than any other expressive part of us. It is certainly a very striking indicator of the state of the soul. If we accustom ourselves to listen to the voices of those about us we detect more and more clearly various qualities of the man or the woman in the voice, and if we grow sensitive to the strain in our own voices and drop it at once when it is perceived, we feel a proportionate gain.

I knew of a blind doctor who habitually told character by the tone of the voice, and men and women often went to him to have their characters described as one would go to a palmist.

Once a woman spoke to him earnestly for that purpose and he replied, "Madam, your voice has been so much cultivated that there is nothing of you in it-I cannot tell your real character at all." The only way to cultivate a voice is to open it to its best possibilities-not to teach its owner to pose or to imitate a beautiful tone until it has acquired the beautiful tone habit. Such tones are always artificial and the unreality in them can be easily detected by a quick ear.

Most great singers are arrant hypocrites. There is nothing of themselves in their tone. The trouble is to have a really beautiful voice one must have a really beautiful soul behind it.

If you drop the tension of your voice in an argument for the sake of getting a clearer mind and meeting your opponent without resistance, your voice helps your mind and your mind helps your voice.

They act and react upon one another with mutual benefit. If you lower your voice in general for the sake of being more quiet, and so more agreeable and useful to those about you, then again the mental or moral effort and the physical effort help one another.

It adds greatly to a woman's attraction and to her use to have a low, quiet voice-and if any reader is persisting in the effort to get five minutes absolute quiet in every day let her finish the exercise by saying something in a quiet, restful tone of voice.

It will make her more sensitive to her unrestful tones outside, and so help her to improve them.

CHAPTER XX

About Frights

HERE are two true stories and a remarkable contrast. A nerve specialist was called to see a young girl who had had nervous prostration for two years. The physician was told before seeing the patient that the illness had started through fright occasioned by the patient's waking and discovering a burglar in her room.

Almost the moment the doctor entered the sick room, he was accosted with: "Doctor, do you know what made me ill? It was frightful." Then followed a minute description of her sudden awakening and seeing the man at her bureau drawers.

This story had been lived over and over by the young girl and her friends for two years, until the strain in her brain caused by the repet.i.tion of the impression of fright was so intense that no skill nor tact seemed able to remove it. She simply would not let it go, and she never got really well.

Now, see the contrast. Another young woman had a similar burglar experience, and for several nights after she woke with a start at the same hour. For the first two or three nights she lay and shivered until she shivered herself to sleep.

Then she noticed how tightened up she was in every muscle when she woke, and she bethought herself that she would put her mind on relaxing her muscles and getting rid of the tension in her nerves. She did this persistently, so that when she woke with the burglar fright it was at once a reminder to relax.

After a little she got the impression that she woke in order to relax and it was only a very little while before she succeeded so well that she did not wake until it was time to get up in the morning.

The burglar impression not only left her entirely, but left her with the habit of dropping all contractions before she went to sleep, and her nerves are stronger and more normal in consequence.

The two girls had each a very sensitive, nervous temperament, and the contrast in their behavior was simply a matter of intelligence.

This same nerve specialist received a patient once who was positively blatant in her complaint of a nervous shock. "Doctor, I have had a horrible nervous shock. It was horrible. I do not see how I can ever get over it."

Then she told it and brought the horrors out in weird, over-vivid colors. It was horrible, but she was increasing the horrors by the way in which she dwelt on it.

Finally, when she paused long enough to give the doctor an opportunity to speak, he said, very quietly: "Madam, will you kindly say to me, as gently as you can, 'I have had a severe nervous shock.'" She looked at him without a gleam of understanding and repeated the words quietly: "I have had a severe nervous shock."

In spite of herself she felt the contrast in her own brain. The habitual blatancy was slightly checked. The doctor then tried to impress upon her the fact that she was constantly increasing the strain of the shock by the way she spoke of it and the way she thought of it, and that she was really keeping herself ill.

Gradually, as she learned to relax the nervous tension caused by the shock, a true intelligence about it all dawned upon her; the over-vivid colors faded, and she got well. She was surprised herself at the rapidity with which she got well, but she seemed to understand the process and to be moderately grateful for it.

If she had had a more sensitive temperament she would have appreciated it all the more keenly; but if she had had a more sensitive temperament she would not have been blatant about her shock.

CHAPTER XXI

Contrariness

I KNOW a woman who says that if she wants to get her father's consent to anything, she not only appears not to care whether he consents or not, but pretends that her wishes are exactly opposite to what they really are. She says it never fails; the decision has always been made in opposition to her expressed desires, and according to her real wishes. In other words, she has learned how to manage her father.

This example is not unique. Many of us see friends managing other friends in that same way. The only thing which can interfere with such astute management is the difficulty that a man may have in concealing his own will in order to accomplish what he desires. Wilfulness is such an impulsive quant.i.ty that it will rush ahead in spite of us and spoil everything when we feel that there is danger of our not getting our own way. Or, if we have succeeded in getting our own way by what might be called the "contrary method," we may be led into an expression of satisfaction which will throw light on the falseness of our previous att.i.tude and destroy the confidence of the friend whom we were tactfully influencing.

To work the "contrary method" to perfection requires a careful control up to the finish and beyond it. In order never to be found out, we have to be so consistent in our behavior that we gradually get trained into nothing but a common every-day hypocrite, and the process which goes on behind hypocrisy must necessarily be a process of decay. Beside that, the keenest hypocrite that ever lived can only deceive others up to a certain limit.

But what is one to do when a friend can only be reached by the "contrary method"? What is one to do when if, for instance, you want a friend to read a book, you know that the way to prevent his reading it is to mention your desire? If you want a friend to see a play and in a forgetful mood mention the fact that you feel sure the play would delight him, you know as soon as the words are out of your mouth you have put the chance of his seeing the play entirely out of the question? What is one to do when something needs mending in the house, and you know that to mention the need to the man of the house would be to delay the repair just so much longer? How are our contrary-minded friends to be met if we cannot pretend we do not want what we do want in order to get their cooperation and consent?