Nerves and Common Sense

by Annie Payson Call

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.