"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."
"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."
"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."
Someone has wittily said that only those in their anecdotage should tell stories. De Quincey wanted all story-tellers to be submerged in a horse-pond, or treated in the same manner as mad dogs. But story-telling has its legitimate and appropriate use, and if certain rules are observed may give added charm to conversation and public speaking.
It requires a fine discrimination to know when to tell a story, and when not to tell one though it is urging itself to be expressed. Few men have the rare gift of choosing the right story for the particular occasion. Many men have no difficulty in telling stories that are insufferably long, pointless, and uninteresting.
We have all been victims of a certain type of public speaker who begins by saying, "Now I don't want to bore you with a long story, but this is so good, etc.," or "An incident occurred at the American Consulate in Shanghai, which reminds me of an awfully good story, etc." When a speaker prefaces his remarks with some such sentences as these, we know we 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 is advisable to set them down, when found, in a special note-book for convenient reference. It is said that Chauncey M. Depew, one of the most gifted of after-dinner speakers, was for many years in the habit of keeping a set of scrap-books in which were preserved stories and other interesting data clipped from newspapers and magazines. These were so classified that he could on short notice refresh his mind with ample material upon almost any general subject.
Anyone who essays to tell a story should have it clearly in mind. It is fatal for a speaker to hesitate midway in a story, apologize for not knowing 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 a story fluently and interestingly, he should first practice it on his own family—provided they will tolerate it.
Some stories should be committed to memory, especially where the point of humor depends upon exact phraseology. In such case, it requires some training and experience to disguise the memorized effort. A story like the following, for obvious reasons, should be thoroughly memorized:
The longest sermon on record occupied three hours and a half. But the shortest sermon was that of a preacher who spoke for one minute on the text: "Man is born unto trouble as the sparks fly upward." He said:
"I shall divide my discourse into three heads: (1) Man's ingress into the world; (2) His progress through the world; (3) His egress out of the world.
"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 a general thing be attempted by beginners. As a matter of fact, few persons know how to speak such dialects as Irish, Scotch, German, Cockney, and negro without undue exaggeration. For most occasions it is well to keep to simple stories couched in plain English.
A story should be told in simple, conversational style. Concentration upon the story, and a sincere desire to give pleasure to the hearers, will keep the speaker free from self-consciousness. Needless to say he should not be the first to laugh at his own story. Sometimes in telling a humorous anecdote to an audience a speaker secures the greatest effect by maintaining an expression of extreme gravity.
No matter how successful one may be in telling stories, he should avoid telling toomany. A man who is accounted brilliant and entertaining may become an insufferable bore by continuing to tell stories when the hearers have become satiated. Of all speakers, the story-teller should keep his eyes on his entire audience and be alert to detect the slightest signs of weariness.
It is superfluous to say that a story should never be told which in any way might give offence. The speaker may raise a laugh, but lose a friend. Hence it is that stories about stammerers, red-headed people, mothers-in-law, and the like, should always be chosen with discrimination.
Generally the most effective story is one in which the point of humor is not 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's chickens. Have you any witnesses?"
"No, sah," old Jethro answered, haughtily; "I hab not, sah. I never steal 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 been appointed honorary physician to his Majesty, King George."
During the morning he had some occasion to leave the room, and found on his 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 as follows:
"There was an old preacher once who told some boys of the Bible lesson he was going to read in the morning. The boys, finding the place, glued together the connecting pages. The next morning he read on the bottom of one page: 'When Noah was one hundred and twenty years old he took unto himself a wife, who was'—then turning the page—'one hundred and forty cubits long, forty cubits wide, built of gopherwood, and covered with pitch inside and out.' He was naturally puzzled at this. He read it again, verified it, and then said: 'My friends, thisis the first time I ever met this in the Bible, but I accept it as an evidence of the assertion that we are fearfully and wonderfully made.'"
Personalities based upon sarcasm or invective are always attended with danger, but good-humored bantering may be used upon occasion with most happy results. As an instance of this, there is a story of an annual dinner at which Mr. Choate was set down for the toast, "The Navy," and Mr. Depew was to respond to "The Army." Mr. Depew began by saying, "It's well to have a specialist: that's why Choate is here to speak about the Navy. We met at the wharf once and I did not see him again till we reached Liverpool. When I asked how he felt he said he thought he would have enjoyed the trip over if he had had any ocean air. Yes, you want to hear Choate on the Navy." When it was Mr. Choate's turn to speak, he said: "I've heard Depew hailed as the greatest after-dinner speaker. If after-dinner speaking, as I have heard it described and as I believe it to be, is the art of saying nothing at all, then Mr. Depew is the most marvelous speaker in the universe."
The medical profession can be assailed with impunity, since they have long since grown accustomed to it. There is a story of a young laborer who, on his way to his day's work, called at the registrar's office to register his father's death. When the official asked the date of the event, the son replied, "He ain't dead yet, but he'll be dead before night, so I thought it would save me another journey if you would put it down now." "Oh, that won't do at all," said the registrar; "perhaps your father will live till tomorrow." "Well, I don't think so, sir; the doctor says as he won't, and he knows what he has given him."
While stories should be used sparingly, there is probably nothing more effective before a popular audience than the telling of a story in which the joke is on the speaker himself. Thus:
The last time I made a speech, I went next day to the editor of our local 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 a single 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 the West were excited and troubled about the commissions or omissions of the administration. President Lincoln heard them patiently, and then replied: "Gentlemen, suppose all the property you were worth was in gold, and you had put it in the hands of Blondin to carry across the Niagara River on a rope; would you shake the cable, or keep shouting out to him—'Blondin, stand up a little straighter—Blondin, stoop a little more—go a little faster—lean a little more to the north—lean a little more to the south?' No, you would hold your breath as well as your tongue, and keep your hands off until he was safe over. The Government is carrying an immense weight. Untold treasures are in our hands. We are doing the very best we can. Don't badger us. Keep silence, and we'll get you safe across."
Punning is of course out of fashion. The best pun in the English language is Tom Hood's:
"He went and told the sexton,And the sexton tolled the bell."
"He went and told the sexton,And the sexton tolled the bell."
"He went and told the sexton,
And the sexton tolled the bell."
Dr. Johnson said that the pun was the lowest order of wit. Newspapers formerly indulged in it freely. One editor would say: "We don't care a straw what Shakespeare said—a rose by any other name would not smell as wheat." Then another paper would answer: "Such puns are barley tolerable, they amaize us, they arouse our righteous corn, and they turn the public taste a-rye."
But punning, when it is unusually clever and spontaneous, may be thoroughly enjoyable, as in the following:
Chief Justice Story attended a public dinner in Boston at which Edward Everett was present. Desiring to pay a delicate compliment to the latter, 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 mayattain in this country, it will never get above one Story."
Story-telling may attain the character of a disease, in one who has a retentive memory and a voluble vocabulary. The form of humor known as repartee, however, is one that requires rare discrimination. It should be 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 a lady if he would "take a cup of tea." "Thank you," said he, "I nevertakeanything but physic." "I beg your pardon," said the hostess, "you also take liberties."
There is a story that Henry Luttrell had sat long in the Irish Parliament, but no one knew his precise age. Lady Holland, without regard 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." Luttrell answered 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 shall be—devilish old!"
The art of story-telling is not taught specifically, hence there are comparatively few people who can tell a story without violating some of the rules which experience recommends. But the right use of story-telling should be encouraged as an ornament of conversation, and a valuable auxiliary to effective public address. Many people might excel as story-tellers if they would devote a little time to suggestions such as are offered here. It is not a difficult art, but like every other subject requires study and application.
The best counsel for public speakers in the matter of story-telling may be summed up as follows: Know your story thoroughly; test your story by telling it to some one in advance; adapt your story to the special circumstances; be concise, omitting non-essentials; have ready more stories than you intend to use, because if you should speak at the end of the list you may find that your best story has been told by a previous speaker; and, finally, always stop when you have made a hit.
The salesman depends for his success primarily upon his talking ability. Obviously, what he offers for sale must have intrinsic merit, and he should possess a thorough knowledge of his wares. But in order to secure the best results from his efforts, he must know how to talk well.
All the general requirements for good conversation apply equally to the needs of the salesman. He should have a pleasant speaking voice and an agreeable manner, a vocabulary of useful and appropriate words, and the ability to put things clearly and convincingly.
It should be a golden rule of the salesman never to argue with the customer. He may explain and reason, and use all the persuasive phraseology at his command, but he must not permit himself for a single instant to engage in controversy. To argue is fatal to successful salesmanship.
There is nothing that can be substitutedfor a winning personality in the salesman. What constitutes such a personality? Chiefly a good voice, affability of manner, straightforward speech, manly bearing, the desire to serve and please, proper attire, and cleanliness of person. These qualifications come within the reach of anyone who aspires to success in salesmanship.
Every salesman has unexpected problems to solve. A sensitive or touchy customer may become unreasonably angry or offended. What is the salesman to do? He should here be particularly on his guard not to show the slightest resentment. Though he may be wholly guiltless, he cannot afford to contradict the customer, nor to challenge him to a vocal duel. If he talks at all, he should talk quietly and reasonably, and always with the object of bringing the customer around to a favorable point of view.
The successful salesman must have tact and discrimination. He must know when and how to check in himself the word or phrase which is trying to force its way out into expression, but which would in the end prove inadvisable. He must train himself to choosequickly the right and best course under difficult circumstances.
The salesman should give his undivided attention to the customer. If the salesman is speaking, he should speak clearly, directly, concisely, and understandingly; if he is listening, he should listen interestedly and thoroughly, with all his powers alive and receptive.
The salesman should know when to speak and when to be silent. Some customers wish to be told much, others prefer to think for themselves. He is a wise salesman who knows when to be mute. Loquacity has often killed what otherwise might have been a good sale.
There is a certain tone of voice which the salesman should aim to acquire. It is neither high nor low in pitch. It is agreeable to the listening ear, and is almost sufficient in itself to win the favorable attention of the prospective buyer. Every salesman should cultivate a musical and well-modulated voice as one of the chief assets in salesmanship.
The salesman should cultivate dignity of speech and manner. People generally dislike familiarity, joking, and horse-play. It is well to assume that the customer is serious-minded, that he means business and nothing else. Needless to say, the telling of long stories, or personal experiences, has no legitimate place in the business of salesmanship.
There is a proper time and place for short story-telling. Like everything else it is all right in its appropriate setting. Lincoln used it to advantage, but once said: "I believe I have the popular reputation of being a story-teller, but I do not deserve the name in its general sense; for it is not the story itself, but its purpose, or effect, that interests me. I often avoid a long and useless discussion by others, or a laborious explanation on my part, by a short story that illustrates my point of view."
The salesman should resolve not to lose his poise and agreeableness under any circumstances. Irritability never attracts business. To say the right thing in the right place is desirable, but it is quite as important, though more difficult, to leave unsaid the wrong thing at the moment of temptation.
It is not the legitimate business of the salesman to force upon a customer what is really not wanted, but many times the customerdoes not know what he wants nor what he might be able to use. Hence the competent salesman should know how to influence the customer towards a favorable decision, using all honorable and approved means to bring about 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 to reach a right conclusion. Here it is that the salesman may fulfill one of 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 in every walk in life. But the salesman, more than most men, must have an exceptional degree of faith in himself and in what he has to sell.
This self-confidence, however, is a very different thing from boldness or obtrusiveness. Courtesy and considerateness are cardinal qualities of the well-equipped salesman, but boastfulness, glibness, egotism, loudness, andself-assertion, are as distasteful as they are undesirable.
The eloquence and persuasiveness of silence is nowhere better exemplified than in the art of salesmanship. One man says much, and sells little; another says little, and sells much. The reason for the superior success of one over the other is mainly due to the fact that he knows best how to present the merits of what he offers for sale, knows how to say it concisely and effectively, knows how to ingratiate himself, largely through his personality, into the good graces of the prospective buyer, and knows when to stop talking.
Modern salesmanship is based primarily upon common sense. A man with brains, though possibly lacking in other desirable qualifications, may easily outdistance the more experienced salesman. It is a valuable thing in any man to be able to think accurately, reason deeply, and size up a situation promptly.
The salesman should at all times be on his best talking behavior. It is not advisable for him to have two standards of speech, and to use an inferior one excepting for special occasions. He should cultivate as a regular dailyhabit discrimination in the use of voice, enunciation, expression, and language. This should be the constant aim not only of the salesman, but of every man ambitious to achieve success and distinction in the world.
There is a story of a politician who had acquired a mannerism of fingering a button on his coat while talking to an audience. On one occasion some friends surreptitiously cut the particular button off, and the result was that the speaker when he stood up to address the audience lost the thread of his discourse.
Gladstone had a mannerism of striking the palm of his left hand with the clenched fist of his other hand, so that often the emphatic word was lost in the noise of percussion. A common habit of the distinguished statesman was to reach out his right hand at full arm's length, and then to bend it back at the elbow and lightly scratch the top of his head with his thumb-nail.
Balfour, while speaking, used to take hold of the lapels of his coat by both hands as if he were in mortal fear of running away before he had finished.
Goshen, at the beginning of a speech, would sound his chest and sides with 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 usually unconscious of them, and would be the first to condemn them in others. The remedy for such defects lies in thorough and severe self-examination and self-criticism. However eminent a speaker may be with objectionable mannerisms, he would be still greater without them.
Every public speaker has certain characteristics of voice and manner that distinguish him from other men. In so far as this individuality gives increased power and effectiveness to the speaking style, it is desirable and should be encouraged. When, however, it is carried to excess, or in any sense offends good taste, it is merely mannerism, and should be discouraged.
There is an objectionable mannerism of the voice, known as "pulpit tone," that has come to be associated with some preachers. It takes various forms, such as an unduly elevated key, a drawling monotone, a sudden transition from one extreme of pitch to another, or a tone of condescension. It is also heard in a plaintive minor inflection, imparting a quality of extreme sadness to a speaker's style. These are all departures from the natural, earnest, sincere, and direct delivery that belongs to the high office of preaching.
Still another undesirable mannerism of the voice is that of giving a rising inflection at the close of successive sentences that are obviously complete. Here the speaker's thought is left suspended in the air, the hearer feels a sense of disappointment or doubt, and possibly the entire meaning is perverted. Thoughts delivered in such a manner, unless they distinctly require a rising inflection, lack the emphasis and force of persuasive speaking.
Artificiality, affectation, pomposity, mouthing, undue vehemence, monotony, intoning, and everything that detracts from the simplicity and genuine fervor of the speech should be avoided. Too much emphasis may drive a thought beyond the mark, and a conscious determination to make a "great speech"may keep the speaker in a state of anxiety throughout its entire delivery.
A clear and correct enunciation is essential, but it should not be pedantic, nor should it attract attention to itself. "What you are prevents me from hearing what you say," might also be applied to the manner of the speaker. Exaggerated opening of the mouth, audible smacking of the lips, holding tenaciously to final consonants, prolonged hissing of sibilants, are all to be condemned. Hesitation, stumbling over difficult combinations, obscuring final syllables, coalescing the last sound of one word with the first sound of the following word, are inexcusable in a trained speaker.
When the same modulation of the voice is repeated too often, it becomes a mannerism, a kind of monotony of variety. It reminds one of a street-piano set to but one tune, and is quite as distressing to a sensitive 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 unless they are specifically needed for the more complete expressionof a thought. 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 in order to "support" the speaker, to clutch the lapels of the coat, to slap the hands audibly together, to place the hands on the hips in the attitude of "vulgar ease," to put the hands into the pockets, to wring the hands as if "washing them with invisible soap," or to violently pound the pulpit—these belong to the list of undesirable mannerisms.
At the beginning of a speech it may give the appearance of ease to place the hands behind the back, but this position lacks force and action and should not be long sustained. To cross the arms upon the desk is to put them out of commission for the time being. Leaning or lounging of any kind, bending at the knee, or other evidence of weakness or weariness, may belong to the repose of the easy chair, but are hardly appropriate in 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-actingand impersonation, and violence and extravagance of every description may well be omitted in public speaking. Beware of extremes. Avoid a statue-like attitude on the one hand and a constant restlessness on the other. Dignity is desirable, but one should not forget the words of the Reverend 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 likely to call attention to the discrepancy, and to this extent will obscure rather than help the thought. The continuous use of gesture is displeasing to the eye, and gives the impression of lack of poise.
The young speaker particularly should be warned not to imitate the speaking style of others. What is perfectly natural to one may appear ridiculous in another. Cardinal Newman spoke with extreme deliberateness, enunciating every syllable with care and precision; Phillips Brooks sent forth an avalanche ofwords at the rate of two hundred a minute; but it would be dangerous for the average speaker to emulate either of these examples.
There is a peculiarity in a certain type of speaking, which, while not strictly a mannerism, is detrimental to the highest effect. It manifests itself in physical weakness. The speaker is uniformly tired, and his speaking has a half-hearted tone. The lifelessness in voice and manner communicates itself to the audience, and prevents all possibility of deep and enduring impression. Joseph Parker said that when Sunday came he felt like a racehorse, and could hardly wait for the time to come for him to go into the pulpit. He longed to speak.
The well-equipped speaker is one who has a superior culture of voice and body. All the instruments of expression must be made his obedient servants, but as master of them he should see to it that they perform their work naturally and spontaneously. He should be able while speaking to abandon himself wholly to his subject, confident that as a result of conscientious training his delivery may be left largely to take care of itself.
There are two essential qualifications for making an effective public speech.
First, having something worth-while to say.
Second, knowing how to say it.
The first qualification implies a judicious choice of subject and the most thorough preparation. It means that the speaker has carefully gathered together the best available material, and has so familiarized himself with his subject that he knows more about it than anyone else in his audience.
It is in this requirement of thorough preparation that many public speakers are deficient. They do not realize the need for this painstaking preliminary work, and hence they frequently stand before an audience with little information of value to impart to their hearers. Their poverty of thought can not be long disguised in flamboyant rhetoric and sesquipedalian words, and hence they fail to carry conviction to serious-minded men.
I would remind you that having something worth-while to say involves more than thorough preparation of the particular subject which the speaker is to present to an audience. The speaker should have a well-furnished mind. You have had the experience of listening to a public speaker who commanded your closest attention not only because of what he said, but also because of what he was. He inspired confidence in you because of his personality and reserve power.
It is often what a man has within himself, rather than what he actually expresses, that carries greatest conviction to your mind. As you listen to such a man speak, you feel that he is worthy of your confidence because he draws upon broad experience and knowledge. He speaks out of the fulness of a well-furnished mind.
It is important, therefore, that there should be mental culture in a broad way,—sound judgment, a sense of proportion and perspective, a fund of useful ideas, facts, arguments, and illustrations, and a large stock of common sense.
Every man who essays to speak in publicshould cultivate a judicial mind, or the habit of weighing and estimating facts and arguments. Such a mind is supposedly free from prejudice and seeks the truth at any cost. Such a mind does not want this or that to be necessarily true, but wants to recognize as true only that which is true.
In these days of multiplied publications and books of all kinds, when printed matter of every description is soliciting our time and attention, it is particularly desirable that we should cultivate a discriminating taste in our choice of books. The highest purpose of reading is for the acquisition of useful knowledge and personal culture, and we should keep these two aims constantly before us. It is noteworthy that men who have achieved enduring greatness in the world have always had a good book at their ready command.
If you are ever in doubt about the choice of books, you would do well to enlist the services of a literary friend, or ask the advice of a local librarian. But in any case, be on your guard against books and other publications of commonplace type, which can contribute nothing to the enrichment of your mind and life.
It is desirable that you should own the books you read. The sense of personal possession will give an interest and pleasure to your reading which it would not otherwise have, and moreover you can freely mark such books with your pencil for subsequent reference. It is also well to have a note-book conveniently ready in which to jot down useful ideas as they occur to you.
Here we come to the use of the pen. All the great orators of the world have been prolific writers in the sense of writing out their thoughts. It is the only certain way to clarify your thought, to test it in advance of verbal expression and to examine it critically. The public speaker should write much in order to form a clear and flowing English style. It is surprising how many of our thoughts which appear to us clear and satisfactory, assume a peculiar vagueness when we attempt to set them down definitely in writing.
The use of the pen tends to give clearness and conciseness to the speaker's style. It makes him careful and accurate. It aids, too, in fixing the ideas of his speech in his mind, so that at the moment of addressing an audience they will respond most readily to his needs.
A well-furnished mind is like a well-furnished house. In furnishing a house we do not fill it up with miscellaneous furniture, bric-a-brac and antiques, gathered promiscuously, but we plan everything with a view to harmony, beauty, and utility. We furnish a particular room in a tone that will be restful and pleasing to the occupant. We choose every piece of furniture, rug, picture, and drapery with a distinct purpose in view of what the total effect will be.
So with a well-furnished mind. We must choose the kind of material we intend to keep there. It should be chosen with a view to its beauty, power, and usefulness. We want no rubbish there. We want the best material available. Hence the vital importance of going to the right sources 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 wherever it may be found.
The second essential of an effective public speech is knowing how to say it. This implies a thorough training in the technique of speech.There should be a well-cultivated voice, of adequate volume, brilliancy, and carrying quality. There should be ample training in articulation, pronunciation, expression, and gesture. These so-called mechanics should be developed until they become an unconscious part of the speaker's style.
Your best opportunity for practice is in your everyday conversation. There you are constantly making speeches on a small scale. Public speaking of the best modern type is simply elevated conversation. I do not mean elevated in pitch, but in the sense of being launched upon a higher level of thought and with greater intensity than is usually called for by ordinary conversation.
In conversation you have your best opportunity for developing your public speaking style. Indeed, you are there, despite yourself, forming habits which will disclose themselves in your public speaking. As you speak in your daily conversation you will largely speak when you stand before 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 and articulation, and the mouth well opened so that the words may come out wholly through the mouth and not partly through the nose. Culture of conversation is to be recommended for its own sake, since everyone must speak in private if not in public.
One of the best plans for self-culture in speaking is to read aloud for a few minutes every day from a book of well-selected speeches. There are numerous compilations of the kind admirably suited to this purpose. The important thing here is to read in speaking style, not in what is termed reading style as usually taught in schools. When you practise in this way it would be well to imagine an audience before you and to render the speech as if emanating from your own mind. The student of public speaking will wisely guard himself against acquiring an artificial style or other mannerism.
Another good plan is to make short mental speeches while walking. When possible it is well to choose a country road for this purpose, or a park, or some other place where one's mind is not likely to be often diverted bypassers-by. Lord Dufferin, the eminent British orator, was accustomed to prepare most of his speeches while riding on horseback. The habit of forming mental speeches is a great aid to actual speech-making, as it tends to give the mind a power and an adaptability which it would not otherwise have.
The painter, the musician, the sculptor, the architect, and other craftsmen search out models for study and inspiration. The public speaker should do likewise, and history shows that the great orators of the world have followed this practise. You can not do better than take as your model the greatest short speech in all history, the Gettysburg Address.
An authority on English style has critically examined this speech and acknowledges that he cannot suggest a single change in it which would add to its power and perfection.
You recall the circumstances under which it was written. On the morning of November 18, 1863, Abraham Lincoln was travelling from Washington to take part next day in the consecration of the national cemetery at Gettysburg. He wrote his speech on a scrap of wrapping-paper, carefully fitting word toword, changing and correcting it in minutest detail as best he could until it was finished.
The next day after the speech had been delivered, Edward Everett, the trained and polished orator, said that he would have been content to have made in his oration of two hours the impression which Lincoln had made in that many minutes.
It will repay you to study this speech closely and to wrest from it its innermost secrets of power and effectiveness. The greatest underlying quality of this speech is its rare simplicity—simplicity of thought, simplicity of language, simplicity of purpose, and shining through it all, the simplicity of the great emancipator himself.
This simplicity is one of the great distinguishing qualities of effective public speaking. It is characteristic of all true art. It is subtle and difficult to define, but Fénelon gives a definition that will aid us when he says, "Simplicity is an uprightness of soul that has no reference to self." It is another word for unselfishness.
In these days of self-exploitation and self-aggrandizement, how refreshing it is to meet a man of true simplicity. We are won by his unaffected manner, his gentleness of argument, his ingratiating tones of voice, his freedom from prejudice and passion. Such a man wins us almost wholly by the power of his simplicity.
This supreme quality is noticeable in men who are said to have come to themselves. They have tasted and tested life, they have learned proportion and perspective, they have appraised things at their real value, and now they carry themselves in poise and power and confidence. They have found themselves in a high and true sense, and they have come to be known as men of simplicity.
Simplicity is not to be confounded with weakness or ignorance. It comes through long education. It does not mean the trite, or the commonplace, or the obvious. It is a strong and sturdy quality, is this simplicity of which I am speaking, and nothing else will atone for lack of it in the public speaker.
Longfellow calls it the supreme excellence, since it is the quality which above all others brings serenity to the soul and makes lifereally worth living. Every man should earnestly seek to cultivate this great quality as essential to noble character.
This speech is conspicuous for another indispensable quality for effective public speaking,—the quality of sincerity. It grows largely out of simplicity and is the product of integrity of mind and heart. Men recognize it quickly, though they cannot easily tell whence it comes. We find it highly developed in great leaders in business and professional life. There has never been a really great public speaker who was not preeminently a sincere man.
Beecher said, "Let no man who is a sneak try to be an orator." Such a man can not be. He will shortly be found out. The world's ultimate estimate of a man is not far wrong.
A politician of much promise was addressing a distinguished audience in Washington. The Opera House was crowded to the doors to hear him and apparently he was making a good impression upon all his hearers. But suddenly, at the very climax of his speech, while upwards of two thousand eyes were rivetted upon him, he was seen to wink at apersonal friend of his sitting in a nearby box, and at that instant his future political prospects were shattered as a vase struck by lightning. In that single instant of insincerity he was appraised by that discriminating 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 he wanted 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 up for shortage of ideas, no superfluous and big-sounding phrases, no empty rhetoric or glittering generalities.
How many speakers there are who aim at nothing and hit it. How many speakers there are who are on their way but do not know whither.
If this directness of quality were applied to talking in business, in committee meetings, in telephone conversations, in public speaking, it would save annually in this country millions of words and incalculable time and energy.
You will note that this speech has the rare quality of conciseness. We have an illustration here of how much a man can say in about 265 words and in the short space of two minutes, if he knows precisely what he wants to say.
It is well to bear in mind that although this speech was scribbled off with seeming ease, Lincoln owed his ability to do it to a long and painstaking study of words and English style.
He was a profound student of the dictionary. He steeped himself in words. He scrutinized words, he studied words, he made himself a master of words.
This is a valuable habit for every man to form,—to study words regularly and earnestly, and to add consciously to his working vocabulary a few words daily—so in the course of a year such a man will acquire a large and varied stock of words which will do his instant bidding.
The conclusion is a vital part of a speech. It is a place of peril to many a public speaker. Countless speeches have been ruined by a bad conclusion.
The most important thing here is that having decided beforehand upon the particularideas or message with which you intend to conclude your speech, not to let any influence lead you away from this preconceived purpose.
Some speakers are about to conclude effectively but are unwilling to omit anything which they have planned to give in their speech, and so continue in an endeavor to recall every item. At last such a speech has a loose and straggling ending.
The words of the conclusion need not be memorized, but the ideas should be definitely outlined in the mind and fixed in the memory, not as words, but as ideas.
The knowledge that you can turn at will to these definite ideas, and so bring your speech to a close, will confer upon you a degree of self-confidence which will be of immense service to you.
You should ever bear in mind this golden rule for the conclusion of your speech: When you have finished what you have of importance to say, do not be tempted to wander off into by-paths, or to tell an additional story, or to say "and one word more," but having finished your speech, stop on the instant and sit down.
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 are definite, simple, real, significant, forcible, expressive, adequate, musical, varied, and copious. Avoid those which are foreign, slangy, obsolete, unusual, extravagant, technical, long, colloquial, or commonplace.
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 your voice 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. Avoid carelessness, lifelessness, mumbling, weakness, and exaggeration.
Your pronunciation should be clear-cut and accurate. Avoid mouthing, lisping, hesitation, stammering, pedantry, omission of syllables, and suppression 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 that which 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, and natural. Avoid all gesture which is unmeaning, angular, abrupt, constrained, stilted, or amateurish.
Your facial expression should be varied, appropriate, pleasing, and impassioned. Avoid the unpleasant, immobile, and unvaried.
Let your standing position be manly, erect, easy, forceful, and impressive. Avoid that which is weak, shifting, stiff, inactive, and ungainly.
There is a well-defined prejudice against the importation of anything "theatrical" into the pulpit. The art of the actor is fundamentally different from the work of the preacher. At best the actor but represents, imitates, pretends, acts. The actor seems; the preacher is.
It is to be feared, however, that this prejudice has narrowed many preachers down to a pulpit style almost devoid of warmth and action. In their endeavor to avoid the dramatic and sensational, they have refined and subdued many of their most natural and effective means of expression. The function of preaching is not only to impart, but to persuade; and persuasion demands something more than an easy conversational style, an intellectual statement of facts, or the reading of a written message. The speaker must show in face, in eye, in arm, in the wholeanimated man, that he, himself, is moved, before he can hope successfully to persuade and inspire others.
The modified movements of ordinary conversation do not fulfil all the requirements of the preacher. These are necessary and adequate for the groundwork of the sermon, but for the supreme heights of passionate appeal, when the soul of the preacher would, as it were, leap from its body in the endeavor to reach men, there must be intensified life and action—dramatic action.
It is difficult to conceive of a greater tribute to a public advocate than that paid to Wendell Phillips by George William Curtis:
"The divine energy of his conviction utterly possest him, and his