Pushing to the Front

by Orison Swett Marden

What a subtle power there is in the suggestion of the human voice! What emotions are aroused in us by its different modulations! How we laugh and cry, become indignant, revengeful, our feelings leaping from one extreme to the other, according to the passion-freighted or love-freighted words which reach our ear; how we sit spell-bound, with bated breath, before the great orator who is playing upon the emotions of his audience, as a musician plays upon the strings of his harp, now bringing out tears, now smiles, now pathos, now indignation! The power of his word-painting makes a wonderful impression. A thousand listeners respond to whatever he suggests.

The voice is a great betrayer of our feelings and emotions. It is tender when conveying love to our friends; cold, selfish, and without a particle of sympathy during business transactions when we are trying to get the best of a bargain.

How we are attracted by a gentle voice, and repulsed by one that is harsh! We all know how susceptible even dogs and horses are to the different modulations of the human voice. They know the tone of affection; they are reassured and respond to it. But they are stricken with fear and trembling at the profanity of the master's rage.

Some natures are powerfully affected by certain musical strains; they are immediately lifted out of the deepest depression and despondency into ecstasy. Nothing has touched them; they have just merely felt a sensation through the auditory nerve which aroused and awakened into activity certain brain cells and changed their whole mental attitude.

Music has a decided influence upon the blood pressure in the arteries, and upon the respiration. We all know how it soothes, refreshes, and rests us when jaded and worried. When its sweet harmonies fill the soul, all cares, worries, and anxieties fly away.

George Eliot, in "The Mill on the Floss," gives voice to what some of us have often, doubtless, felt, when under its magic spell. "Certain strains of music," she says, "affect me so strangely that I can never hear them without changing my whole attitude of mind for a time, and if the effect would last, I might be capable of heroism."

Latimer, Ridley, and hundreds of others went to the stake actually rejoicing, the spectators wondering at the smile of ineffable peace which illumined their faces above the fierce glare of the flames, at the hymns of praise and thanksgiving heard amid the roar of crackling fagots.

"No, we don't get sick," said an actor, "because we can't get sick. Patti and a few other stars could afford that luxury, but to the majority of us it is denied. It is a case of 'must' with us; and although there have been times when, had I been at home, or a private man, I could have taken to my bed with as good a right to be sick as any one ever had, I have not done so, and have worn off the attack through sheer necessity. It's no fiction that will power is the best of tonics, and theatrical people understand that they must keep a good stock of it always on hand."

A tight-rope walker was so ill with lumbago that he could scarcely move. But when he was advertised to appear, he summoned all his will power, and traversed the rope several times with a wheelbarrow, according to the program. When through he doubled up and had to be carried to his bed, "as stiff as a frozen frog."

Somewhere I have read a story of a poor fellow who went to hang himself, but finding by chance a pot of money, he flung away the rope and went hurriedly home. He who hid the gold, when he missed it, hanged himself with the rope which the other man had left. Success is a great tonic, and failure a great depressant.