TALKS ON TALKING

by

GRENVILLE KLEISER

Formerly Instructor in Public Speaking at Yale Divinity School, Yale University; author of "How to Speak in Public, " "How toDevelop Power and Personality in Speaking, " "How to DevelopSelf-Confidence in Speech and Manner, " "How to Argue and Win, ""How to Read and Declaim, " "Complete Guide to Public Speaking, ";etc. 

Copyright, 1916, byFunk. & Wagnalls Company(Printed in the United States of America)Published, September, 1916Copyright under the articles of the Copyright Convention of thePan-American Republics and the United States, August 11, 1910

CONTENTS

 PAGE

THE ART OF TALKING 1

TYPES OF TALKERS 11

TALKERS AND TALKING 18

PHRASES FOR TALKERS 25

THE SPEAKING VOICE 34

HOW TO TELL A STORY 44

TALKING IN SALESMANSHIP 56

MEN AND MANNERISMS 63

HOW TO SPEAK IN PUBLIC 70

PRACTICAL HINTS FOR SPEAKERS 84

THE DRAMATIC ELEMENT IN SPEAKING 87

CONVERSATION AND PUBLIC SPEAKING 94

A TALK TO PREACHERS 100

CARE OF THE SPEAKER'S THROAT 108

DON'TS FOR PUBLIC SPEAKERS 116

DO'S FOR PUBLIC SPEAKERS 118

POINTS FOR SPEAKERS 120

THE BIBLE ON SPEECH 122

THOUGHTS ON TALKING 123

PREFACE

Good conversation implies naturalness, spontaneity, and sincerity ofutterance. It is not advisable, therefore, to lay down arbitrary rulesto govern talking, but it is believed that the suggestions offered herewill contribute to the general elevation and improvement of dailyspeech. 

Considering the large number of persons who are obliged to talk insocial, business, and public life, the subject of correct speech shouldreceive more serious consideration than is usually given to it. It isearnestly hoped that this volume will be of practical value to those whoare desirous of developing and improving their conversational powers. 

Appreciative thanks are expressed to the Editors of the _HomileticReview_ for permission to reprint some of the extracts. 

 GRENVILLE KLEISER. 

NEW YORK CITY, MAY, 1916. 

 Boys flying kites haul in their white-wing'd birds: You can't do that way when you're flying words. "Careful with fire, " is good advice we know; "Careful with words, " is ten times doubly so. Thoughts unexpress'd may sometimes fall back dead, But God Himself can't kill them once they're said!

 --_Will Carleton. _

 The first duty of a man is to speak; that is his chief business in this world; and talk, which is the harmonious speech of two or more, is by far the most accessible of pleasures. It costs nothing; it is all profit; it completes our education; it founds and fosters our friendships; and it is by talk alone that we learn our period and ourselves. 

 --_Robert Louis Stevenson. _

 Vociferated logic kills me quite; A noisy man is always in the right-- I twirl my thumbs, fall back into my chair, Fix on the wainscot a distressful stare; And when I hope his blunders all are out, Reply discreetly, "To be sure--no doubt!"

 --_Anon. _

TALKS ON TALKING

THE ART OF TALKING

The charm of conversation chiefly depends upon the adaptability of theparticipants. It is a great accomplishment to be able to enter gentlyand agreeably into the moods of others, and to give way to them withgrace and readiness. 

The spirit of conversation is oftentimes more important than the ideasexpressed. What we are rather than what we say has the most permanentinfluence upon those around us. Hence it is that where a group ofpersons are met together in conversation, it is the inner life of eachwhich silently though none the less surely imparts tone and character tothe occasion. 

It requires vigorous self-discipline so to cultivate the feelings ofkindness and sympathy that they are always in readiness for use. Thesequalities are essential to agreeable and profitable intercourse, thoughcomparatively few people possess them. 

Burke considered manners of more importance than laws. Sidney Smithdescribed manners as the shadows of virtues. Dean Swift defined mannersas the art of putting at ease the people with whom we converse. Chesterfield said manners should adorn knowledge in order to smooth itsway through the world. Emerson spoke of manners as composed of pettysacrifices. 

We all recognize that a winning manner is made up of seeminglyinsignificant courtesies, and of constant little attentions. A person ofcharming manner is usually free from resentments, inquisitiveness, andmoods. 

Personality plays a large part in interesting conversation. Preciselythe same phraseology expressed by two different persons may make twowholly different impressions, and all because of the difference in thepersonalities of the speakers. 

The daily mental life of a man indelibly impresses itself upon his face, where it can be unmistakably read by others. What a person is, innatelyand habitually, unconsciously discloses itself in voice, manner, andbearing. The world ultimately appraises a man at his true value. 

The best type of talker is slow to express positive opinions, is sparingin criticism, and studiously avoids a tone or word of finality. It hasbeen well said that "A talker who monopolizes the conversation is bycommon consent insufferable, and a man who regulates his choice oftopics by reference to what interests not his hearers but himself hasyet to learn the alphabet of the art. Conversation is like lawn-tennis, and requires alacrity in return at least as much as vigor in service. Ahappy phrase, an unexpected collocation of words, a habitual precisionin the choice of terms, are rare and shining ornaments of conversation, but they do not for an instant supply the place of lively andinteresting matter, and an excessive care for them is apt to tellunfavorably on the substance of discourse. "

When Lord Beaconsfield was talking his way into social fame, someonesaid of him, "I might as well attempt to gather up the foam of the seaas to convey an idea of the extraordinary language in which he clothedhis description. There were at least five words in every sentence thatmust have been very much astonished at the use they were put to, and yetno others apparently could so well have expressed his idea. He talkedlike a racehorse approaching the winning-post--every muscle in action, and the utmost energy of expression flung out into every burst. "

We are told that Matthew Arnold combined all the characteristics of goodconversation--politeness, vivacity, sympathy, interestedness, geniality, a happy choice of words, and a never-failing humor. When he was onceasked what was his favorite topic for conversation, he instantlyanswered, "That in which my companion is most interested. "

Courtesy, it will be noted, is the fundamental basis of goodconversation. We must show habitual consideration and kindliness towardsothers if we would attract them to us. Bluntness of manner is no longerexcused on the ground that the speaker is sincere and outspoken. Weexpect and demand that our companion in conversation should observe therecognized courtesies of speech. 

There was a time when men and women indulged freely in satire, irony, and repartee. They spoke their thoughts plainly and unequivocally. Therewere no restraints imposed upon them by society, hence it now appears tous that many things were said which might better have been left unsaid. Self-restraint is nowadays one of the cardinal virtues of goodconversation. 

The spirit of conversation is greatly changed. We are enjoined to keepthe voice low, think before we speak, repress unseasonable allusions, shun whatever may cause a jar or jolt in the minds of others, be seldomprominent in conversation, and avoid all clashing of opinion andcollision of feeling. 

Macaulay was fond of talking, but made the mistake of always choosing asubject to suit himself and monopolizing the conversation. He lecturedrather than talked. His marvelous memory was perhaps his greatest enemy, for though it enabled him to pour forth great masses of facts, peoplelistened to him helplessly rather than admiringly. 

Carlyle was a great talker, and talked much in protest of talking. Noman broke silence oftener than he to tell the world how great a curse istalking. But he told it eloquently and therein was he justified. Therewas in him too much vehement sternness, of hard Scotch granite, to makehim a pleasant talker in the popular sense. He was the evangelist ofgolden silence, and though he did not apparently practice it himself, his genius will never diminish. 

Gladstone was unable to indulge in small talk. His mind was soconstantly occupied with great subjects that he spoke even to one personas if addressing a meeting. It is said that in conversation with QueenVictoria he would invariably choose weighty subjects, and though shetried to make a digression, he would seize the first opportunity toresume his original theme, always reinforced in volume and onrush by thedelay. 

Lord Morley is attractive though austere in conversation. He neverdogmatizes nor obtrudes his own opinions. He is a master ofphrase-making. But although he talks well he never talks much. 

The story is told that at a recent dinner in London ten leading publicmen were met together, when one suggested that each gentleman presentshould write down on paper the name of the man he would specially chooseto be his companion on a walking tour. When the ten papers weresubsequently read aloud, each bore the name of Lord Morley. 

Lord Rosebery is considered one of the most accomplished talkers of theday. Deferential, natural, sympathetic, observant, well-informed, heeasily and unconsciously commands the attention of any group of men. Hisvoice is said to recommend what he utters, and a singularly refinedaccent gives distinction to anything he says. He is a supreme example oftwo great qualifications for effective talking: having something worthwhile to say, and knowing how to say it. 

Among distinguished Canadians, Sir Thomas White is one of the mostinteresting speakers. His versatile mind, and broad and variedexperience, enable him to converse with almost equal facility uponpolitics, medicine, finance, law, science, art, literature, orbusiness. Dates, details, facts, figures, and illustrations are at hisready command. His manner is natural, courteous, and genial, but inargumentation the whole man is so thoroughly aroused to earnestness andintensity as almost to overwhelm an opponent. His greatest quality inspeaking is his manifest sincerity, and it is this particularly whichhas ingratiated him in the hearts of his countrymen. 

The Honorable Joseph H. Choate must certainly be reckoned among the bestconversationalists of our time. His manner, both in conversation and inpublic speaking, is singularly gracious and winning. He is unsurpassedas a story-teller. His fine taste, combined with long experience as apublic man, makes him an ideal after-dinner speaker. 

Some eminent men try to mask their greatness when engaged inconversation. They do not wear their feelings nor their greatness ontheir sleeves. Some have an utter distaste for anything like personaldisplay. It is said of the late Henry James that a stranger might talkto him for an entire evening without discovering his identity. 

There is an interesting account of an evening's conversation betweenEmerson and Thoreau. When Thoreau returned home he wrote in his Journal:"Talked, or tried to talk, with R. W. E. Lost my time, nay, almost myidentity. He, assuming a false opposition where there was no differenceof opinion, talked to the wind. " Emerson's version of the conversationwas this: "It seemed as if Thoreau's first instinct on hearing aproposition was to controvert it. That habit is chilling to the socialaffections; it mars conversation. "

Conversation offers daily opportunity for intellectual exercise of highorder. The reading of great books is desirable and indispensable toeducation, but real culture comes through the additional training onereceives in conversation. The contact of mind with mind tends tostimulate and develop thoughts which otherwise would probably remaindormant. 

The culture of conversation is to be recommended not only for its ownsake, but also as one of the best means of training in the art of publicspeaking. Since the best form of platform address today is simplyconversation enlarged and elevated, it may almost be assumed that toexcel in one is to be proficient in the other. 

Good conversation requires, among other things, mental alertness, accuracy of statement, adequate vocabulary, facility of expression, andan agreeable voice, and these qualities are most essential for effectivepublic speaking. Everyone, therefore, who aspires to speaking before anaudience of hundreds or thousands, will find his best opportunity forpreliminary training in everyday speech. 

TYPES OF TALKERS

There is no greater affliction in modern life than the tiresome talker. He talks incessantly. Presumably he talks in his sleep. Talking is hisconstant exercise and recreation. He thrives on it. He lives fortalking's sake. He would languish if he were deprived of it for a singleday. His continuous practice in talking enables him easily tooutdistance all ordinary competitors. There is nothing which socompletely unnerves him as long periods of silence. He has the talkinghabit in its most virulent form. 

The trifling talker is equally objectionable. He talks much, but sayslittle. He skims over the surface of things, and is timid of anythingdeep or philosophical. He does not tarry at one subject. He talks of theweather, clothes, plays, and sports. He puts little meaning into what hesays, because there is little meaning in what he thinks. He cannot lookat anything seriously. Nothing is of great significance to him. He isin the class of featherweights. 

The tedious talker is one without terminal facilities. He talks right onwith no idea of objective or destination. He rises to go, but he doesnot go. He knows he ought to go, but he simply cannot. He has somethingmore to say. He keeps you standing half an hour. He talks a whilelonger. He assures you he really must go. You tell him not to hurry. Hetakes you at your word and sits down again. He talks some more. He risesagain. He does not know even now how to conclude. He has no mentalcompass. He is a rudderless talker. 

Probably the most obnoxious type is the tattling talker. He always hassomething startlingly personal to impart. It is a sacred secret for yourear. He is a wholesale dealer in gossip. He fairly smacks his lips as herelates the latest scandal. He is an expert embellisher. He adroitlysupplies missing details. He has nothing of interest in his own life, since he lives wholly in the lives of others. He is a frightful bore, but you cannot offend him. He is adamant. 

There is the tautological talker, or the human self-repeater. He goesover the ground again and again lest you have missed something. He isvery fond of himself. He tells the same story not twice, but a dozentimes. "You may have heard this before, " says he, "but it is so goodthat it will bear repetition. " He tries to disguise his poverty ofthought in a masquerade of ornate language. If he must repeat his words, he adds a little emphasis, a flourishing gesture, or a spirit ofnonchalance. 

Again, there is the tenacious talker, who refuses to release you thoughyou concede his arguments. When all others tacitly drop a subject, heeagerly picks it up. He is reluctant to leave it. He would put you inpossession of his special knowledge. You may successfully refute him, but he holds firmly to his own ideas. He is positive he is right. Hewill prove it, too, if you will only listen. He knows that he knows. Youcannot convince him to the contrary, no indeed. He will talk you soblind that at last you are unable to see any viewpoint clearly. 

A recognized type is the tactless talker. He says the wrong thing inthe right way, and the right thing in the wrong way. He is impulsive andunguarded. He reaches hasty conclusions. He confuses his tactlessnesswith cleverness. He is awkward and blundering. His indifference to therights and feelings of others is his greatest enemy. He is a stranger todiscretion. He speaks first, and thinks afterwards. He may have regrets, but not resolutions. He is often tolerated, but seldom esteemed. 

The temperamental talker is one of the greatest of nerve-destroyers. Hedeals in superlatives. He views everything emotionally. He talksfeelingly of trifles, and ecstatically of friends. He gushes. Heflatters. To him everything is "wonderful, " "prodigious, " "superb, ""gorgeous, " "heavenly, " "amazing, " "indescribable, " "overwhelming. "Extravagance and exaggeration permeate his most commonplaceobservations. He is an incurable enthusiast. 

The tantalizing talker is one who likes to contradict you. He divideshis attention between what you are saying and what he can summon tooppose you. He dissents from your most ordinary observations. Hisfavorite phrases are, "I don't think so, " "There is where you arewrong, " "I beg to differ, " and "Not only that. " Tell him it will be afine day, and he will declare that the signs indicate foul weather. Saythat the day is unpromising, and he will assure you it does not lookthat way to him. He cavils at trifles. He disputes even when there is noantagonist. 

To listen to the tortuous talker is a supreme test of patience. Heslowly winds his way in and out of a subject. He traverses by-paths, allowing nothing to escape his unwearied eye. He goes a long way about, but never tires of his circuitous journey. Ploddingly and perseveringlyhe zigzags from one point to another. He alters his course as often asthe crooked way of his subject changes. He twists, turns, and divergeswithout the slightest inconvenience to himself. He likes nothing betterthan to trace out details. His talking disease is discursiveness. 

The tranquil talker never hurries. He has all the time there is. If youare very busy he will wait. He is uniformly moderate and polite. He isa rare combination of oil, milk, and rose-water. He would not harm asyllable of the English language. His talking has a soporific effect. Itacts as a lullaby. His speech is low and gentle. He never speaks anill-considered word. He chooses his words with measured caution. He iswhat is known as a smooth talker. 

The torpedo talker is of the rapid fire explosive variety. He burstsinto a conversation. He scatters labials, dentals, and gutturals in alldirections. He is a war-time talker, --boom, burst, bang, roar, crash, thud! He fills the air with vocal bullets and syllabic shrapnel. He istrumpet-tongued, ear-splitting, deafening. He fires promiscuously at allhis hearers. He rends the skies asunder. He is nothing if notvociferous, stentorian, lusty. He demolishes every idea in his way. Heis a Napoleon of words. 

The tangled talker never gets anything quite straight. He inevitablyspoils the best story. He always begins at the wrong end. Despite yourprotests of face and manner he talks on. He talks inopportunely. Hebecomes inextricably confused. He is weak in statistics. He has nomemory for names or places. He lacks not fluency but accuracy. He is atwisted talker. 

The triumphant talker lays claim to the star part in any conversation. He likes nothing better than to drive home his point and then look aboutexultingly. He says gleefully, "I told you so. " That he can ever bewrong is inconceivable to him. He knows the facts since he can readilymanufacture them himself. He is self-satisfied, for in his own opinionhe has never lost an argument. He is a brave and bold talker. 

These, then, are some types of talking which we should not emulate. Study the list carefully--the tiresome talker, the trifling talker, thetedious talker, the tattling talker, the tautological talker, thetenacious talker, the tactless talker, the temperamental talker, thetantalizing talker, the tangled talker, the triumphant talker--and guardyourself diligently against the faults which they represent. Talkingshould always be a pleasure to the speaker and listener, never a bore. 

TALKERS AND TALKING

Conversation is not a verbal nor vocal contest, but a mutual meeting ofminds. It is not a monologue, but a reciprocal exchange of ideas. 

There are cardinal rules which everyone should observe in conversation. The first of these is to be prepared always to give courteous andconsiderate attention to the ideas of others. There is no better way tocultivate your own conversational powers than to train yourself first tobe an interesting and sympathetic listener. 

It is in bad taste to interrupt a speaker. This is a common fault whichshould be resolutely guarded against. Moreover, your own opportunity tospeak will shortly come if you have patience, when you may reasonablyexpect to receive the same uninterrupted attention which you have givento others. 

Never allow yourself to monopolize a conversation. This is a form ofselfishness practiced by many persons apparently unaware of beingill-mannered. It is inexcusably bad taste to tell unduly long stories orlengthy personal experiences. If you cannot abridge a story toreasonable dimensions, it would be better to omit it entirely. Thehabitual long-story teller may easily become a bore. 

Avoid the habit of eagerly matching the other person's story orexperience with one of your own. There is nothing more disconcerting toa speaker than to observe the listener impatiently waiting to plungeheadlong into the conversation with some marvellous tale. Beparticularly careful not to outdo another speaker in relating your ownexperiences. If, for instance, he has just told how he caught fifty fishupon a recent trip, do not succumb to the temptation to tell of the timeyou caught fifty-one. 

Be careful not to give unsolicited advice. It has been well said thatadvice which costs nothing is worth what it costs. If people desire yourcounsel they will probably ask for it, in which case they will be morelikely to appreciate what you have to tell them. 

Do not voluntarily recommend doctors, dentists, osteopaths, pills, coffee substitutes, health foods, health resorts, or panaceas for theills of mankind. If you can be of service to others in these particularrespects, it will be when you are specifically asked for suchinformation. 

It is most imprudent to carry an argument to extremes. If you observe anunwillingness in the other person to be convinced by what you say, youhad better turn to another subject. Conversation should never resolveitself into controversial debate. 

It is well to avoid discursiveness, over-use of parentheses, andpositiveness of statement. Keep your desires and feelings fromover-coloring your views. A flexible attitude of mind is more likely towin an opponent to your way of thinking. 

Take special pains to enter into the minds and feelings of others. Beinterested in what they want to talk about. Let your interest be deepand sincere. Adopt the right tone, temper, and reticence in yourconversation. 

You should accustom yourself to look at things from the other person'sstandpoint. It is surprising how this habit enlarges the vision andgives a charitableness to speech which might otherwise be absent. It iswell to remember that no person can possibly have a monopoly ofknowledge upon any subject. 

Good conversation demands restraint, adaptability, and reasonablebrevity. There is an appalling waste of words on all sides, hence youshould constantly guard yourself against this fault. When there isnothing worth-while to say, the best substitute is silence. 

Practice self-discipline in talking. Correct any fault in yourself theinstant you recognize it. If, for example, you realize that you aretalking at too great length, stop it at once. Should you feel that youare not giving interested attention to the speaker, check yourmind-wandering immediately and concentrate upon what is being said. 

Do not be always setting other people right. This is a thankless as wellas useless task. They probably do not want your assistance, or theywould ask for it. Besides most people are sensitive about theirshortcomings, and prefer to get help and counsel in private. 

There is no more important suggestion than to rule your moods. Ofttimesthe feelings run away with the judgment. What you think and say todaymay be due to your present mood, rather than to matured judgment. Letyour common sense predominate at all times. 

It is not well to give too strong expression to your likes and dislikes. These, like all your feelings, should be governed with a firm hand. Opinions advanced with too much emphasis may easily fail to impressother minds. Remember always that your greatest ally is truth. Thereforefrankly and faithfully examine your important opinions before givingthem expression. 

Resist the desire to be prominent in conversation, or to say clever andsurprising things. This is sometimes difficult to do, but it is the onlysafe course to follow. If you have something brilliant or worth-while tosay, it will be best said spontaneously and with due modesty. But ifthere is no suitable opportunity to say it, put it back in your mindwhere it may improve with age. Egotism is taboo in polite society. 

The suggestion that nothing should be allowed to pass the lips thatcharity would check is invaluable advice. It is unfortunately all toocommon to give hasty and harsh expression to personal opinions andcriticisms. Reticence is one of the most essential conditions of longfriendship. 

Judgment and tact are necessary to good conversation. It is not well toask many questions, and then only those of a general character. Curiosity should be curbed. Quite properly people resentinquisitiveness. The best way to cultivate the rare grace of judgment isto be mindful of your own faults and to correct them with all speed andthoroughness. 

The word "talk" is often used in a derogatory sense, and we hear suchexpressions as "all talk, " "empty talk, " and "idle talk. " But aseveryone talks, we should all do our utmost to set a high example toothers of the correct use of speech. 

It is always better to talk too little than too much. Never talk formere talking's sake. Avoid being artificial or pedantic. Don'tantagonize, dogmatize, moralize, attitudinize, nor criticise. Talk inpoise, --quietly, deliberately, sincerely, and you will never lack anattentive audience. 

PHRASES FOR TALKERS

It is said of Macaulay that he never allowed a sentence to pass musteruntil it was as good as he could make it. He would write and rewrite, and even construct a paragraph or a whole chapter, in order to secure amore lucid and satisfactory arrangement. He wrote just so much each day, usually an average of six pages, and this manuscript was so erased andcorrected that it was finally compressed into two pages of print. 

The masters of English prose have been great workers. Stevenson andothers like him gave hours and days to the study of words, phrases, andsentences. Through unwearied application to the art of rhetoricalcomposition they ultimately won fame as writers. 

The ambitious student of speech culture, whether for use in conversationor in public, will do well to emulate the example of such greatwriters. One of the best ways to build a large vocabulary is to noteuseful and striking phrases in one's general reading. It is advisable tojot down such phrases in a note-book, and to read them aloud from timeto time. Such phrases may be classified according to their particularapplication, --to business, politics, music, education, literature, orthe drama. 

It is not recommended that such phrases should be consciously draggedinto conversation, but the practice of carefully observing felicitousphrases, and of noting them in writing, cultivates the taste for betterwords and a sense of discrimination in their use. Many phrases noted andstudied in this way will unconsciously find their way into one'sexpression. 

The list of phrases which follows is offered as merely suggestive. Inreading the phrases aloud it is well to think clearly what each onemeans, and to fit it into a sentence of one's own making. This simpleexercise, practiced for a few weeks, will produce surprising results byway of increased facility and flexibility of English style. 

 It is obviously desirable I can well imagine Broadly speaking An admirable idea In a literal sense By sheer force of genius You can imagine his chagrin I hazard a guess It challenges belief He has an inscrutable face Very fertile in resource I am loath to believe It is essentially undignified Example is so contagious I am not in her confidence Taken in the aggregate It is a reproof to shallowness There is a misconception here I strongly suspect it so He was covered with confusion It was a just rebuke A pleasing instance of this It lends dignity to life She has a desultory liking for music It seems incredible A kind of detached ideal It blunts the finer sensibilities Beyond question or cavil A well-founded suspicion It has elicited great praise They are landmarks in memory Superhuman vigor and activity A venerable and interesting figure It is curious and interesting Gives the impression of aloofness Perfectly void of offence Regard with misgiving A stroke of professional luck An unscrupulous adventurer He spoke with extreme reticence Robust common sense Deficient in amiability Done with characteristic thoroughness A vein of philanthropic zeal Definite, tangible, and practical Too much effusive declamation A man of keen ambition It gives infinite zest Singular qualifications for public life They are bitterly hostile The despair of the official wire-puller Blind and unreasoning opponent Ignoble strife for power Surrounded by a cohort of admiring friends In an imperative voice Marked by copiousness and vivacity Touched with sombre dignity A ridiculous misconception Habitual austerity of demeanor Ostentation and lavish expenditure A person of exquisite tact Intolerant of bumptiousness The obvious danger of dallying This was grossly overstated A mass of calumny and exaggeration Inimical to religion Fraught with peril I venture to ask Attributed to mental decrepitude A strange phenomena It argues a blind faith Insatiable whirl of excitement A substratum of truth Under some conceivable circumstances Bubbling over with infectious joy Frigid dignity and arrogant reserve A profound contempt The fine art of hospitality Grim morsels of philosophy A tinge of sorrowness and jealousy Due to ignorance and barbarism Grave and monstrous scandal A splendid instance of self-devotion Amusingly exemplified in this case Recognized and powerful element A symbol of restraint An utterly fallacious idea In rapid and striking succession We learn from stern experience Pictures of an inspired imagination An astonishing outbreak Soothing words of sympathy A rather bold assertion The most enthusiastic adherents Mere tepid conviction Eminently qualified for the task Almost supernatural charm In glowing and exaggerated phrases Somewhat rich and austere An inexhaustible theme Grave and undeniable faults Perfectly chosen language All the characteristics of a mob Given to grandiloquent phrase Peculiar vein of sarcasm Froze like ice and cut like steel A generous tribute to an eminent rival Cold and stately composure Fiery and passionate enthusiasm Extraordinary violence of nature A brilliant and delightful play Rare and striking combination Preeminently qualified for the part Moderate and cautious conservatism Daring perversions of justice Devoid of rhetorical device As a great thinker has observed Almost morbid sensitiveness Discreetly stifled yawn He was dumb with wonder Scarcely less familiar Delightfully characteristic It was a profound conviction Greatly conceived and expressed Blinded by its brightness I have cudgelled my memory Exposed to imminent peril Screening a breach of etiquette By a natural transition Splendid anticipations of success A very laudable attempt Lapsed into complete oblivion With most distinguished success Like embarking on a shoreless sea A really pretty imitation Unless I greatly err Undaunted by repeated failure Became a term of reproach An epoch-making achievement In the guise of verbal nonsense Received with cordial sympathy With the most obvious sincerity Held forth with fluency and zest Gracious solicitude Punctiliously civil and polite An air of sphinx-like mystery Consumed by zeal Awaited with lively interest Sledge-hammer blows against humbug This recalls a happy retort Preeminently a case in point Exquisite precision and finish Incomparably better informed A keen eye for incongruities Polite to the point of deference To the last degree improbable People with rampant prejudices A model of chivalrous propriety By way of digression A splendid acquisition Singularly attractive fashion A kind of unconscious conspiracy Amid engrossing demands

THE SPEAKING VOICE

There is a widespread need for a more thorough cultivation of thespeaking voice. It is astonishing how few persons give specificattention to this important subject. On all sides we are subjected tovoices that are disagreeable and strident. It is the exception to hear avoice that is musical and well-modulated. 

Most people make too much physical effort in speaking. They tighten themuscles of the throat and mouth, instead of liberating these muscles andallowing the voice to flow naturally and harmoniously. The remedy forthis common fault of vocal tension is to relax all the muscles used inspeech. This is easily accomplished by means of a little daily practice. 

The first thing to keep in mind is that we should speak through thethroat and not from it. A musical quality of voice depends chiefly upondirecting the tone towards the hard palate, or the bony arch above theupper teeth. From this part of the mouth the voice acquires much of itsresonance. 

An excellent exercise for throat relaxation is yawning. It is notnecessary to wait until a real yawn presents itself, but frequentpractice in imitating a yawn may be indulged in with good results. Immediately after practicing the yawn, it is advisable to test thevoice, either in speaking or in reading, to observe improvement infreedom of tone. 

It is not desirable to use the voice where there is loud noise by way ofopposition. Many a good voice has been ruined due to the habit ofcontinuous talking on the street or elsewhere amid clatter and hubbub. Under such circumstances it is better to rest the voice, since in anycontest of the kind the voice will almost surely be vanquished. 

What we need in our daily conversation is less emphasis, and morequietness and non-resistance. We need less eagerness and more vivacityand variety. We need a settled equanimity of mind that does not depriveus of our animation, but saves us from the petty irritations ofeveryday life. We need, in short, more poise and self-control in our wayof speaking. 

It is well to remember that few things we say are of such importance asto require emphasis. The thought should be its own recommendation. Butif emphasis be necessary, let it be by the intellectual means of pausingor inflection, rather than with the shoulders or the clenched fist. 

A very disagreeable and common fault is nasality, or "talking throughthe nose. " Many persons are guilty of this who least suspect it. Thishabit is so easily and unconsciously acquired that everyone should be onstrict guard against it. Almost equally disagreeable is the fault ofthroatiness, caused by holding the muscles of the throat instead ofrelaxing them. 

The best tones of the speaking voice are the middle and low keys. Theseshould be used exclusively in daily conversation. The use of high pitchis due to habit or temperament, but may be overcome through judiciouspractice. The objection to a high-keyed voice is not only that it isdisagreeable to the listener, but puts the speaker "out of tune" withhis audience. 

A good speaking voice should possess the qualities of purity, resonance, flexibility, roundness, brilliancy, and adequate power. These qualitiescan be rapidly developed by daily reading aloud for ten minutes, givingspecial attention to one quality at a time. A few weeks, assiduouspractice will produce most gratifying results. The voice grows throughuse, and it grows precisely in the way it is habitually used. 

Distinct articulation and correct pronunciation are indications ofcultivated speech. Pedantry should be avoided, but every aspirant tocorrect speech should be a student of the dictionary. A writer has giventhis good counsel:

"Resolve that you will never use an incorrect, an inelegant, or a vulgarphrase or word, in any society whatever. If you are gifted with wit, youwill soon find that it is easy to give it far better point and force inpure English than through any other medium, and that brilliant thoughtsmake the deepest impressions when well worded. However great it may be, the labor is never lost which earns for you the reputation of one whohabitually uses the language of a gentleman, or of a lady. It isdifficult for those who have not frequent opportunities for conversationwith well-educated people, to avoid using expressions which are notcurrent in society, although they may be of common occurrence in books. As they are often learned from novels, it will be well for the reader toremember that even in the best of such works dialogues are seldomsustained in a tone which would not appear affected in ordinary life. This fault in conversation is the most difficult of all to amend, and itis unfortunately the one to which those who strive to express themselvescorrectly are peculiarly liable. Its effect is bad, for though it is notlike slang, vulgar in itself, it betrays an effort to conceal vulgarity. It may generally be remedied by avoiding any word or phrase which youmay suspect yourself of using for the purpose of creating an effect. Whenever you imagine that the employment of any mere word or sentencewill convey the impression that you are well informed, substitute forit some simple expression. If you are not positively certain as to thepronunciation of a word, never use it. If the temptation be great, resist it; for, rely upon it, if there be in your mind the slightestdoubt on the subject, you will certainly make a mistake. Never use aforeign word when its meaning can be given in English, and remember thatit is both rude and silly to say anything to any person who possibly maynot understand it. But never attempt, under any circumstances whatever, to utter a foreign word, unless you have learned to pronounce correctlythe language to which it belongs. "

There is need for the admonition to open the mouth well. Many peoplespeak with half-closed teeth, the result being that the quality of voiceand correctness of pronunciation are greatly impaired. Consonants andvowels should be given proper significance. Muffled speech is almost asobjectionable as stammering. 

It enhances the pleasure and quality of conversation to speak indeliberate style. Rapidity of utterance often leads a speaker into suchfaults as indistinctness, monotony, and incorrect breathing. Deliberatespeaking confers many advantages, not the least of which is increasedpleasure to the listener. 

Many voices are too thin in quality. They fail to carry conviction evenwhen the thought is of superior character. The remedy here is to givespecial attention to the development of deep tones. One of the bestexercises for this purpose is to practice for a few minutes daily uponthe vowel sound "O, " endeavoring to make it full, deep, and melodious. For all-round vocal development this practice should be done with variedforce and inflection, and on high as well as low keys of the voice. 

The best remedy for a weak voice is to practice daily upon explosives, expelling the principal vowel sounds, on various keys, using theabdominal muscles throughout. Another good exercise is to read aloudwhile walking upstairs or uphill. As these exercises are somewhatextreme, the student is recommended to practice them prudently. 

Correct breathing is fundamental to correct and agreeable speaking. Thebreathing apparatus should be brought under control by daily practiceupon exercises prescribed in any standard book on elocution. Pure toneof voice depends upon the ability to convert into tone every particle ofbreath used. Aspirated voice, in which some of the breath is allowed toescape unvocalized, is injurious to the throat, and unpleasant to thelistening ear. 

The speaker, whether in conversation or in public, should try always tospeak with an adequate supply of breath. Deliberate utterance will givethe necessary opportunity to replenish the lungs, so that the speakerwill not suffer from unnecessary fatigue. Needless to say, the habitshould be formed of breathing through the nose when in repose. 

There is a voice of unusual roundness and fulness known as the orotund, which is indispensable to the public speaker. It is simple, pure tone, rounded out into greater fulness. It is produced mainly by an increasedresonance of the chest and mouth cavities, and a more vigorous action ofthe abdominal muscles. It has the character of fulness, but it is notnecessarily a loud tone. It is in no sense artificial, but simply anenlargement of the natural conversational voice. 

The use of the orotund voice varies according to the intensity of thethought and feeling being expressed. It is used in language of greatdignity, power, grandeur, and sublimity. It is appropriate in certainforms of public prayer and Bible reading. It enables the public speakerto vary from his conversational style. It gives vastly increased scopeand power, by enabling the speaker to bring into play all the resourcesof vocal force and intensity. 

Where resonance of voice is lacking, it can be rapidly developed bymeans of humming the letter _m_, with lips closed, and endeavoring tomake the face vibrate. The tone should be kept well forward throughoutthe exercise, pressing firmly against the lips and hard palate. Laterthe exercise may begin with the humming _m_, and be developed, while thelips are opened gradually, into the tone of _ah_, still aiming tomaintain the original resonance. 

The speaking voice is capable of most wonderful development. There is aduty devolving upon everyone to cultivate beauty of vocal utterance anddiction. Crudities of speech so commonly in evidence are mainly due tocarelessness and neglect. It is a hopeful sign, however, that greaterattention is now being given to this important subject than heretofore. Surely there is nothing more important than the development of theprincipal instrument by which men communicate with one another. As Storysays:

 "O, how our organ can speak with its many and wonderful voices!-- Play on the soft lute of love, blow the loud trumpet of war, Sing with the high sesquialter, or, drawing its full diapason, Shake all the air with the grand storm of its pedals and stops. "

HOW TO TELL A STORY

Someone has wittily said that only those in their anecdotage should tellstories. De Quincey wanted all story-tellers to be submerged in ahorse-pond, or treated in the same manner as mad dogs. But story-tellinghas its legitimate and appropriate use, and if certain rules areobserved may give added charm to conversation and public speaking. 

It requires a fine discrimination to know when to tell a story, and whennot to tell one though it is urging itself to be expressed. Few men havethe rare gift of choosing the right story for the particular occasion. Many men have no difficulty in telling stories that are insufferablylong, pointless, and uninteresting. 

We have all been victims of a certain type of public speaker who beginsby saying, "Now I don't want to bore you with a long story, but this isso good, etc. , " or "An incident occurred at the American Consulate inShanghai, which reminds me of an awfully good story, etc. " When aspeaker prefaces his remarks with some such sentences as these, we knowwe are in for an uncomfortable time. 

As far as possible a story should be new, clever, short, simple, inoffensive, and appropriate. As such stories are scarce, it isadvisable to set them down, when found, in a special note-book forconvenient reference. It is said that Chauncey M. Depew, one of the mostgifted of after-dinner speakers, was for many years in the habit ofkeeping a set of scrap-books in which were preserved stories and otherinteresting data clipped from newspapers and magazines. These were soclassified that he could on short notice refresh his mind with amplematerial upon almost any general subject. 

Anyone who essays to tell a story should have it clearly in mind. It isfatal for a speaker to hesitate midway in a story, apologize for notknowing it better, avow that it was much more humorous when told to him, and in other ways to announce his shortcomings. If he cannot tell astory fluently and interestingly, he should first practice it on his ownfamily--provided they will tolerate it. 

Some stories should be committed to memory, especially where the pointof humor depends upon exact phraseology. In such case, it requires sometraining and experience to disguise the memorized effort. A story likethe following, for obvious reasons, should be thoroughly memorized:

The longest sermon on record occupied three hours and a half. But theshortest sermon was that of a preacher who spoke for one minute on thetext: "Man is born unto trouble as the sparks fly upward. " He said:

"I shall divide my discourse into three heads: (1) Man's ingress intothe world; (2) His progress through the world; (3) His egress out of theworld. 

"Firstly, His ingress into the world is naked and bare. 

"Secondly, His progress through the world is trouble and care. 

"Thirdly, His egress out of the world is nobody knows where. 

"To conclude:

"If we live well here, we shall live well there. 

"I can tell you no more if I preach a whole year. 

"The collection will now be taken up. "

Dialect stories are usually rather difficult, and should not as ageneral thing be attempted by beginners. As a matter of fact, fewpersons know how to speak such dialects as Irish, Scotch, German, Cockney, and negro without undue exaggeration. For most occasions it iswell to keep to simple stories couched in plain English. 

A story should be told in simple, conversational style. Concentrationupon the story, and a sincere desire to give pleasure to the hearers, will keep the speaker free from self-consciousness. Needless to say heshould not be the first to laugh at his own story. Sometimes in tellinga humorous anecdote to an audience a speaker secures the greatest effectby maintaining an expression of extreme gravity. 

No matter how successful one may be in telling stories, he should avoidtelling too many. A man who is accounted brilliant and entertaining maybecome an insufferable bore by continuing to tell stories when thehearers have become satiated. Of all speakers, the story-teller shouldkeep his eyes on his entire audience and be alert to detect theslightest signs of weariness. 

It is superfluous to say that a story should never be told which in anyway might give offence. The speaker may raise a laugh, but lose afriend. Hence it is that stories about stammerers, red-headed people, mothers-in-law, and the like, should always be chosen withdiscrimination. 

Generally the most effective story is one in which the point of humor isnot disclosed until the very last words, as in the following:

An old colored man was brought up before a country judge. 

"Jethro, " said the judge, "you are accused of stealing General Johnson'schickens. Have you any witnesses?"

"No, sah, " old Jethro answered, haughtily; "I hab not, sah. I neversteal chickens befo' witnesses. "

This is a similar example, told by Prime Minister Asquith:

An English professor wrote on the blackboard in his laboratory, "Professor Blank informs his students that he has this day beenappointed honorary physician to his Majesty, King George. "

During the morning he had some occasion to leave the room, and found onhis return that some student wag had added the words, "God save the King!"

Henry W. Grady was a facile story-teller. One of his best stories was asfollows:

"There was an old preacher once who told some boys of the Bible lessonhe was going to read in the morning. The boys, finding the place, gluedtogether the connecting pages. The next morning he read on the bottom ofone page: 'When Noah was one hundred and twenty years old he took untohimself a wife, who was'--then turning the page--'one hundred and fortycubits long, forty cubits wide, built of gopherwood, and covered withpitch inside and out. ' He was naturally puzzled at this. He read itagain, verified it, and then said: 'My friends, this is the first timeI ever met this in the Bible, but I accept it as an evidence of theassertion that we are fearfully and wonderfully made. '"

Personalities based upon sarcasm or invective are always attended withdanger, but good-humored bantering may be used upon occasion with mosthappy results. As an instance of this, there is a story of an annualdinner at which Mr. Choate was set down for the toast, "The Navy, " andMr. Depew was to respond to "The Army. " Mr. Depew began by saying, "It'swell to have a specialist: that's why Choate is here to speak about theNavy. We met at the wharf once and I did not see him again till wereached Liverpool. When I asked how he felt he said he thought he wouldhave enjoyed the trip over if he had had any ocean air. Yes, you want tohear Choate on the Navy. " When it was Mr. Choate's turn to speak, hesaid: "I've heard Depew hailed as the greatest after-dinner speaker. Ifafter-dinner speaking, as I have heard it described and as I believe itto be, is the art of saying nothing at all, then Mr. Depew is the mostmarvelous speaker in the universe. "

The medical profession can be assailed with impunity, since they havelong since grown accustomed to it. There is a story of a young laborerwho, on his way to his day's work, called at the registrar's office toregister his father's death. When the official asked the date of theevent, the son replied, "He ain't dead yet, but he'll be dead beforenight, so I thought it would save me another journey if you would put itdown now. " "Oh, that won't do at all, " said the registrar; "perhaps yourfather will live till tomorrow. " "Well, I don't think so, sir; thedoctor says as he won't, and he knows what he has given him. "

While stories should be used sparingly, there is probably nothing moreeffective before a popular audience than the telling of a story in whichthe joke is on the speaker himself. Thus:

The last time I made a speech, I went next day to the editor of ourlocal newspaper, and said, "I thought your paper was friendly to me?"

The editor said, "So it is. What's the matter?"

"Well, " I said, "I made a speech last night, and you didn't print asingle line of it this morning. "

"Well, " said the editor, "what further proof do you want?"

Many of the best and most effective stories are serious in character. One that has been used successfully is this: Some gentlemen from theWest were excited and troubled about the commissions or omissions of theadministration. President Lincoln heard them patiently, and thenreplied: "Gentlemen, suppose all the property you were worth was ingold, and you had put it in the hands of Blondin to carry across theNiagara River on a rope; would you shake the cable, or keep shouting outto him--'Blondin, stand up a little straighter--Blondin, stoop a littlemore--go a little faster--lean a little more to the north--lean a littlemore to the south?' No, you would hold your breath as well as yourtongue, and keep your hands off until he was safe over. The Governmentis carrying an immense weight. Untold treasures are in our hands. We aredoing the very best we can. Don't badger us. Keep silence, and we'll getyou safe across. "

Punning is of course out of fashion. The best pun in the Englishlanguage is Tom Hood's:

 "He went and told the sexton, And the sexton tolled the bell. "

Dr. Johnson said that the pun was the lowest order of wit. Newspapersformerly indulged in it freely. One editor would say: "We don't care astraw what Shakespeare said--a rose by any other name would not smell aswheat. " Then another paper would answer: "Such puns are barleytolerable, they amaize us, they arouse our righteous corn, and they turnthe public taste a-rye. "

But punning, when it is unusually clever and spontaneous, may bethoroughly enjoyable, as in the following:

Chief Justice Story attended a public dinner in Boston at which EdwardEverett was present. Desiring to pay a delicate compliment to thelatter, the learned judge proposed as a volunteer toast:

"Fame follows merit where Everett goes. "

The brilliant scholar arose and responded:

"To whatever heights judicial learning may attain in this country, itwill never get above one Story. "

Story-telling may attain the character of a disease, in one who has aretentive memory and a voluble vocabulary. The form of humor known asrepartee, however, is one that requires rare discrimination. It shouldbe used sparingly, and not at all if it is likely to give offence. 

Beau Brummell was guilty in this respect, when he was once asked by alady if he would "take a cup of tea. " "Thank you, " said he, "I never_take_ anything but physic. " "I beg your pardon, " said the hostess, "youalso take liberties. "

There is a story that Henry Luttrell had sat long in the IrishParliament, but no one knew his precise age. Lady Holland, withoutregard to considerations of courtesy, one day said to him point-blank, "Now, we are all dying to know how old you are. Just tell me. " Luttrellanswered very gravely, "It is an odd question, but as you, Lady Holland, ask it, I don't mind telling you. If I live till next year, I shallbe--devilish old!"

The art of story-telling is not taught specifically, hence there arecomparatively few people who can tell a story without violating some ofthe rules which experience recommends. But the right use ofstory-telling should be encouraged as an ornament of conversation, and avaluable auxiliary to effective public address. Many people might excelas story-tellers if they would devote a little time to suggestions suchas are offered here. It is not a difficult art, but like every othersubject requires study and application. 

The best counsel for public speakers in the matter of story-telling maybe summed up as follows: Know your story thoroughly; test your story bytelling it to some one in advance; adapt your story to the specialcircumstances; be concise, omitting non-essentials; have ready morestories than you intend to use, because if you should speak at the endof the list you may find that your best story has been told by aprevious speaker; and, finally, always stop when you have made a hit. 

TALKING IN SALESMANSHIP

The salesman depends for his success primarily upon his talking ability. Obviously, what he offers for sale must have intrinsic merit, and heshould possess a thorough knowledge of his wares. But in order to securethe best results from his efforts, he must know how to talk well. 

All the general requirements for good conversation apply equally to theneeds of the salesman. He should have a pleasant speaking voice and anagreeable manner, a vocabulary of useful and appropriate words, and theability to put things clearly and convincingly. 

It should be a golden rule of the salesman never to argue with thecustomer. He may explain and reason, and use all the persuasivephraseology at his command, but he must not permit himself for a singleinstant to engage in controversy. To argue is fatal to successfulsalesmanship. 

There is nothing that can be substituted for a winning personality inthe salesman. What constitutes such a personality? Chiefly a good voice, affability of manner, straightforward speech, manly bearing, the desireto serve and please, proper attire, and cleanliness of person. Thesequalifications come within the reach of anyone who aspires to success insalesmanship. 

Every salesman has unexpected problems to solve. A sensitive or touchycustomer may become unreasonably angry or offended. What is the salesmanto do? He should here be particularly on his guard not to show theslightest resentment. Though he may be wholly guiltless, he cannotafford to contradict the customer, nor to challenge him to a vocal duel. If he talks at all, he should talk quietly and reasonably, and alwayswith the object of bringing the customer around to a favorable point ofview. 

The successful salesman must have tact and discrimination. He must knowwhen and how to check in himself the word or phrase which is trying toforce its way out into expression, but which would in the end proveinadvisable. He must train himself to choose quickly the right and bestcourse under difficult circumstances. 

The salesman should give his undivided attention to the customer. If thesalesman is speaking, he should speak clearly, directly, concisely, andunderstandingly; if he is listening, he should listen interestedly andthoroughly, with all his powers alive and receptive. 

The salesman should know when to speak and when to be silent. Somecustomers wish to be told much, others prefer to think for themselves. He is a wise salesman who knows when to be mute. Loquacity has oftenkilled what otherwise might have been a good sale. 

There is a certain tone of voice which the salesman should aim toacquire. It is neither high nor low in pitch. It is agreeable to thelistening ear, and is almost sufficient in itself to win the favorableattention of the prospective buyer. Every salesman should cultivate amusical and well-modulated voice as one of the chief assets insalesmanship. 

The salesman should cultivate dignity of speech and manner. Peoplegenerally dislike familiarity, joking, and horse-play. It is well toassume that the customer is serious-minded, that he means business andnothing else. Needless to say, the telling of long stories, or personalexperiences, has no legitimate place in the business of salesmanship. 

There is a proper time and place for short story-telling. Likeeverything else it is all right in its appropriate setting. Lincoln usedit to advantage, but once said: "I believe I have the popular reputationof being a story-teller, but I do not deserve the name in its generalsense; for it is not the story itself, but its purpose, or effect, thatinterests me. I often avoid a long and useless discussion by others, ora laborious explanation on my part, by a short story that illustrates mypoint of view. "

The salesman should resolve not to lose his poise and agreeablenessunder any circumstances. Irritability never attracts business. To saythe right thing in the right place is desirable, but it is quite asimportant, though more difficult, to leave unsaid the wrong thing at themoment of temptation. 

It is not the legitimate business of the salesman to force upon acustomer what is really not wanted, but many times the customer doesnot know what he wants nor what he might be able to use. Hence thecompetent salesman should know how to influence the customer towards afavorable decision, using all honorable and approved means to bringabout such a result. 

The customer's unfavorable answer is not to be accepted always as final. He may not clearly understand the merits or uses of the article offered. He may need the explanations and suggestions of the salesman in order toreach a right conclusion. Here it is that the salesman may fulfill oneof his most important duties. 

There is a wide difference between self-reliance and obtrusiveness. Every man should have a full degree of self-confidence. It is needed inevery walk in life. But the salesman, more than most men, must have anexceptional degree of faith in himself and in what he has to sell. 

This self-confidence, however, is a very different thing from boldnessor obtrusiveness. Courtesy and considerateness are cardinal qualities ofthe well-equipped salesman, but boastfulness, glibness, egotism, loudness, and self-assertion, are as distasteful as they areundesirable. 

The eloquence and persuasiveness of silence is nowhere betterexemplified than in the art of salesmanship. One man says much, andsells little; another says little, and sells much. The reason for thesuperior success of one over the other is mainly due to the fact that heknows best how to present the merits of what he offers for sale, knowshow to say it concisely and effectively, knows how to ingratiatehimself, largely through his personality, into the good graces of theprospective buyer, and knows when to stop talking. 

Modern salesmanship is based primarily upon common sense. A man withbrains, though possibly lacking in other desirable qualifications, mayeasily outdistance the more experienced salesman. It is a valuable thingin any man to be able to think accurately, reason deeply, and size up asituation promptly. 

The salesman should at all times be on his best talking behavior. It isnot advisable for him to have two standards of speech, and to use aninferior one excepting for special occasions. He should cultivate as aregular daily habit discrimination in the use of voice, enunciation, expression, and language. This should be the constant aim not only ofthe salesman, but of every man ambitious to achieve success anddistinction in the world. 

MEN AND MANNERISMS

There is a story of a politician who had acquired a mannerism offingering a button on his coat while talking to an audience. On oneoccasion some friends surreptitiously cut the particular button off, andthe result was that the speaker when he stood up to address the audiencelost the thread of his discourse. 

Gladstone had a mannerism of striking the palm of his left hand with theclenched fist of his other hand, so that often the emphatic word waslost in the noise of percussion. A common habit of the distinguishedstatesman was to reach out his right hand at full arm's length, and thento bend it back at the elbow and lightly scratch the top of his headwith his thumb-nail. 

Balfour, while speaking, used to take hold of the lapels of his coat byboth hands as if he were in mortal fear of running away before he hadfinished. 

Goshen, at the beginning of a speech, would sound his chest and sideswith his hands, and apparently finding that his ribs were in good order, would proceed to wash his hands with invisible soap. 

The strange thing about mannerisms is that the speakers are usuallyunconscious of them, and would be the first to condemn them in others. The remedy for such defects lies in thorough and severe self-examinationand self-criticism. However eminent a speaker may be with objectionablemannerisms, he would be still greater without them. 

Every public speaker has certain characteristics of voice and mannerthat distinguish him from other men. In so far as this individualitygives increased power and effectiveness to the speaking style, it isdesirable and should be encouraged. When, however, it is carried toexcess, or in any sense offends good taste, it is merely mannerism, andshould be discouraged. 

There is an objectionable mannerism of the voice, known as "pulpittone, " that has come to be associated with some preachers. It takesvarious forms, such as an unduly elevated key, a drawling monotone, asudden transition from one extreme of pitch to another, or a tone ofcondescension. It is also heard in a plaintive minor inflection, imparting a quality of extreme sadness to a speaker's style. These areall departures from the natural, earnest, sincere, and direct deliverythat belongs to the high office of preaching. 

Still another undesirable mannerism of the voice is that of giving arising inflection at the close of successive sentences that areobviously complete. Here the speaker's thought is left suspended in theair, the hearer feels a sense of disappointment or doubt, and possiblythe entire meaning is perverted. Thoughts delivered in such a manner, unless they distinctly require a rising inflection, lack the emphasisand force of persuasive speaking. 

Artificiality, affectation, pomposity, mouthing, undue vehemence, monotony, intoning, and everything that detracts from the simplicity andgenuine fervor of the speech should be avoided. Too much emphasis maydrive a thought beyond the mark, and a conscious determination to make a"great speech" may keep the speaker in a state of anxiety throughoutits entire delivery. 

A clear and correct enunciation is essential, but it should not bepedantic, nor should it attract attention to itself. "What you areprevents me from hearing what you say, " might also be applied to themanner of the speaker. Exaggerated opening of the mouth, audiblesmacking of the lips, holding tenaciously to final consonants, prolongedhissing of sibilants, are all to be condemned. Hesitation, stumblingover difficult combinations, obscuring final syllables, coalescing thelast sound of one word with the first sound of the following word, areinexcusable in a trained speaker. 

When the same modulation of the voice is repeated too often, it becomesa mannerism, a kind of monotony of variety. It reminds one of astreet-piano set to but one tune, and is quite as distressing to asensitive ear. This is not the style that is expected from a public man. 

What should the speaker do with his hands? Do nothing with them unlessthey are specifically needed for the more complete expression of athought. Let them drop at the sides in their natural relaxed position, ready for instant use. To press the fist in the hollow of the back inorder to "support" the speaker, to clutch the lapels of the coat, toslap the hands audibly together, to place the hands on the hips in theattitude of "vulgar ease, " to put the hands into the pockets, to wringthe hands as if "washing them with invisible soap, " or to violentlypound the pulpit--these belong to the list of undesirable mannerisms. 

At the beginning of a speech it may give the appearance of ease to placethe hands behind the back, but this position lacks force and action andshould not be long sustained. To cross the arms upon the desk is to putthem out of commission for the time being. Leaning or lounging of anykind, bending at the knee, or other evidence of weakness or weariness, may belong to the repose of the easy chair, but are hardly appropriatein a wide-awake speaker seeking to convince men. 

Rocking the body to and fro, rising on the toes to emphasize, crouching, stamping the foot, springing from side to side, over-acting andimpersonation, and violence and extravagance of every description maywell be omitted in public speaking. Beware of extremes. Avoid astatue-like attitude on the one hand and a constant restlessness on theother. Dignity is desirable, but one should not forget the words of theReverend Sam Jones, "There is nothing more dignified than a corpse!"

Gestures that are too frequent and alike soon lose their significance. If they are attempted at all they should be varied and complete, suggesting freedom and spontaneity. When only half made they are likelyto call attention to the discrepancy, and to this extent will obscurerather than help the thought. The continuous use of gesture isdispleasing to the eye, and gives the impression of lack of poise. 

The young speaker particularly should be warned not to imitate thespeaking style of others. What is perfectly natural to one may appearridiculous in another. Cardinal Newman spoke with extremedeliberateness, enunciating every syllable with care and precision;Phillips Brooks sent forth an avalanche of words at the rate of twohundred a minute; but it would be dangerous for the average speaker toemulate either of these examples. 

There is a peculiarity in a certain type of speaking, which, while notstrictly a mannerism, is detrimental to the highest effect. It manifestsitself in physical weakness. The speaker is uniformly tired, and hisspeaking has a half-hearted tone. The lifelessness in voice and mannercommunicates itself to the audience, and prevents all possibility ofdeep and enduring impression. Joseph Parker said that when Sunday camehe felt like a racehorse, and could hardly wait for the time to come forhim to go into the pulpit. He longed to speak. 

The well-equipped speaker is one who has a superior culture of voice andbody. All the instruments of expression must be made his obedientservants, but as master of them he should see to it that they performtheir work naturally and spontaneously. He should be able while speakingto abandon himself wholly to his subject, confident that as a result ofconscientious training his delivery may be left largely to take care ofitself. 

HOW TO SPEAK IN PUBLIC

There are two essential qualifications for making an effective publicspeech. 

First, having something worth-while to say. 

Second, knowing how to say it. 

The first qualification implies a judicious choice of subject and themost thorough preparation. It means that the speaker has carefullygathered together the best available material, and has so familiarizedhimself with his subject that he knows more about it than anyone else inhis audience. 

It is in this requirement of thorough preparation that many publicspeakers are deficient. They do not realize the need for thispainstaking preliminary work, and hence they frequently stand before anaudience with little information of value to impart to their hearers. Their poverty of thought can not be long disguised in flamboyantrhetoric and sesquipedalian words, and hence they fail to carryconviction to serious-minded men. 

I would remind you that having something worth-while to say involvesmore than thorough preparation of the particular subject which thespeaker is to present to an audience. The speaker should have awell-furnished mind. You have had the experience of listening to apublic speaker who commanded your closest attention not only because ofwhat he said, but also because of what he was. He inspired confidence inyou because of his personality and reserve power. 

It is often what a man has within himself, rather than what he actuallyexpresses, that carries greatest conviction to your mind. As you listento such a man speak, you feel that he is worthy of your confidencebecause he draws upon broad experience and knowledge. He speaks out ofthe fulness of a well-furnished mind. 

It is important, therefore, that there should be mental culture in abroad way, --sound judgment, a sense of proportion and perspective, afund of useful ideas, facts, arguments, and illustrations, and a largestock of common sense. 

Every man who essays to speak in public should cultivate a judicialmind, or the habit of weighing and estimating facts and arguments. Sucha mind is supposedly free from prejudice and seeks the truth at anycost. Such a mind does not want this or that to be necessarily true, butwants to recognize as true only that which is true. 

In these days of multiplied publications and books of all kinds, whenprinted matter of every description is soliciting our time andattention, it is particularly desirable that we should cultivate adiscriminating taste in our choice of books. The highest purpose ofreading is for the acquisition of useful knowledge and personal culture, and we should keep these two aims constantly before us. It is noteworthythat men who have achieved enduring greatness in the world have alwayshad a good book at their ready command. 

If you are ever in doubt about the choice of books, you would do well toenlist the services of a literary friend, or ask the advice of a locallibrarian. But in any case, be on your guard against books and otherpublications of commonplace type, which can contribute nothing to theenrichment of your mind and life. 

It is desirable that you should own the books you read. The sense ofpersonal possession will give an interest and pleasure to your readingwhich it would not otherwise have, and moreover you can freely mark suchbooks with your pencil for subsequent reference. It is also well to havea note-book conveniently ready in which to jot down useful ideas as theyoccur to you. 

Here we come to the use of the pen. All the great orators of the worldhave been prolific writers in the sense of writing out their thoughts. It is the only certain way to clarify your thought, to test it inadvance of verbal expression and to examine it critically. The publicspeaker should write much in order to form a clear and flowing Englishstyle. It is surprising how many of our thoughts which appear to usclear and satisfactory, assume a peculiar vagueness when we attempt toset them down definitely in writing. 

The use of the pen tends to give clearness and conciseness to thespeaker's style. It makes him careful and accurate. It aids, too, infixing the ideas of his speech in his mind, so that at the moment ofaddressing an audience they will respond most readily to his needs. 

A well-furnished mind is like a well-furnished house. In furnishing ahouse we do not fill it up with miscellaneous furniture, bric-a-brac andantiques, gathered promiscuously, but we plan everything with a view toharmony, beauty, and utility. We furnish a particular room in a tonethat will be restful and pleasing to the occupant. We choose every pieceof furniture, rug, picture, and drapery with a distinct purpose in viewof what the total effect will be. 

So with a well-furnished mind. We must choose the kind of material weintend to keep there. It should be chosen with a view to its beauty, power, and usefulness. We want no rubbish there. We want the bestmaterial available. Hence the vital importance of going to the rightsources for the furniture of our mind, to the great books of the world, to living authorities, to nature, to music, to art, to the best whereverit may be found. 

The second essential of an effective public speech is knowing how to sayit. This implies a thorough training in the technique of speech. Thereshould be a well-cultivated voice, of adequate volume, brilliancy, andcarrying quality. There should be ample training in articulation, pronunciation, expression, and gesture. These so-called mechanics shouldbe developed until they become an unconscious part of the speaker'sstyle. 

Your best opportunity for practice is in your everyday conversation. There you are constantly making speeches on a small scale. Publicspeaking of the best modern type is simply elevated conversation. I donot mean elevated in pitch, but in the sense of being launched upon ahigher level of thought and with greater intensity than is usuallycalled for by ordinary conversation. 

In conversation you have your best opportunity for developing yourpublic speaking style. Indeed, you are there, despite yourself, forminghabits which will disclose themselves in your public speaking. As youspeak in your daily conversation you will largely speak when you standbefore an audience. 

You will therefore see the importance of care in your daily speech. There should be a fastidious choice of words, care in pronunciation andarticulation, and the mouth well opened so that the words may come outwholly through the mouth and not partly through the nose. Culture ofconversation is to be recommended for its own sake, since everyone mustspeak in private if not in public. 

One of the best plans for self-culture in speaking is to read aloud fora few minutes every day from a book of well-selected speeches. There arenumerous compilations of the kind admirably suited to this purpose. Theimportant thing here is to read in speaking style, not in what is termedreading style as usually taught in schools. When you practise in thisway it would be well to imagine an audience before you and to render thespeech as if emanating from your own mind. The student of publicspeaking will wisely guard himself against acquiring an artificial styleor other mannerism. 

Another good plan is to make short mental speeches while walking. Whenpossible it is well to choose a country road for this purpose, or apark, or some other place where one's mind is not likely to be oftendiverted by passers-by. Lord Dufferin, the eminent British orator, wasaccustomed to prepare most of his speeches while riding on horseback. The habit of forming mental speeches is a great aid to actualspeech-making, as it tends to give the mind a power and an adaptabilitywhich it would not otherwise have. 

The painter, the musician, the sculptor, the architect, and othercraftsmen search out models for study and inspiration. The publicspeaker should do likewise, and history shows that the great orators ofthe world have followed this practise. You can not do better than takeas your model the greatest short speech in all history, the GettysburgAddress. 

An authority on English style has critically examined this speech andacknowledges that he cannot suggest a single change in it which wouldadd to its power and perfection. 

You recall the circumstances under which it was written. On the morningof November 18, 1863, Abraham Lincoln was travelling from Washington totake part next day in the consecration of the national cemetery atGettysburg. He wrote his speech on a scrap of wrapping-paper, carefullyfitting word to word, changing and correcting it in minutest detail asbest he could until it was finished. 

The next day after the speech had been delivered, Edward Everett, thetrained and polished orator, said that he would have been content tohave made in his oration of two hours the impression which Lincoln hadmade in that many minutes. 

It will repay you to study this speech closely and to wrest from it itsinnermost secrets of power and effectiveness. The greatest underlyingquality of this speech is its rare simplicity--simplicity of thought, simplicity of language, simplicity of purpose, and shining through itall, the simplicity of the great emancipator himself. 

This simplicity is one of the great distinguishing qualities ofeffective public speaking. It is characteristic of all true art. It issubtle and difficult to define, but Fénelon gives a definition that willaid us when he says, "Simplicity is an uprightness of soul that has noreference to self. " It is another word for unselfishness. 

In these days of self-exploitation and self-aggrandizement, howrefreshing it is to meet a man of true simplicity. We are won by hisunaffected manner, his gentleness of argument, his ingratiating tones ofvoice, his freedom from prejudice and passion. Such a man wins us almostwholly by the power of his simplicity. 

This supreme quality is noticeable in men who are said to have come tothemselves. They have tasted and tested life, they have learnedproportion and perspective, they have appraised things at their realvalue, and now they carry themselves in poise and power and confidence. They have found themselves in a high and true sense, and they have cometo be known as men of simplicity. 

Simplicity is not to be confounded with weakness or ignorance. It comesthrough long education. It does not mean the trite, or the commonplace, or the obvious. It is a strong and sturdy quality, is this simplicity ofwhich I am speaking, and nothing else will atone for lack of it in thepublic speaker. 

Longfellow calls it the supreme excellence, since it is the qualitywhich above all others brings serenity to the soul and makes lifereally worth living. Every man should earnestly seek to cultivate thisgreat quality as essential to noble character. 

This speech is conspicuous for another indispensable quality foreffective public speaking, --the quality of sincerity. It grows largelyout of simplicity and is the product of integrity of mind and heart. Menrecognize it quickly, though they cannot easily tell whence it comes. Wefind it highly developed in great leaders in business and professionallife. There has never been a really great public speaker who was notpreeminently a sincere man. 

Beecher said, "Let no man who is a sneak try to be an orator. " Such aman can not be. He will shortly be found out. The world's ultimateestimate of a man is not far wrong. 

A politician of much promise was addressing a distinguished audience inWashington. The Opera House was crowded to the doors to hear him andapparently he was making a good impression upon all his hearers. Butsuddenly, at the very climax of his speech, while upwards of twothousand eyes were rivetted upon him, he was seen to wink at a personalfriend of his sitting in a nearby box, and at that instant his futurepolitical prospects were shattered as a vase struck by lightning. Inthat single instant of insincerity he was appraised by thatdiscriminating audience and his doom was sealed. 

Still another great quality in the Gettysburg speech is its directness. The speaker had a clearly-defined purpose in view. He knew what hewanted to say, and he proceeded to say it--no more, and no less. 

There was no straying away into by-paths, no padding of words to make upfor shortage of ideas, no superfluous and big-sounding phrases, no emptyrhetoric or glittering generalities. 

How many speakers there are who aim at nothing and hit it. How manyspeakers there are who are on their way but do not know whither. 

If this directness of quality were applied to talking in business, incommittee meetings, in telephone conversations, in public speaking, itwould save annually in this country millions of words and incalculabletime and energy. 

You will note that this speech has the rare quality of conciseness. Wehave an illustration here of how much a man can say in about 265 wordsand in the short space of two minutes, if he knows precisely what hewants to say. 

It is well to bear in mind that although this speech was scribbled offwith seeming ease, Lincoln owed his ability to do it to a long andpainstaking study of words and English style. 

He was a profound student of the dictionary. He steeped himself inwords. He scrutinized words, he studied words, he made himself a masterof words. 

This is a valuable habit for every man to form, --to study wordsregularly and earnestly, and to add consciously to his workingvocabulary a few words daily--so in the course of a year such a man willacquire a large and varied stock of words which will do his instantbidding. 

The conclusion is a vital part of a speech. It is a place of peril tomany a public speaker. Countless speeches have been ruined by a badconclusion. 

The most important thing here is that having decided beforehand upon theparticular ideas or message with which you intend to conclude yourspeech, not to let any influence lead you away from this preconceivedpurpose. 

Some speakers are about to conclude effectively but are unwilling toomit anything which they have planned to give in their speech, and socontinue in an endeavor to recall every item. At last such a speech hasa loose and straggling ending. 

The words of the conclusion need not be memorized, but the ideas shouldbe definitely outlined in the mind and fixed in the memory, not aswords, but as ideas. 

The knowledge that you can turn at will to these definite ideas, and sobring your speech to a close, will confer upon you a degree ofself-confidence which will be of immense service to you. 

You should ever bear in mind this golden rule for the conclusion of yourspeech: When you have finished what you have of importance to say, donot be tempted to wander off into by-paths, or to tell an additionalstory, or to say "and one word more, " but having finished your speech, stop on the instant and sit down. 

PRACTICAL HINTS FOR SPEAKERS

Cultivate as the most desirable thoughts those which are definite, clear, deep, logical, profound, strong, precise, impressive, original, significant, explicit, luminous, positive, suggestive, comprehensive, and practical. Resolutely avoid all thoughts which are uncertain, recondite, obscure, immature, unimportant, shallow, weak, visionary, absurd, vague, extravagant, indefinite, or impractical. 

In your choice and use of words give preference to those which aredefinite, simple, real, significant, forcible, expressive, adequate, musical, varied, and copious. Avoid those which are foreign, slangy, obsolete, unusual, extravagant, technical, long, colloquial, orcommonplace. 

The most desirable qualities in the use of English are the simple, plain, exact, lucid, concise, trenchant, vigorous, impressive, lively, figurative, polished, graceful, fluent, rhythmical, copious, elevated, flexible, smooth, dignified, terse, epigrammatic, felicitous, euphonious, elegant, and lofty. Undesirable qualities are the diffuse, verbose, redundant, inflated, prolix, ambiguous, feeble, monotonous, loose, slip-shod, dry, flowery, pedantic, pompous, rhetorical, grandiloquent, artificial, formal, ornate, halting, ponderous, ungrammatical, vague, and obscure. 

The qualities you should develop in your speaking voice are the pure, deep, round, flexible, resonant, musical, clear, sympathetic, smooth, sonorous, powerful, silvery, melodious, full, strong, natural, mellow, magnetic, expressive, carrying, and responsive. Endeavor to keep yourvoice free from such undesirable qualities as the harsh, breathy, sharp, rough, rigid, throaty, guttural, thin, shrill, nasal, unmusical, discordant, muffled, explosive, strained, inaudible, hollow, strident, sepulchral, and tremulous. 

Your articulation should be clear, distinct, and correct. Avoidcarelessness, lifelessness, mumbling, weakness, and exaggeration. 

Your pronunciation should be clear-cut and accurate. Avoid mouthing, lisping, hesitation, stammering, pedantry, omission of syllables, andsuppression of final consonants. 

Your delivery in public speaking should be simple, sincere, natural, varied, magnetic, earnest, forceful, attractive, energetic, animated, sympathetic, authoritative, dignified, direct, impressive, vivid, convincing, persuasive, zealous, enthusiastic, and inspiring. Avoid thatwhich is timid, familiar, violent, cold, indifferent, unreal, artificial, dull, sing-song, hesitating, feeble, unconvincing, apathetic, monotonous, pompous, formal, arbitrary, flippant, ostentatious, drawling, or languid. 

Your gesture should be graceful, appropriate, free, forceful, andnatural. Avoid all gesture which is unmeaning, angular, abrupt, constrained, stilted, or amateurish. 

Your facial expression should be varied, appropriate, pleasing, andimpassioned. Avoid the unpleasant, immobile, and unvaried. 

Let your standing position be manly, erect, easy, forceful, andimpressive. Avoid that which is weak, shifting, stiff, inactive, andungainly. 

THE DRAMATIC ELEMENT IN SPEAKING

There is a well-defined prejudice against the importation of anything"theatrical" into the pulpit. The art of the actor is fundamentallydifferent from the work of the preacher. At best the actor butrepresents, imitates, pretends, acts. The actor seems; the preacher is. 

It is to be feared, however, that this prejudice has narrowed manypreachers down to a pulpit style almost devoid of warmth and action. Intheir endeavor to avoid the dramatic and sensational, they have refinedand subdued many of their most natural and effective means ofexpression. The function of preaching is not only to impart, but topersuade; and persuasion demands something more than an easyconversational style, an intellectual statement of facts, or the readingof a written message. The speaker must show in face, in eye, in arm, inthe whole animated man, that he, himself, is moved, before he can hopesuccessfully to persuade and inspire others. 

The modified movements of ordinary conversation do not fulfil all therequirements of the preacher. These are necessary and adequate for thegroundwork of the sermon, but for the supreme heights of passionateappeal, when the soul of the preacher would, as it were, leap from itsbody in the endeavor to reach men, there must be intensified life andaction--dramatic action. 

It is difficult to conceive of a greater tribute to a public advocatethan that paid to Wendell Phillips by George William Curtis:

"The divine energy of his conviction utterly possest him, and his

 'Pure and eloquent blood Spoke in his cheek, and so distinctly wrought, That one might almost say his body thought. '"

Poise is power, and reserve and repression are parts of the dignifiedoffice of the preacher, but carried too far may degenerate into weak andunproductive effort. Perfection of English style, rhetorical floridness, and profundity of thought will never wholly make up for lack ofappropriate action in the work of persuading men. 

The power of action alone is vividly illustrated in the touch of thefinger to the lips to invoke silence, or the pointing to the door tocommand one to leave the room. The preacher might often find itprofitable to stand before a mirror and deliver his sermon exclusivelyin pantomime to test its power and efficacy. 

The body must be disciplined and cultivated as assiduously as the otherinstruments of the speaker. There is eloquence of attitude and action noless than eloquence of voice and feeling. A preacher drawing himself upto his full height, with a significant gesture of the head, or withflashing eye pointing the finger of warning at his hearers, may rousethem from indifference when all other means fail. 

Sixty years ago the Reverend William Russell emphasized the importanceof visible expression. He said of the preacher:

"His outward manner, in attitude and action, will be as various as hisvoice: he will evince the inspiration of appropriate feeling in thevery posture of his frame; in uttering the language of adoration, theslow-moving, uplifted hand will bespeak the awe and solemnity whichpervade his soul; in addressing his fellow men in the spirit of anambassador of Christ, the gentle yet earnest spirit of persuasive actionwill be evinced in the pleading hand and aspect; he will know, also, howto pass to the stern and authoritative mien of the reproved of sin; hewill, on due occasions, indicate, in his kindling look, the rousinggesture, the mood of him who is empowered and commanded to summon forthall the energies of the human soul; his subdued and chastened addresswill carry the sympathy of his spirit into the bosom of the mourner; hismoistening eye and his gentle action will manifest his tenderness forthe suffering: his whole soul will, in a word, become legible in hisfeatures, in his attitude, in the expressive eloquence of his hand; hiswhole style will be felt to be that of heart communing with heart. "

Dramatic action gives picturesqueness to the spoken word. It makesthings vivid to slow imaginations, and by contrast invests thespeaker's message with new meaning and vitality. It discloses, too, thespeaker's sympathy and identification with his subject. His thought andfeeling, communicating themselves to voice and face, to hand and arm, toposture and walk, satisfy and impress the hearer by a sense of adequacyand completeness. 

Henry Ward Beecher, a conspicuous example of the dramatic style inpreaching, was drilled for three years, while at college, invoice-culture, gesture, and action. His daily practise in the woods, during which he exploded all the vowels from the bottom to the top ofhis voice, gave him not only a wonderfully responsive and flexibleinstrument, but a freedom of bodily movement that made him one of themost vigorous and virile of American preachers. He was in the highestsense a persuasive pulpit orator. 

A sensible preacher will avoid the grotesque and the extremes of mereanimal vivacity. Incessant gesture and action, undue emphasizing withhand and head, and all suggestion of self-sufficiency in attitude ormanner should be guarded against. All the various instruments ofexpression should be made ready and responsive for immediate use, butare to be employed with that taste and tact that characterize thewell-balanced man. Too much action and long-continued emotional effortlose force, and unless the law of action and reaction is applied to thepreaching of the sermon the attention of the congregation may snap andthe desired effect be utterly destroyed. 

The face as the mirror of the emotions is an important part ofexpression. The lips will betray determination, grief, sympathy, affection, or other feeling on the part of the speaker. The eyes, themost direct medium of psychic power, will flash in indignation, glistenin joy, or grow dim in sorrow. The brow will be elevated in surprise, orlowered in determination and perplexity. 

The effectiveness of the whisper in preaching should not be overlooked. If discreetly used it may serve to impress the hearer with theprofundity and seriousness of the preacher's message, or to arrest andbring back to the point of contact the wandering minds of acongregation. 

To acquire emotional power and dramatic action the preacher shouldstudy the great dramatists. He should read them aloud with appropriatevoice and movement. He should study children, and men, and nature. Heshould, perhaps, see the best actors, not to copy them, but in orderthat they may stimulate his taste and imagination. 

CONVERSATION AND PUBLIC SPEAKING

The ideal style of public speaking is, with very little modification, the ideal of good conversation. The practical age in which we livedemands a colloquial rather than an oratorical style of public speaking. A man who has something to say in conversation usually has littledifficulty in saying it. If he presents the facts he will speakconvincingly; if he is deeply in earnest he will speak persuasively; andif he be an educated man his speech will have the unmistakable marks ofculture and refinement. 

In the conversation of well-bred children we find the most interestingand helpful illustrations of unaffected speech. The exquisite modulationof the voice, the unstudied correctness of emphasis, and the sincerityand depth of feeling might well serve as a model for older speakers. 

This study of conversation, both our own and that of others, offersdaily opportunity for improvement in accuracy and fluency of speech, offitting words to the mouth as well as to the thought, and of forminghabits that will unconsciously disclose themselves in the larger work ofpublic speaking. Care in conversation will guard the public speaker frominflated and unnatural tones, and restrain him from transgressing thelaws of nature even in those parts of his speech demanding lofty andintensified treatment. 

Some easily remembered suggestions regarding conversation are these:

1. Pronounce your words distinctly and accurately, like "newly madecoins" from the mint, but without pedantry. 

2. Upon no occasion allow yourself to indulge in careless or incorrectspeech. 

3. Open the mouth well in conversation. Much indistinct speech is due tospeaking through half-closed teeth. 

4. Closely observe your conversation and that of others, to detectfaults and to improve your speaking-style. 

5. Vary your voice to suit the variety of your thought. A well-modulatedvoice demands appropriate changes of pitch, force, perspective, andfeeling. 

6. Avoid loud talking. 

7. Take care of the consonants and the vowels will take care ofthemselves. 

8. Cultivate the music of the conversational tones. 

9. Favor the low pitches of your voice. 

10. Remember that the purpose of conscious practise and observation inthe matter of conversation is to lead ultimately to unconsciousperformance. 

The value of correct conversation as a means to effective publicspeaking is realized by few men. Beecher said: "How much squanderingthere is of the voice!" meaning that this golden opportunity forimprovement was generally disregarded. It is not too much to say, however, that if the sweet and gentle expression of the mother, thestrong and affectionate tones of the father, and the spontaneous musicalnotes of the children, as heard in daily conversation, could be unitedin the voice of the minister and brought to the preaching of his sermon, there would be little doubt of its magical and enduring effect upon thehearts of men. The wooing tone of the lover is what the preacher needsin his pulpit style rather than the voice of declamation anddenunciation. 

The study of conversation serves to guide the public speaker not only inthe free and natural use of his voice, enunciation, and expression, butalso in his use of language. He will here learn to choose the simpleword instead of the complex, the short sentence instead of the involved, the concrete illustration instead of the abstract. He will acquire ease, spontaneity, simplicity, and directness, and when he rises to speak tomen he will employ tones and words best known and understood by them. 

A preacher may spend too much time in study and solitude. If he does hewill soon realize a distinct loss through lack of social intercoursewith his fellow men. The faculties most needed in pulpit preaching arethose very powers that are so largely exercised in ordinaryconversation. The ability to think quickly, to marshal facts andarguments, to introduce a vivid story or illustration, to parry andthrust as is sometimes needed to hold one's own ground, and the generalmental activity aroused in conversation, all tend to produce aninteresting, vivacious, and forceful style in public speaking. 

We should not underestimate the value of meditation and silence to thepublic speaker. These are necessary for original and profound thinking, for the cultivation of the imagination, and for the accumulation ofthought. But conversation offers an immediate outlet for this stored-upknowledge, testing it as a finished product in expression, andprojecting it into life and reality by all the resources of voice andfeeling. This exercise is as necessary to the mind as physical exerciseis to the body. Indeed, a full mind demands this relief in expression, lest the strain become too great. 

The daily newspaper and the magazines should not be allowed to usurp theplace of conversation. If the art of talking is rapidly dying out, assome assert, we should do our share to revive it. We may not again havethe wit and repartee, the brilliant intellectual combats of those otherdays, but we can at least each have a cultivated speaking-voice, aninteresting manner of expressing our ideas in conversation, and arefined pronunciation of our mother tongue. 

A TALK TO PREACHERS

The aim of one who would interpret literature to others, by means of thespeaking voice, should be first to assimilate its spirit. There can beno worthy or adequate rendering of a great poem or prose selectionwithout a keen appreciation of its inner meaning and content. This isthe principal safeguard against mechanical and meaningless declamation. The extent of this appreciation and grasp of the inherent spirit ofthought will largely determine the degree of life, reality, andimpressiveness imparted to the spoken word. 

The intimate relationship between the voice and the spirit of thespeaker suggests that one is necessary to the fullest development of theother. The voice can interpret only what has been awakened and realizedwithin, hence nothing discloses a speaker's grasp of a subject soaccurately and readily as his attempt to give it expression in his ownlanguage. It is this spiritual power, developed principally through theintuitions and emotions, that gives psychic force to speaking, and whichmore than logic, rhetoric, or learning itself enables the speaker toinfluence and persuade men. 

The minister as an interpreter of the highest spiritual truth shouldbring to his work a thoroughly trained emotional nature and a cultivatedspeaking voice. It is not sufficient that he state the truth withclearness and force; he must proclaim it with such passionate enthusiasmas powerfully to move his hearers. To express adequately the infiniteshades of spiritual truth, he must have the ability to play upon hisvoice as upon a great cathedral organ, from "the soft lute of love" to"the loud trumpet of war. "

To assume that the study of the art of speaking will necessarily produceconsciousness of its principles while in the act of speaking in public, is as unwarranted as to say that a knowledge of the rules of grammar, rhetoric, or logic lead to artificiality and self-consciousness in theteacher, writer, and thinker. There is a "mechanical expertnesspreceding all art, " as Goethe says, and this applies to the orator noless than to the musician, the artist, the actor, and the litterateur. 

Let the minister stand up for even five minutes each day, with chest andabdomen well expanded, and pronounce aloud the long vowel sounds of theEnglish language, in various shades of force and feeling, and shortly hewill observe his voice developing in flexibility, resonance, and power. For it should be remembered that the voice grows through use. Let theminister cultivate, too, the habit of breathing exclusively through hisnose while in repose, fully and deeply from the abdomen, and he willfind himself gaining in health and mental resourcefulness. 

For the larger development of the spiritual and emotional powers of thespeaker, a wide and varied knowledge of men and life is necessary. Thefeelings are trained through close contact with human suffering, and inthe work of solving vital social problems. The speaker will do well toexplore first his own heart and endeavor to read its secret meanings, preliminary to interpreting the hearts of other men. Personal sufferingwill do more to open the well-springs of the heart than the reading ofmany books. 

Care must be had, however, that this cultivating of the feelings beconducted along rational lines, lest it run not to faith but tofanaticism. There is a wide difference between emotion designed fordisplay or for momentary effect, and that which arises from strong innerconviction and sympathetic interest in others. Spurious, unnaturalfeeling will invariably fail to convince serious-minded men. 

"Emotion wrought up with no ulterior object, " says Dr. Kennard, "is bothan abuse and an injury to the moral nature. When the attention isthoroughly awakened and steadily held, the hearer is like a well-tunedharp, each cord a distinct emotion, and the skilful speaker may evoke aresponse from one or more at his will. This lays him under a great andserious responsibility. Let him keep steadily at such a time to hisdivine purpose, to produce a healthful action, a life in harmony withGod and a symphony of service. "

The emotional and spiritual powers of the speaker will be developed byreading aloud each day a vigorous and passionate extract from theBible, or Shakespeare, or from some great sermon by such men asBushnell, Newman, Beecher, Maclaren, Brooks, or Spurgeon. The entiregamut of human feeling can be highly cultivated by thus reading aloudfrom the great masterpieces of literature. The speaker will know that hecan make his own words glow and vibrate, after he has first tested andtrained himself in some such manner as this. Furthermore, by thusfitting words to his mouth, and assimilating the feelings of others, hewill immeasurably gain in facility and vocal responsiveness when heattempts to utter his own thoughts. 

Music is a powerful element in awakening emotion in the speaker andbringing to consciousness the mysterious inner voices of the soul. Theminister should not only hear good music as often as possible, but heshould train his ear to recognize the rhythm and melody in speech. 

For the fullest development of this spiritual power in the publicspeaker there should be frequent periods of stillness and silence. Onemust listen much in order to accumulate much. Thought and feelingrequire time in which to grow. In this way the myriad sounds that arisefrom humanity and from nature can be caught up in the soul of thespeaker and subsequently voiced by him to others. 

The habit of meditating much, of brooding over thought, whether it beour own or that of others, will tend to disclose new and deepermeanings, and consequently deeper shades and depths of feeling. Thespeaker will diligently search for unwritten meanings in words; he willstudy, whenever possible, masterpieces of painting and sculpture; hewill closely observe the natural feeling of well-bred children, as shownin their conversation; and in many other ways that will suggestthemselves, he will daily develop his emotional and spiritual powers ofexpression. 

The science of preaching is important, but so, too, is the art ofpreaching. A powerful pulpit is one of the needs of the times. Acongregation readily recognizes a preacher of strong convictions, broadsympathies, and consecrated personality. An affectionate nature in aminister, manifesting itself in voice, face, and manner, will attractand influence men, while a harsh, rigid, vehement manner will as easilyrepel them. 

It is to be feared that many sermons are written with too much regardfor "literary deportment on paper, " and too little thought of theirvalue as pulsating messages to men. 

The preacher should train himself to take tight hold of his thought, togrip it with mental firmness and fervor, that he may afterward convey itto others with definiteness and vigor. Thoughts vaguely conceived andheld tremblingly in the mind will manifest a like character whenuttered. Into the writing of the sermon put vitality and intensity, andthese qualities will find their natural place in delivery. Thrill of thepen should precede thrill of the voice. The habit of Dickens of actingout the characters he was depicting on paper could be copied toadvantage by the preacher, and frequently during the writing of hissermon he might stand and utter his thoughts aloud to test their powerand effectiveness upon an imaginary congregation. 

There should be the most thorough cultivation of the inner sources ofthe preacher, whereby the spiritual and emotional forces are so arousedand brought under control as to respond promptly and accurately to allthe speaker's requirements. There should be assiduous training of thespeaking voice as the instrument of expression and the natural outletfor thought and feeling. In the combined cultivation of these twoessentials of expression--spirit and voice--the minister will find thetrue secret of effective pulpit preaching. 

CARE OF THE SPEAKER'S THROAT

The throat as a vital part of the public speaker's work in speaking isworthy of the greatest care and consideration. It is surprising that solittle attention is given to vocal hygiene, when it is remembered that aserious weakness or affection of the throat may disqualify a speaker forimportant work. The delicate and intricate machinery of the vocalapparatus renders it peculiarly susceptible to misuse or exposure. Thecommon defects of nasality, throatiness, and harshness, are due to wrongand careless use of the speaking-instrument. 

In the training of the public speaker the first step is to bring thebreathing apparatus under proper control. That is to say, the speakermust accustom himself, through careful practise, to use the abdominalmethod of breathing, and to keep his throat free from the strain towhich it is commonly subjected. This form of breathing is not difficultto acquire, since it simply means that during inhalation the abdomen isexpanded, and during exhalation it is contracted. It should be no longernecessary to warn the speaker to breathe exclusively through the nosewhen not actually using the voice. While speaking he must so completelycontrol the breath that not a particle of it can escape without givingup its equivalent in sound. 

"Clergyman's sore throat" is the result of improper use or overstrainingof the voice. Sometimes the earnestness of the preacher causes him to"clutch" each word with the vocal muscles, instead of using the throatas an open channel through which the voice may flow with ease andfreedom. Many speakers, in an endeavor to be heard at a great distance, employ too loud a tone, forgetting that the essential thing is a clearand distinct articulation. To speak continuously in high pitch, orthrough half-closed teeth, almost invariably causes distress of throat. Most throat troubles may be set down to a lack of proper elocutionarytraining. To keep the voice and throat in order there should be regulardaily practise, if only for ten minutes. The example might profitablybe followed of certain actors who make a practise of hummingoccasionally during the day while engaged in other duties, as a means ofkeeping the voice musical and resonant. 

When the throat becomes husky or weak it is a timely warning from naturethat it needs rest and relaxation. To continue to engage in publicspeaking under these circumstances is often attended with great danger, resulting sometimes in total loss of voice. It is economy in the end todiscontinue the use of the voice when there is a serious cold or thethroat is otherwise affected. Nervousness, anxiety, or unusual mentalexertion may cause a vocal breakdown. For this condition rest isrecommended, together with gentle massaging of the throat with coldwater mixed with a little vinegar or _eau de Cologne_. 

A public speaker should not engage in protracted conversationimmediately after a speech. The sudden transition from an auditorium tothe outer air should remind the speaker to keep his mouth securelyclosed. The general physical condition of the speaker has much to dowith the vigor and clearness of his voice. A daily plunge into coldwater, or at least a sponging of the entire surface of the body, besidesbeing a tonic luxury, greatly invigorates the throat and abdominalmuscles. After the "tub" a vigorous rubbing with towel and hands shouldproduce a glow. 

To the frequent question whether smoking is injurious to the throat, itis safe to say that the weight of authority and experience favorsabstinence. Any one who has spoken for half an hour or more in asmoke-clouded room, knows the distressing effect it has had upon thesensitive lining of the throat. It must be obvious, therefore, that theconstant inhaling of smoke must even more directly irritate the mucousmembrane. 

The diet of the public speaker should be reasonably moderate, and theextremes of hot and cold avoided. The use of ice-water is to bediscouraged. Many drugs and lozenges are positively injurious to thethroat. For habitual dryness of throat a glycerine or honey tablet willusually obviate the trouble. Dr. Morell Mackenzie, the eminent Englishthroat specialist, condemns the use of alcohol as pernicious, andaffirms that "even in a comparatively mild form it keeps the delicatetissues in a state of congestion which makes them particularly liable toinflammation from cold or other causes. "

It must not be assumed that the throat is to be pampered. A reasonableamount of exposure will harden it and to this extent is desirable. Tomuffle the throat with a scarf, unless demanded by special conditions, may make it unduly sensitive and increase the danger of taking cold whenthe head is turned from side to side. 

A leading physician confirms the opinion that the best gargle for dailyuse is that of warm water and salt. This should be used every night andmorning to cleanse and invigorate the throat. Where there is a tendencyto catarrh a solution made of peroxide of hydrogen, witch-hazel, andwater, in equal parts, will prove efficacious. Nothing should be snuffedup the nose except under the direction of a physician, lest it causedeafness. 

Many speakers and singers have a favorite nostrum for improving thevoice. The long and amusing list includes hot milk, tea, coffee, champagne, raw eggs, lemonade, apples, raisins, --and sardines! A goodrule is to eat sparingly if the meal is taken just before speaking. Itneed hardly be said that serious vocal defects, such as enlargedtonsils, elongated uvula, and abnormal growths in the throat and noseare subjects for the specialist. 

Whenever possible a speaker should test beforehand the acousticproperties of the auditorium in which he is to speak for the first time. A helpful plan is to have a friend seat himself at the back of the hallor church, and give his opinion of the quality and projecting power ofthe speaker's voice. It is difficult to judge one's own voice because itis conveyed to him not only from the outside but also through theEustachian tube and modified by the vibratory parts of the throat andhead. A speaker never hears his own voice as it is heard by another. 

Nothing, perhaps, is so taxing to the throat as long-continued speakingin one quality of tone. There are two distinct registers which should bejudiciously alternated by the speaker. These are the "chest" register, in which the vocal cords vibrate their whole length, and the quality oftone derives most of its character from the chest cavity; and the "head"register, in which the vocal cords vibrate only in part, and the qualityof tone is reenforced by the resonators of the face, mouth, and head. The first of these registers is sometimes called the "orotund" voicefrom its quality of roundness, and is employed principally in languageof reverence, sublimity, and grandeur. 

The head tone is the voice of ordinary conversation and should form thebasis of the public-speaking style. 

No one who has to speak in public should be discouraged because oflimited vocal resources. Many of the foremost orators began with markeddisadvantages in this respect, but made these shortcomings an incentiveto higher effort. One well-known speaker makes up for lack of vocalpower by extreme distinctness of enunciation, while another offsets anunpleasantly heavy quality of voice by skilful modulation. 

A few easily remembered suggestions are:

1. Rest the voice for an hour or two before speaking in public. 

2. Gargle the throat night and morning with salt and water. 

3. Never force the voice. 

4. Avoid all occasions that strain the voice, such as prolongedconversation, speaking against noise, or in cold and damp air. 

5. Practise deep breathing until it becomes an unconscious habit. 

6. Favor an outdoor life. 

7. Hum or sing a little every day. 

8. Discontinue public speaking when there is a severe cold or otheraffection of the throat. 

9. Rest the voice and body immediately after speaking in public. 

DON'TS FOR PUBLIC SPEAKERS

 Don't rant. Don't prate. Don't fidget. Don't flatter. Don't declaim. Don't be glib. Don't hesitate. Don't be nasal. Don't apologize. Don't dogmatize. Don't be slangy. Don't antagonize. Don't be awkward. Don't be violent. Don't be personal. Don't be "funny. " Don't attitudinize. Don't be monotonous. Don't speak rapidly. Don't sway your body. Don't be long-winded. Don't "hem" and "haw. " Don't praise yourself. Don't overgesticulate. Don't pace the platform. Don't clear your throat. Don't "point with pride. " Don't tell a long story. Don't rise on your toes. Don't distort your words. Don't stand like a statue. Don't address the ceiling. Don't speak in a high key. Don't emphasize everything. Don't drink while speaking. Don't fatigue your audience. Don't exceed your time limit. Don't talk for talking's sake. Don't wander from your subject. Don't fumble with your clothes. Don't speak through closed teeth. Don't put your hands on your hips. Don't fail to stop when you have ended. 

DO'S FOR PUBLIC SPEAKERS

 Be prepared. Begin slowly. Be modest. Speak distinctly. Address all your hearers. Be uniformly courteous. Prune your sentences. Cultivate mental alertness. Conceal your method. Be scrupulously clear. Feel sure of yourself. Look your audience in the eyes. Be direct. Favor your deep tones. Speak deliberately. Get to your facts. Be earnest. Observe your pauses. Suit the action to the word. Be yourself at your best. Speak fluently. Use your abdominal muscles. Make yourself interesting. Be conversational. Conciliate your opponent. Rouse yourself. Be logical. Have your wits about you. Be considerate. Open your mouth. Speak authoritatively. Cultivate sincerity. Cultivate brevity. Cultivate tact. End swiftly. 

POINTS FOR SPEAKERS

As far as possible avoid the following hackneyed phrases:

 I rise with diffidence Unaccustomed as I am to public speaking By a happy stroke of fate It becomes my painful duty In the last analysis I am encouraged to go on I point with pride On the other hand (with gesture) I hold The vox populi Be that as it may I shall not detain you As the hour is growing late Believe me We view with alarm As I was about to tell you The happiest day of my life It falls to my lot I can say no more In the fluff and bloom I can only hint I can say nothing I cannot find words The fact is To my mind I cannot sufficiently do justice I fear All I can say is I shall not inflict a speech on you Far be it from me Rise phoenix-like from his ashes But alas! What more can I say? At this late period of the evening It is hardly necessary to say I cannot allow the opportunity to pass For, mark you I have already taken up too much time I might talk to you for hours Looking back upon my childhood We can imagine the scene I haven't the time nor ability Ah, no, dear friends One more word and I have done I will now conclude I really must stop I have done. 

THE BIBLE ON SPEECH

How forcible are right words!

To every thing there is a season, a time to keep silence, and a time tospeak. 

Set a watch, O Lord, before my mouth; keep the door of my lips. 

Let no corrupt communication proceed out of your mouth, but that whichis good to the use of edifying. 

Be swift to hear, slow to speak, slow to wrath. 

Let your speech be always with grace, seasoned with salt, that ye mayknow how ye ought to answer every man. 

Be ye holy in all manner of conversation. 

Let all bitterness, and wrath, and anger, and clamor, and evil speaking, be put away from you. 

Know how to speak a word in season to him that is weary. 

Let the words of my mouth, and the meditation of my heart, be acceptablein Thy sight, O Lord, my strength, and my redeemer. 

THOUGHTS ON TALKING

To make a good talker, genius and learning, even wit and eloquence, areinsufficient; to these, in all or in part, must be added in some degreethe talents of active life. The character has as much to do withcolloquial power as has the intellect; the temperament, feelings, andanimal spirits, even more, perhaps, than the mental gifts. "Napoleonsaid things which tell in history like his battles. Luther's Table-Talkglows with the fire that burnt the Pope's bull. " Cćsar, Cicero, Themistocles, Lord Bacon, Selden, Talleyrand, and, in our own country, Aaron Burr, Jefferson, Webster, and Choate, were all, more or less, menof action. Sir Walter Scott tells us that, at a great dinner party, hethought the lawyers beat the Bishops as talkers, and the Bishops thewits. Nearly all great orators have been fine talkers. Lord Chatham, whocould electrify the House of Lords by pronouncing the word "Sugar, " butwho in private was but commonplace, was an exception; but theconversation of Pitt and Fox was brilliant and fascinating, --that ofBurke, rambling, but splendid, rich and instructive, beyond description. The latter was the only man in the famous "Literary Club" who could copewith Johnson. The Doctor confessed that in Burke he had a foeman worthyof his steel. On one occasion, when debilitated by sickness, he said:"That fellow calls forth all my powers. Were I to see Burke now, itwould kill me. " At another time he said: "Burke, sir, is such a manthat, if you met him for the first time in the street, where you werestopped by a drove of oxen, and you and he stepped aside to take shelterbut for five minutes, he'd talk to you in such a manner, that when youparted you'd say--'This is an extraordinary man. '" "Can he wind into asubject like a serpent, as Burke does?" asked Goldsmith of a certaintalker. Fox said that he had derived more political information fromBurke's conversation alone than from books, science, and all his worldlyexperience put together. Moore finely says of the same conversation, that it must have been like the procession of a Roman triumph, exhibiting power and riches at every step, occasionally mingling the lowFescennine jest with the lofty music of the march, but glittering allover with the spoils of a ransacked world. 

--_Mathews. _

 * * * * *

The fault of literary conversation in general is its too greattenaciousness. It fastens upon a subject, and will not let it go. Itresembles a battle rather than a skirmish, and makes a toil of apleasure. Perhaps it does this from necessity, from a consciousness ofwanting the more familiar graces, the power to sport and trifle, totouch lightly and adorn agreeably, every view or turn of a question _enpassant_, as it arises. Those who have a reputation to lose are tooambitious of shining, to please. "To excel in conversation, " said aningenious man, "one must not be always striving to say good things: tosay one good thing, one must say many bad, and more indifferent ones. "This desire to shine without the means at hand, often makes mensilent:--

 The fear of being silent strikes us dumb. 

A writer who has been accustomed to take a connected view of adifficult question and to work it out gradually in all its bearings, maybe very deficient in that quickness and ease which men of the world, whoare in the habit of hearing a variety of opinions, who pick up anobservation on one subject, and another on another, and who care aboutnone any further than the passing away of an idle hour, usually acquire. An author has studied a particular point--he has read, he has inquired, he has thought a great deal upon it: he is not contented to take it upcasually in common with others, to throw out a hint, to propose anobjection: he will either remain silent, uneasy, and dissatisfied, or hewill begin at the beginning, and go through with it to the end. He isfor taking the whole responsibility upon himself. He would be thought tounderstand the subject better than others, or indeed would show thatnobody else knows anything about it. There are always three or fourpoints on which the literary novice at his first outset in life fancieshe can enlighten every company, and bear down all opposition: but he iscured of this quixotic and pugnacious spirit, as he goes more into theworld, where he finds that there are other opinions and otherpretensions to be adjusted besides his own. When this asperity wearsoff, and a certain scholastic precocity is mellowed down, theconversation of men of letters becomes both interesting and instructive. Men of the world have no fixed principles, no groundwork of thought:mere scholars have too much an object, a theory always in view, to whichthey wrest everything, and not unfrequently, common sense itself. Bymixing with society, they rub off their hardness of manner, andimpracticable, offensive singularity, while they retain a greater depthand coherence of understanding. There is more to be learnt from themthan from their books. 

--_Hazlitt. _

 * * * * *

There are some people whose good manners will not suffer them tointerrupt you, but, what is almost as bad, will discover abundance ofimpatience, and lie upon the watch until you have done, because theyhave started something in their own thoughts, which they long to bedelivered of. Meantime, they are so far from regarding what passes, thattheir imaginations are wholly turned upon what they have in reserve, forfear it should slip out of their memory; and thus they confine theirinvention, which might otherwise range over a hundred things full asgood, and that might be much more naturally introduced. 

There is a sort of rude familiarity, which some people, by practisingamong their intimates, have introduced into their general conversation, and would have it pass for innocent freedom or humor; which is adangerous experiment in our northern climate, where all the littledecorum and politeness we have are purely forced by art, and are soready to lapse into barbarity. This, among the Romans, was the railleryof slaves, of which we have many instances in Plautus. It seems to havebeen introduced among us by Cromwell, who, by preferring the scum of thepeople, made it a court entertainment, of which I have heard manyparticulars; and, considering all things were turned upside down, it wasreasonable and judicious; although it was a piece of policy found outto ridicule a point of honor in the other extreme, when the smallestword misplaced among gentlemen ended in a duel. 

There are some men excellent at telling a story, and provided with aplentiful stock of them, which they can draw out upon occasion in allcompanies, and, considering how low conversation runs now among us, itis not altogether a contemptible talent; however, it is subject to twounavoidable defects, frequent repetition, and being soon exhausted; so, that, whoever values this gift in himself, has need of a good memory, and ought frequently to shift his company, that he may not discover theweakness of his fund; for those who are thus endued have seldom anyother revenue, but live upon the main stock. 

--_Swift. _

 * * * * *

The highest and best of all the moral conditions for conversation iswhat we call tact. I say a condition, for it is very doubtful whether itcan be called a single and separate quality; more probably it is acombination of intellectual quickness with lively sympathy. But soclearly is it an intellectual quality, that of all others it can begreatly improved, if not actually acquired, by long experience insociety. Like all social excellences it is almost given as a present tosome people, while others with all possible labor never acquire it. Asin billiard-playing, shooting, cricket, and all these other facilitieswhich are partly mental and partly physical, many never can pass acertain point of mediocrity; but still even those who have the talentmust practise it, and only become really distinguished after hard work. So it is in art. Music and painting are not to be attained by the crowd. Not even the just criticism of these arts is attainable without certainnatural gifts; but a great deal of practice in good galleries and atgood concerts, and years spent among artists, will do much to make evenmoderately-endowed people sound judges of excellence. 

Tact, which is the sure and quick judgment of what is suitable andagreeable in society, is likewise one of those delicate and subtlequalities or a combination of qualities which is not very easilydefined, and therefore not teachable by fixed precepts. Some peopleattain it through sympathy; others through natural intelligence; othersthrough a calm temper; others again by observing closely the mistakes oftheir neighbors. As its name implies, it is a sensitive touch in socialmatters, which feels small changes of temperature, and so guesses atchanges of temper; which sees the passing cloud on the expression of oneface, or the eagerness of another that desires to bring out somethingpersonal for others to enjoy. This quality of tact is of courseapplicable far beyond mere actual conversation. In nothing is it moreuseful than in preparing the right conditions for a pleasant society, inchoosing the people who will be in mutual sympathy, in thinking overpleasant subjects of talk and suggesting them, in seeing that alldisturbing conditions are kept out, and that the members who are toconverse should be all without those small inconveniences which damagesociety so vastly out of proportion to their intrinsic importance. 

--_Mahaffy. _

 * * * * *

In the course of our life we have heard much of what was reputed to bethe select conversation of the day, and we have heard many of those whofigured at the moment as effective talkers; yet, in mere sincerity, andwithout a vestige of misanthropic retrospect, we must say that neveronce has it happened to us to come away from any display of that naturewithout intense disappointment; and it always appeared to us that thisfailure (which soon ceased to be a disappointment) was inevitable by anecessity of the case. For here lay the stress of the difficulty: almostall depends in most trials of skill upon the parity of those who arematched against each other. An ignorant person supposes that to an abledisputant it must be an advantage to have a feeble opponent; whereas, onthe contrary, it is ruin to him; for he can not display his own powersbut through something of a corresponding power in the resistance of hisantagonist. A brilliant fencer is lost and confounded in playing with anovice; and the same thing takes place in playing at ball, orbattledore, or in dancing, where a powerless partner does not enable youto shine the more, but reduces you to mere helplessness, and takes thewind altogether out of your sails. Now, if by some rare good luck thegreat talker, the protagonist, of the evening has been provided with acommensurate second, it is just possible that something like a brilliant"passage of arms" may be the result, --though much even in that case willdepend on the chances of the moment for furnishing a fortunate theme, and even then, amongst the superior part of the company, a feeling ofdeep vulgarity and of mountebank display is inseparable from such anostentatious duel of wit. On the other hand, supposing your great talkerto be received like any other visitor, and turned loose upon thecompany, then he must do one of two things: either he will talk upon_outré_ subjects specially tabooed to his own private use, --in whichcase the great man has the air of a quack-doctor addressing a mob from astreet stage; or else he will talk like ordinary people upon populartopics, --in which case the company, out of natural politeness, that theymay not seem to be staring at him as a lion, will hasten to meet him inthe same style, the conversation will become general, the great manwill seem reasonable and well-bred, but at the same time, we grieve tosay it, the great man will have been extinguished by being drawn offfrom his exclusive ground. The dilemma, in short, is this:--If the greattalker attempts the plan of showing off by firing cannon-shot wheneverybody else is content with musketry, then undoubtedly he produces animpression, but at the expense of insulating himself from the sympathiesof the company, and standing aloof as a sort of monster hired to playtricks of funambulism for the night. Yet, again, if he contents himselfwith a musket like other people, then for us, from whom he modestlyhides his talents under a bushel, in what respect is he different fromthe man who has no such talent?

--_De Quincey. _

 * * * * *

Some, in their discourse, desire rather commendation of wit, in beingable to hold all arguments, than of judgment, in discerning what istrue; as if it were a praise to know what might be said, and not whatshould be thought. Some have certain commonplaces and themes whereinthey are good, and want variety; which kind of poverty is for the mostpart tedious, and, when it is once perceived, ridiculous. Thehonorablest part of talk is to give the occasion; and again to moderateand pass to somewhat else; for then a man leads the dance. It is good indiscourse, and speech of conversation, to vary, and intermingle speechof the present occasion with arguments, tales with reasons, asking ofquestions with telling of opinions, and jest with earnest; for it is adull thing to tire, and, as we say now, to jade any thing too far. Asfor jest, there be certain things which ought to be privileged from it, namely, religion, matters of State, great persons, any man's presentbusiness of importance, and any case that deserveth pity; yet there besome that think their wits have been asleep, except they dart outsomewhat that is piquant, and to the quick. That is a vein which wouldbe bridled; _Parce, puer, stimulis, et fortius utere loris. _ And, generally, men ought to find the difference between saltness andbitterness. Certainly, he that hath a satirical vein, as he makethothers afraid of his wit, so he had need be afraid of others' memory. Hethat questioneth much shall learn much, and content much, butespecially if he apply his questions to the skill of the persons whom heasketh; for he shall give them occasion to please themselves inspeaking, and himself shall continually gather knowledge: but let hisquestions not be troublesome, for that is fit for a poser; and let himbe sure to leave other men their turns to speak: nay, if there be anythat would reign and take up all the time, let him find means to takethem off, and to bring others on, as musicians use to do with those thatdance too long galliards. If you dissemble sometimes your knowledge ofthat you are thought to know, you shall be thought, another time, toknow that you know not. Speech of a man's self ought to be seldom, andwell chosen. I knew one was wont to say in scorn, "He must needs be awise man, he speaks so much of himself;" and there is but one casewherein a man may commend himself with good grace, and that is incommending virtue in another, especially if it be such a virtuewhereunto himself pretendeth. Speech of touch towards others should besparingly used; for discourse ought to be as a field, without cominghome to any man. I knew two noblemen, of the west part of England, whereof the one was given to scoff, but kept ever royal cheer in hishouse; the other would ask of those that had been at the other's table, "Tell truly, was there never a flout or dry blow given?" To which theguest would answer, "Such and such a thing passed. " The lord would say, "I thought he would mar a good dinner. " Discretion of speech is morethan eloquence; and to speak agreeably to him with whom we deal, is morethan to speak in good words, or in good order. A good continued speech, without a good speech of interlocution, shows slowness; and a goodreply, or second speech, without a good settled speech, showethshallowness and weakness. As we see in beasts, that those that areweakest in the course, are yet nimblest in the turn; as it is betwixtthe greyhound and the hare. To use too many circumstances, ere one cometo the matter, is wearisome; to use none at all, is blunt. 

--_Bacon. _

 * * * * *

Think as little as possible about any good in yourself; turn your eyesresolutely from any view of your acquirement, your influence, yourplan, your success, your following: above all, speak as little aspossible about yourself. The inordinateness of our self-love makesspeech about ourselves like the putting of the lighted torch to thedried wood which has been laid in order for the burning. Nothing butduty should open our lips upon this dangerous theme, except it be inhumble confession of our sinfulness before our God. Again, be speciallyupon the watch against those little tricks by which the vain man seeksto bring round the conversation to himself, and gain the praise ornotice which the thirsty ears drink in so greedily; and even if praisecomes unsought, it is well, whilst men are uttering it, to guardyourself by thinking of some secret cause for humbling yourself inwardlyto God; thinking into what these pleasant accents would be changed ifall that is known to God, and even to yourself, stood suddenly revealedto man. 

--_Bishop Wilberforce. _

 * * * * *

In speaking of the duty of pleasing others, it will not be necessary todwell on the ordinary courtesies and lesser kindnesses of our dailyliving, any further than to observe that none of these things, howevertrifling, is beneath the notice of a good man, . .. But I mention onething, because I think that we are most of us apt to be rather deficientin it, and that is in the trying to suit ourselves to the tastes andviews of persons whose professions or inclinations, or situation inlife, differ widely from our own. .. . As a general rule, no man can fallinto conversation with another without being able to learn somethingvaluable from him. But in order to get at this benefit there must besomething of an accommodating spirit on both sides; each must be readyto hear candidly and to answer fairly; each must try to please theother. We all suffer from the want of acquaintance with the habits andopinions and feelings of different classes of society. 

--_Dr. Arnold. _

 * * * * *

If you would be loved as a companion, avoid unnecessary criticism uponthose with whom you live. The number of people who have taken outjudges' patents for themselves is very large in any society. Now itwould be hard for a man to live with another who was always criticisinghis actions, even if it were kindly and just criticism. It would be likeliving between the glasses of a microscope. But these self-electedjudges, like their prototypes, are very apt to have the persons theyjudge brought before them in the guise of culprits. 

Let not familiarity swallow up old courtesy. Many of us have a habit ofsaying to those with whom we live such things as we say about strangersbehind their backs. There is no place, however, where real politeness isof more value than where we mostly think it would be superfluous. Youmay say more truth, or rather speak out more plainly to your associates, but not less courteously than to strangers. 

--_Helps. _

 * * * * *

Much of the sorrow of life springs from the accumulation, day by day andyear by year, of little trials--a letter written in less than courteousterms, a wrangle at the breakfast table over some arrangement of theday, the rudeness of an acquaintance on the way to the city, anunfriendly act on the part of another firm, a cruel criticismneedlessly reported by some meddler, a feline amenity at afternoon tea, the disobedience of one of your children, a social slight by one of yourcircle, a controversy too hotly conducted. The trials within this classare innumerable, and consider, not one of them is inevitable, not one ofthem but might have been spared if we or our brother man had had a grainof kindliness. Our social insolences, our irritating manners, ourcensorious judgment, our venomous letters, our pin pricks inconversation, are all forms of deliberate unkindness, and are allevidences of an ill-conditioned nature. 

--_John Watson. _

 * * * * *

If this be one of our chief duties--promoting the happiness of ourneighbors--most certainly there is nothing which so entirely runscounter to it, and makes it impossible, as an undisciplined temper. Forof all the things that are to be met with here on earth, there isnothing which can give such continual, such cutting, such useless pain. The touchy and sensitive temper, which takes offence at a word; theirritable temper, which finds offence in everything whether intended ornot; the violent temper, which breaks through all bounds of reason whenonce roused; the jealous or sullen temper, which wears a cloud on theface all day, and never utters a word of complaint; the discontentedtemper, brooding over its own wrongs; the severe temper, which alwayslooks at the worst side of whatever is done; the wilful temper, whichoverrides every scruple to gratify a whim, --what an amount of pain havethese caused in the hearts of men, if we could but sum up their results!How many a soul have they stirred to evil impulses; how many a prayerhave they stifled; how many an emotion of true affection have theyturned to bitterness! How hard they sometimes make all duties! Howpainful they make all daily life! How they kill the sweetest and warmestof domestic charities! The misery caused by other sins is often muchdeeper and much keener, more disastrous, more terrible to the sight; butthe accumulated pain caused by ill-temper must, I verily believe, ifadded together, outweigh all other pains that men have to bear from oneanother. 

--_Bishop Temple. _

 * * * * *

Wicked is the slander which gossips away a character in an afternoon, and runs lightly over a whole series of acquaintances, leaving a drop ofpoison on them all, some suspicion, or some ominous silence--"Have younot heard?"--"No one would believe it, but--!" and then silence; whilethe shake of the head, or the shrug of the shoulders, finishes thesentence with a mute meaning worse than words. Do you ever think of theirrevocable nature of speech? The things you say are often said forever. You may find, years after your light word was spoken, that it has made awhole life unhappy, or ruined the peace of a household. It was well saidby St. James, "If any man among you seem to be religious, and bridlethnot his tongue, that man's religion is vain. "

--_Stopford Brooke. _

 * * * * *

There are three kinds of silence. Silence from words is good, becauseinordinate speaking tends to evil. Silence, or rest from desires andpassions, is still better, because it promotes quietness of spirit. Butthe best of all is silence from unnecessary and wandering thoughts, because that is essential to internal recollection, and because it laysa foundation for a proper regulation and silence in other respects. 

--_Madame Guyon. _

 * * * * *

The example of our Lord, as He humbly and calmly takes the rebuff, andturns to go to another village, may help us in the ordinary ways ofordinary daily life. The little things that vex us in the manner or thewords of those with whom we have to do; the things which seem to us soinconsiderate, or wilful, or annoying, that we think it impossible toget on with the people who are capable of them; the mistakes which noone, we say, has any right to make; the shallowness, or conventionality, or narrowness, or positiveness in talk which makes us wince and temptsus towards the cruelty and wickedness of scorn;--surely in all thesethings, and in many others like them, of which conscience may be readyenough to speak to most of us, there are really opportunities for thusfollowing the example of our Saviour's great humility and patience. Howmany friendships we might win or keep, how many chances of servingothers we might find, how many lessons we might learn, how much ofunsuspected moral beauty might be disclosed around us, if only we weremore careful to give people time, to stay judgment, to trust that theywill see things more justly, speak of them more wisely, after a while. We are sure to go on closing doors of sympathy, and narrowing in theinterests and opportunities of work around us, if we let ourselvesimagine that we can quickly measure the capacities and sift thecharacters of our fellow-men. 

--_Bishop Paget. _

 * * * * *

How much squandering there is of the voice! How little is there of theadvantage that may come from conversational tones! How seldom does a mandare to acquit himself with pathos and fervor! And the men arethemselves mechanical and methodical in the bad way, who are most afraidof the artificial training that is given in the schools, and who sooften show by the fruit of their labor that the want of oratory is thewant of education. 

How remarkable is sweetness of voice in the mother, in the father, inthe household! The music of no chorded instruments brought together is, for sweetness, like the music of familiar affection when spoken bybrother and sister, or by father and mother. 

Conversation itself belongs to oratory. How many men there are who areweighty in argument, who have abundant resources, and who are almostboundless in their power at other times and in other places, but who, when in company among their kind, are exceedingly unapt in theirmethods. Having none of the secret instruments by which the elements ofnature may be touched, having no skill and no power in this direction, they stand as machines before living, sensitive men. A man may be as amaster before an instrument; only the instrument is dead; and he has theliving hand; and out of that dead instrument what wondrous harmonysprings forth at his touch! And if you can electrify an audience by thepower of a living man on dead things, how much more should that audiencebe electrified when the chords are living and the man is alive, and heknows how to touch them with divine inspiration!

--_Beecher. _

 * * * * *

Every one endeavors to make himself as agreeable to society as he can;but it often happens that those who most aim at shining in conversation, overshoot their mark. Tho a man succeeds, he should not (as isfrequently the case) engross the whole talk to himself; for thatdestroys the very essence of conversation, which is talking together. Weshould try to keep up conversation like a ball bandied to and fro fromone to the other, rather than seize it all to ourselves, and drive itbefore us like a football. We should likewise be cautious to adapt thematter of our discourse to our company, and not talk Greek beforeladies, or of the last new furbelow to a meeting of country justices. 

But nothing throws a more ridiculous air over our whole conversationthan certain peculiarities easily acquired, but very difficultlyconquered and discarded. In order to display these absurdities in atruer light, it is my present purpose to enumerate such of them as aremost commonly to be met with; and first to take notice of those buffonsin society, the Attitudinarians and Face-makers. These accompany everyword with a peculiar grimace or gesture; they assent with a shrug, andcontradict with a twisting of the neck; are angry by a wry mouth, andpleased in a caper or minuet step. They may be considered as speakingharlequins; and their rules of eloquence are taken from theposture-master. These should be condemned to converse only in dumb showwith their own persons in the looking-glass, as well as the Smirkers andSmilers, who so prettily set off their faces, together with their words, by a _je-ne-sais-quoi_ between a grin and a dimple. With these we maylikewise rank the affected tribe of mimics, who are constantly takingoff the peculiar tone of voice or gesture of their acquaintance, thothey are such wretched imitators, that (like bad painters) they arefrequently forced to write the name under the picture before we candiscover any likeness. 

Next to these whose elocution is absorbed in action, and who conversechiefly with their arms and legs, we may consider the Profest Speakers. And first, the Emphatical, who squeeze, and press, and ram down everysyllable with excessive vehemence and energy. These orators areremarkable for their distinct elocution and force of expression; theydwell on the important particulars _of_ and _the_, and the significantconjunction _and_, which they seem to hawk up, with much difficulty, outof their own throats, and to cram them, with no less pain, into the earsof their auditors. These should be suffered only to syringe (as it were)the ears of a deaf man, through a hearing-trumpet; tho I must confessthat I am equally offended with the Whisperers or Low-speakers, who seemto fancy all their acquaintance deaf, and come up so close to you thatthey may be said to measure noses with you, and frequently overcome youwith the full exhalations of a foul breath. I would have these oraculargentry obliged to speak at a distance through a speaking-trumpet, orapply their lips to the walls of a whispering-gallery. The Wits who willnot condescend to utter anything but a _bon-mot_, and the Whistlers orTune-hummers, who never articulate at all, may be joined very agreeablytogether in concert; and to these tinkling cymbals I would also add thesounding brass, the Bawler, who inquires after your health with thebellowing of a town-crier. 

The Tattlers, whose pliable pipes are admirably adapted to the "softparts of conversation, " and sweetly "prattling out of fashion, " makevery pretty music from a beautiful face and a female tongue; but from arough manly voice and coarse features mere nonsense is as harsh anddissonant as a jig from a hurdy-gurdy. The Swearers I have spoken of ina former paper; but the Half-Swearers, who split and mince, and frittertheir oaths into "gad's but, " "ad's fish, " and "demme, " the GothicHumbuggers, and those who nickname God's creatures, and call a man acabbage, a crab, a queer cub, an odd fish, and an unaccountable skin, should never come into company without an interpreter. But I will nottire my reader's patience by pointing out all the pests of conversation, nor dwell particularly on the Sensibles, who pronounce dogmatically onthe most trivial points, and speak in sentences; the Wonderers, who arealways wondering what o'clock it is, or wondering whether it will rainor no, or wondering when the moon changes; the Phraseologists, whoexplain a thing by all that, or enter into particulars, with this andthat and t'other; and lastly, the Silent Men, who seem afraid ofopening their mouths lest they should catch cold, and literally observethe precept of the Gospel, by letting their conversation be only yea andnay. 

The rational intercourse kept up by conversation is one of our principaldistinctions from brutes. We should, therefore, endeavor to turn thispeculiar talent to our advantage, and consider the organs of speech asthe instruments of understanding; we should be very careful not to usethem as the weapons of vice, or tools of folly, and do our utmost tounlearn any trivial or ridiculous habits, which tend to lessen the valueof such an inestimable prerogative. It is, indeed, imagined by somephilosophers, that even birds and beasts (tho without the power ofarticulation) perfectly understand one another by the sounds they utter;and that dogs, cats, etc. , have each a particular language tothemselves, like different nations. Thus it may be supposed that thenightingales of Italy have as fine an ear for their own native woodnotesas any signor or signora for an Italian air; that the boars ofWestphalia gruntle as expressively through the nose as the inhabitantsin High German; and that the frogs in the dykes of Holland croak asintelligibly as the natives jabber their Low Dutch. However this may be, we may consider those whose tongues hardly seem to be under theinfluence of reason, and do not keep up the proper conversation of humancreatures, as imitating the language of different animals. Thus, forinstance, the affinity between Chatterers and Monkeys, and Praters andParrots, is too obvious not to occur at once; Grunters and Growlers maybe justly compared to Hogs; Snarlers are Curs that continually showtheir teeth, but never bite; and the Spitfire passionate are a sort ofwild cats that will not bear stroking, but will purr when they arepleased. Complainers are Screech-Owls; and Story-Tellers, alwaysrepeating the same dull note, are Cuckoos. Poets that prick up theirears at their own hideous braying are no better than Asses. Critics ingeneral are venomous Serpents that delight in hissing, and some of themwho have got by heart a few technical terms without knowing theirmeaning are no other than Magpies. I, myself, who have crowed to thewhole town for near three years past may perhaps put my readers in mindof a Barnyard Cock; but as I must acquaint them that they will hear thelast of me on this day fortnight, I hope that they will then consider meas a Swan, who is supposed to sing sweetly at his dying moments. 

--_Cowper. _

 * * * * *

It is almost a definition of a gentleman to say that he is one who neverinflicts pain. This description is both refined, and, so far as it goes, accurate. He is mainly occupied in merely removing the obstacles whichhinder the free and unembarrassed action of those about him, and heconcurs with their movements rather than takes the initiative himself. His benefits may be considered as parallel to what are called thecomforts or conveniences in arrangements of a personal nature--like aneasy chair or a good fire, which do their best in dispelling cold andfatigue, tho nature provides both means of rest and animal heat withoutthem. The true gentleman in like manner carefully avoids whatever maycause a jar or a jolt in the mind of those with whom he is cast--allclashing of opinion or collision of feeling, all restraint or suspicionor gloom or resentment, his great concern being to make every one atease and at home. He has his eyes on all his company, he is tendertoward the bashful, gentle toward the distant, and merciful toward theabsurd. He can recollect to whom he is speaking; he guards againstunseasonable allusions or topics which may irritate; he is seldomprominent in conversation, and never wearisome. He makes light of favorswhen he does them, and seems to be receiving when he is conferring. Henever speaks of himself except when compelled, never defends himself bya mere retort; he has no ears for slander or gossip, is scrupulous inimputing motive to those who interfere with him, and interpretseverything for the best. He is never mean or little in his disputes, never takes unfair advantage, never mistakes personalities or sharpsayings for arguments, or insinuates evil which he dare not say out. From a long-sighted prudence, he observes the maxim of the ancient sage, that we should ever conduct ourselves toward our enemy as if he wereone day to be our friend. He has too much good sense to be affronted atinsults. He is too well employed to remember injuries and too indolentto bear malice. He is patient, forbearing, and resigned on philosophicalprinciple; he submits to pain because it is inevitable, to bereavement, because it is irreparable, and to death because it is his destiny. If heengages in controversy of any kind, his disciplined intellect preserveshim from the blundering discourtesy of better, perhaps, but lesseducated minds, who, like blunt weapons, tear and hack instead ofcutting clean, who mistake the point in argument, waste their strengthon trifles, misconceive their adversary, and leave the question moreinvolved than they find it. He may be right or wrong in his opinion, buthe is too clear-headed to be unjust; he is as simple as he is forcible, and as brief as he is decisive. Nowhere shall we find greater candor, consideration, indulgence; he throws himself into the minds of hisopponents, he accounts for their mistakes. He knows the weakness ofhuman reason as well as its strength, its province, and its limits. Ifhe can be an unbeliever, he will be too profound and large-minded toridicule religion or to act against it; he is too wise to be a dogmatistor fanatic in his infidelity. He respects piety and devotion; he evensupports institutions as venerable, beautiful or useful, to which hedoes not assent; he honors the ministers of religion, and it contentshim to decline its mysteries without assailing or denouncing them. He isa friend of religious toleration, and that not only because hisphilosophy has taught him to look on all forms of faith with animpartial eye, but also from the gentleness and effeminacy of feelingwhich is attendant on civilization. 

--_Cardinal Newman. _

 * * * * * *

ADVERTISEMENTS

By GRENVILLE KLEISER

HOW TO SPEAK IN PUBLIC--A practical self-instructor for lawyers, clergymen, teachers, business men, and others. Cloth, 543 pages. $1. 25, _net_; by mail, $1. 40. 

HOW TO DEVELOP SELF-CONFIDENCE IN SPEECH AND MANNER--A book of practicalinspiration; trains men to rise above mediocrity and fearthought totheir great possibilities. Commended to ambitious men. Cloth, 320 pages. $1. 25, _net_; by mail, $1. 35. 

COMPLETE GUIDE TO PUBLIC SPEAKING--The only extensive, comprehensive, encyclopedic work of its kind ever issued, with its varied and inclusivecontents alphabetically arranged by topics, and made immediatelyaccessible by a Complete Index. The best advice by the world's greatauthorities upon oratory, preaching, platform and pulpit delivery, voicebuilding and management, argumentation, debate, reading, rhetoric, homiletics, eloquence, expression, persuasion, gesture, breathing, composition, conversation, elocution, personal power, mentaldevelopment, etc. Royal 8vo, Cloth, over 700 pages. $5. 00, _net_. 

HOW TO DEVELOP POWER AND PERSONALITY IN SPEAKING--Practical suggestionsin English, word-building, imagination, memory, conversation, andextemporaneous speaking. Cloth, 422 pages. $1. 25, _net_; by mail, $1. 40. 

HOW TO ARGUE AND WIN--Ninety-nine men in a hundred know how to argue toone who can argue and win. This book tells how to acquire such power. Cloth, 320 pages. $1. 25, _net_; by mail, $1. 35. 

HOW TO READ AND DECLAIM--A course of instruction in reading anddeclamation for developing graceful carriage, correct standing, accurateenunciation, and effective expression. Abundant exercise is furnished inthe use of the best examples of prose and poetry. 12mo, Cloth. $1. 25, _net_; by mail, $1. 40. 

GREAT SPEECHES AND HOW TO MAKE THEM--In this work Mr. Kleiser givespractical methods by which young men may acquire and develop theessentials of forcible public speaking. 12mo, Cloth. $1. 25, _net_; bymail, $1. 40. 

HUMOROUS HITS AND HOW TO HOLD AN AUDIENCE--A collection of recitations, short stories, selections, and sketches for all occasions. Cloth, 326pages. $1. 00, _net_; by mail, $1. 11. 

THE WORLD'S GREAT SERMONS--Masterpieces of Pulpit Oratory andbiographical sketches of the speakers. Cloth, 10 volumes. Write forterms. 

GRENVILLE KLEISER'S PERSONAL LESSONS IN PUBLIC SPEAKING and theDevelopment of Self-Confidence, Mental Power, and Personality. Twenty-five lessons, with special handbooks, side talks, personalletters, etc. Write for terms. 

GRENVILLE KLEISER'S PERSONAL LESSONS IN PRACTICAL ENGLISH--Twentylessons, with Daily Drills, special books, side talks, personal letters, etc. Write for terms. 

GRENVILLE KLEISER'S PERSONAL LESSONS IN BUSINESS SUCCESS. Twenty-onelessons, with daily exercises, special books, side talks, self-appraisement charts, etc. Write for terms. 

_Published by_ FUNK & WAGNALLS COMPANY NEW YORK and LONDON