, 1889-12-20
THE HUMAN VOICE,
Some Incidents which 90 to Show Its
Wonderful influences Over Man.

Some Incidents which 90 to Show Its
Wonderful Influence Over Man.
1t is said by those who are compe-
tent to judge that an Englishman's
voice indicates almost iDsallibly the
social standing of itS possessor.
Shakespeare calls a soft gentle and
low" voice an excellent thing in wo-
man, and another observer, with a
happy knack at phrasing, says, "a
woman should never raise her voice
above the singing of a kettle;" while
another exclaims. Let no one say it is
a matter of indifference what song is
sung by a child's cradle. 1t sounds
through the whole life"
There was a great thrill in a story
that went the rounds of the papers
some years ago because of its truthful
ness TO nature. \ brave New York
fireman wa climbing a ladder upon a
blazing house, striving TO reach a child
who stood in the window Of the fourth
story. The smoke became so binding
and the heat SO uncomfortable that the
intrepid man wayered and paused.
A shudder ran through the crowd,
till an inspired voice called out, Cheer
himI' Instantly the heavens were
rent with a shout of passionate enthu-
siasm that bore the sinking fireman up
ward on its breath, and the fainting
child was soon in its mothers arms.
We recall another instance: On the
night of the ever TO be deplored 18th
of July, 1928, fire broke out in the
venerated basilica of st. Paul in Rome
The terrified and ~lamenting populace
gathered from all quarters around the
sacred edifice, which had been filed
from very early times with the most
venerated religious relics, as well as
with the richest treasures of art.
Paralyzed with fear and grief, the
people stood in helpless awe, when a
clarion voice rang out, Save the
arch, the gift Of the Fifth to the Nine
teenth century," The cry acted like
an inspiration upon the crowd; every
arm felt the thrill, and the arch was
saved.
A still familiar instance of the
power of the voice over a crowd is
perhaps that which occurred at the rails
ing Of an obelisk in Rome, many years
ago. For a long time no one could be
found willing to attempt the work,
but at length an architect, Domenico
Fontana, devised machinery by which
TO accomplish it. The risk was great.
If the enterprise should miscarry, and
the obelisk, partly raised, should fall
to the earth, it might cause the death
of hundreds, beside the destruction of
the monument.
A huge crowd assembled to watch
the operation. To prevent confusion,
an edict had been issued forbidding
any one, on pain of death, to speak,
or even make any noise. The signals
to work and rest were to be given by
the sound of trumpets.
The silence of death reigned over
the vast concourse as the first signal
sounded, and the machines began to
work, and the levers to creak and bend
under the great pressure. The obelisk
rose steadily, surely. At first easily;
then with greater and greater difficult
ty, until it was within a few lines of
tho perpendicular.
Men and beasts exerted themselves
to the utmost, but the cables refused
to work farther. 1t was a moment of
despair. All seemed lost, when a
brave sailor boy, perched aloft,
risked his life and ali by calling out
in the dead silence, "Wet the ropesl"
The word was an inspiration. The
architect and master workmen saw it
at once. AS if the voice of the sailor
boy had electrified them, they wet the
ropes, which contracted, and the ODE
lisk was raised to the upright position
it has held ever since. 1t is needless
to add that the prayers of the people
procured the pardon of the sailor
Youths Companion.