W IT H U N I F O RM WRIT E R S THE J BY B E RG ES E NW E I N, . WRITI NG THE SH ORT S T ORY TH E S TAND ARD MA NUA L F OR A MA S - PR F J B RG RY 4 57 pp NA WR R NW N p stp id O E S S IO E . L ESE Cloth ; . A C Y S EI o P LE TE C SE a IN A N D S E L LI I TI E . ES E EI u o o . LITT D . , T UD YING THE S HORT S T ORY N MP MA RP W H ANA Y MAN H P BY J B RG NW N 4 70 pp p stp id Cl th ; - S IX TE E CO L E TE IT L S E S A ND E L OO . Y ES E EL S EI o a - OF ST FO ES E . O TE D EI I a: o D S AN D S T DE ITE . a I E C ES VE RS IFICAT ION AR Y A W RK N G HAN B K R WR R U N BY J B NW N MARY ROB R p stp id 3 23 pp Cl th A CL E ra e S TE o THE ART L E E DS T a: . . CTI O ST F I A M . THE PH O OPL . E ; TS E . o T! a T HE ART OF PUB LIC S PEAK IN T ORY WRIT ING AN N P R N G PRA A A R GU R WR NG H R F NA F RM B O K HA R A Y H W W BY J B NW N A ARNAG J B NW N MARY HAMB R p stp id 222 pp p stp id Cl th ; 5 26 pp Cl th ; THE T E CH NIQ UE OF THE M YS TE RY S TORY NY P N O H FA NA N G P PU AR F RM BY AR YN W W H N R U NW N ON BY J B RG p stp id 3 5 0 pp Cl th ; H E ART OF S DI Y ITE T AY OM OUR O N RU N WR NG NG J B RG NW N AR HUR 3 84 pp Cl th ; ill st t d ; p stp id WRITI NG L I B RA RY ’ ED ITE D TE U R AN D V OL U M E TH IS I DE F O E CT AL L S O T ES E EI . . - I TI I C TI O O L a D o . E TH E O S . OS ITI O F T IS A ND O O L OL E L LS C I T OD CTI , IT E O S a: D EI L S TH E AY EY LE C o a TI ES E o o . C TI C o S CI . LL E ESE . AND I . EX L I T T a o E DI TE D , O S C . S I EI a IN PREPARATION AD Y D U RING TH E TH E ART OF PLAYW RIT ING W RK N G M H O A MP R W H AB UN AN BY HAR N AN R W NW N W H HAP R BY J B p tp id Cl th ; RE CO O L E TE L TO C IT T E XE D IT TE C ET I CI S E S D S . . o D E S ES E EI a os A T PRE PARAT ION OW PR PAR M OR N R R A PROOF P UN UA BY J B RG NW N R HAR p stp id Cl th ill st t d ; FIRS T HAL F TO JOURNAL IS M HOR UGH N RU N B H N W PAP R MAGA N W RK BY RN N W N BAGG NW N W H HAP R BY J B p stp id C l th ; THE SI TE . o To , E D u E S ra e EI . a: . TE , E TC T DY . o a O E IT IN I ES T TE C C TI O ST AN D E S E OT O TO E S . . ES E EI a T S WORD B OOK A A A OG O RH M OR R W O WR J B NW N HAR M RR p st p id Cl th ; C T L AL L BY E o THE POE . IN ZI o TH E F CT , ES E E , E WAY T M NUS CRIP H OF 1 9 1 5 . . ES E ’ UE H EI F Y ES F I TE V E LE S a: C o OTHERVOLUMES TO B E ANNOUNCED SE o a O II T h e A r t o f Pu b lic S p e a k in g E S E NWE IN AU H OR O OW O A RA H N N AU HOR OR WR N WR N H HO OP A J B E RG . T H T G TH E S ITI ITI OL D A CT A ND TT “ F G T E Y, T ST - L Y, T P DIE ” CE , ’ ” E Tc . E TC , . , AND D ALE CARNAG E Y UC OR ORK B ROOK I NS TR N EW Y , T IN P UB H LYN, P THE AK N HA W LI C S P E IL AD E LP I I , WRITER S ’ E D ITED B Y J . B G, Y . M . c . A N I LMI NGTO . , HOO SC A ND B LS , A LTIMORE LIB RARY E RG E S E NW E I N THE HOME CORRE S POND E NCE S CHOOL S PRING FI ELD , MAS S PUB LIS HE RS . Co p yrig ht 1915 TH E HOM E CORRE S POND E NCE S CH OOL ALL RI G HTS RE S E RV E D M AR 8 M 5 (D G AS S S S OS F A RT H U R . F E L L OW - M E T C AL F W ORK E R A N D - F RI E N D T abl e THIN GS To THI NK OF of C o n te n ts — FIRS T A FORE WORD — CHAPTE R I ACQ UIRI N G CONF m E NCE B E F ORE AN AUDIE NCE — CHAPTE R II THE S IN OF M ONOTONY — CHAPTE R III EFFICIE NCY THROU GH EMPHAS IS AND S UB ORDINATI ON — CHAPTE R IV EFF ICIE NCY THROU GH CHANGE OF CHANGE OF PITCH — CHAPTE R V EFFICIE NCY THROU GH — CHAPTE R VI PAU S E AND POWE R — CHAPTE R VII EFFICIE NCY THROU GH INF LE CTI ON — CHAPTE R VIII CONCE NTRATION IN D ELIVE RY FORCE — CHAPTE R X FEELIN G AND ENTH US IA S M — CHAPTE R XI FLU E NCY THROU GH PRE PARATION — CHAPTE R XII THE V OICE CHAPTE R XIII—V OICE CHARM — CHAPTE R XIV D IS TINCTNE S S AND PRE CIS ION UTTE RANCE — CHAPTE R XV THE TRU TH AB OU T GE S TURE — CHAPTE R XVI ME THODS OF D ELIV E RY CHAPTE R IX - OF 55 69 VIII TAB LE T T OF CON E N S — CHAPTE R XV II THOU GHT AND RE S E RVE POWE R — CHAP TE R XVI II S UB JE CT AND PREPARATION — CHAP TE R XIX INF L U E NCIN G B Y EXPOS I TION — CHAPTE R XX INF LU E NCIN G BY — CH AP TE R XXI INFLUE NCIN G D E S CRIP TION BY — CHAP TE R XXII INF LU E NCING BY — CHAPTE R XXII I INF LUE NCIN G — CH APTE R XXIV I NF LUE NCIN G — CHAP TE R XXV I NF LU E NCING NAF RATION S U GGE S TION BY BY THE ARGUME NT PE RS UA S ION CROWD — CHAP TE R XXVI RI D IN G THE WINGE D HORS E — CHAP TE R XX VII GROWING A V OCAB U LARY — CHAPTE R XXV III ME MORY TRAI NI NG . — CHAP TE R XXIX RI GH T THI NKING AND . PE RS ON ALITY — CHAP TE R XXX AFTE R D INNE R AND OTHE R OCCA S I ONAL S PE AKIN G — CH APTE R XXXI MAKI NG CONVERS ATION EFFE C TIVE — AP PE NDIX A FIFTY QUE S TIONS F OR D EB ATE — APPE NDIX B THIRTY THE ME S FOR S PE E CHE S WITH S OURCE RE FE RE NCE S — APPE NDIX C S U GGE S TIVE S UB JE CT S F OR S PEE CHE S ; HINT S F OR TRE ATME NT — APPE NDIX D S PEE CHE S F OR S TUDY AND PRACTIS E - , - 394 T hin g s to T hin k of A FOREWORD Fir st m m book is like tha t of a a n in one i rd its sub j ec t is the fir st i o n r p c t a i u d t o w a t : r a t es e s t t t e t p A book a y b e ful l of good id ea s well so urc e of its p ower the wrong exp ressed but if its wri ter vi ews his sub j ec t fro llent a dvic e ay prove to be in effective a ngl e ev en his exc e k sta n ds or fa ll s b y its a utho rs a tti tu de to wa rd Thi s b oO If the b est wa y to tea ch oneself or others its sub j ec t to sp ea k effec tively in p ub l ic is to fil l the ind wi th rul es a nd to set up fix ed sta n da rd s for the in terp reta tion of / a ki ng of g es th o ught the u ttera nc e of la ng ua g e the tures a nd a ll the rest then thi s boo k will b e li ited in va lue to such stra y idea s throughout its p a ges a s a y — prove help ful to the rea der a s a n efi ort to enforc e a group of principl es it ust b e reckoned a fa ilure b eca use it is th en untru e It is of so e i p o rta nc e therefore to tho se who ta k e ind tha t they sho ul d see up thi s volu e wi th o p en clea rly a t the out sta rt wha t is the tho ught tha t a t onc e underlies a nd is b uilded through this structure I n p la in wo rds it is this : Tra ining in pub lic sp ea king is not a a tter of ex tern a l s —pri a rily ; it is not a a tter of iniita tion funda en — ta lly ; it is not a a tter of co nfo r i ty to sta nda rds a t a ll Pub lic sp ea ki ng is p ub lic u ttera nc e p ub l ic i ssua nc e of the a n hi self ; therefore the first thing both in ti e a nd in i porta nce is tha t the a n shoul d b e a nd think a nd f eel thing s tha t a re wo rthy of b eing given fo rth The effici ency of a , m m . , m . ’ m m . , , , , m mm m , m m , . , m , - . . m m m m m mm m m , w m m , . THE ART OF PU B LI C S PE X AKING mh ng of v lu i n no ick of ining v m k of lk n ing m o h n — mch n lb i ghly p f c d m d liv y of o h m n good l f d v l opm n fund m n l in pl n cond p inci l li lo fi u mm n h on ill ul ov o ugh f ling hy ic l p o h ou lf mgiv u nh m p d x ion inn fu il do n y m of ul voic cul u on ion g u h unl h p incipl of h ving om ng mking ill ov ign mk h mlv f l in lif h v l b g un d p incipl i ll um i ou no pu l n p k do fi p k N b h m m lik vicio u ci cl in mn ill b x m in ion M ny c v b g un i in fo nci n ui m h l n do by doing Un l ess h ere tra a er a e e t er e a e t e a hi ’ e our a s a , se e - s t re a chia te So . tr h t y er a er e s w thi e the ta a er ta i et s ca n e i a o be t a for the t is e e . " The se e t a ll r e , a a ere to la y at e w w to e to o one ca n ea r how to sta te e at an a e t tr e we s r , s s e t at ese es two ere s dis te : rst s s ea r . as e . Va . ea r es se w th the how we r in e a at re, we the es not e e, t e se, a r see ea r e a e se who ea t the w a t ay t, b ut it w tea hers ha a It is T . w t t e r e p e It is for ess s, a nd ay . st an ee se er es e a e ca n r sa y a nd r he ter a t not, The thir est the s The t, his to the ste s rst : his th at r ess p ethi ea st t so to t he se er e est re , a n d s e at r w ers, a s a a ssert, to es C e p his w his p fect, t r to ef . rt ! The first thing for the b eginner in public sp ea king is to sp ea k not to stu d y voic e a nd g estu re a nd the rest Onc e he ha s prove hi self by self ob serva tion or sp o k en he ca n i a cco rding to the c ri tici s s of th o se who h ea r B ut how sh a ll he b e a b l e to cri tici se hi self ? S i ply by finding out three thing s : Wha t a re the qua li ti es which by co on consent go to a ke up a n effec tive sp eaker ; by wha t ea ns a t lea st so e of these qua lities ay b e self a nd wha t wrong h a bi ts of sp eec h in hi a cquired ; wo rk a g a in st his a c q ui ring a nd u sing the q u a li ti es which he finds to b e good m m m m m m m m . . - m . m m m THINGS TO Exp eri enc e, then , is not THINK OF FIRS T XI only the b est tea cher but the first a nd the la st B ut exp erience ust b e a dua l thing ust b e used to supp l e ent the exp eri enc e of o thers correct a nd justify our own exp erienc e ; in this way we e our own b est cri tic s o nl y a f ter we ha v e sh a ll b eco tra in ed o urselves in self knowl edg e the knowl edge of wha t o ther inds thi nk a nd in the a bi lity to ju dge our e to b eli ev e a re selv es by the sta ndard s we h a ve co “ If I o ught sa id Ka nt I ca n right An ex a in a tion of the conten ts of this volu e wi ll show how con sisten tly these a rticl es of fa ith h a ve b een de The stud ent is urg ed cla red exp o und ed a nd illu stra ted Then he is to b egin to spea k a t onc e of wha t he kno ws given S i ple suggestions for self control wi th gra dua lly increa sing e pha sis upon the p ower of the inner a n over Next the way to the rich storehouses of the o uter And fina lly a ll the whil e he is a teri a l is p ointed out urg ed to sp eak spea k S PEAK a s he is a pplying to his own ethod s in his own persona l wa y the p rincip l es he ha s ga thered fro his own exp eri enc e a nd ob serva tion a nd the reco rded exp eri enc es of o thers S o now a t the very first let it b e a s cl ea r a s light tha t a tters ; tha t the full ind the eth od s a re seconda ry wa r h ea rt the do in a nt will a re p ri a ry a nd not o nl y r r i r t f o n l s s i p o u n u b u t a a e t b e a full b eing tha t ; p y uses the ethods it will b e lik e dressing a wooden wag e in the clothes of a a n R B E G E S E N W EI N J NARB E RTH PA JANUARY 1 1 9 1 5 m m , m , , , m . . , , m m m m m - m . m m . , . m - , , . . , , , m , , . m m m m m m m m m m , m , m . . . , , , . . , THE ART OF PUBLI C S PEAKING m m m mm ns nev r fa ils to g ive the tha t have it Wo rds enough to a k th unde stood It too oft n ha p p ens in so conver sa ti ns s in Ap othec a ry S hop s tha t tho s Po ts th t a e E p ty a ll V a lu in th or ha v Things of s a re a s ga udily D ress d a s those th t a e full of p e ci ous D ru gs Th y tha t soa r t a king l w and high often f ll h rd l vel D w lling p fer bl e The ta llest T e s a e ost in the Power of th Winds nd A b itiou s M n of the B l sts of Fortun B uil dings ha ve n d of g ood Fou nd a tion tha t lie so uch e p ose d t the We ther —WILLIAM PE NN Se e e o e r e , a e a e m . r e oo re e e , a . a ee o e m a a m r , ’ , . , a e e , r e e , a a , r e e mm m a r a , o e . x . . CHA PTER I A CQU IRI N G CON F I D E N C E B E F ORE A N A U D IE N C E nsa tion oft n xp i nc d in th p nc of n udi nce It y p oc d f o th g of th ny yes th t tu n up on th p k p ci lly if h p r i ts hi s lf to M ost p a k rs h v b n con ciou tu n th t g stea dily of this in n less th ill l so thing p v ding th t o t ngibl v n c nt ind crib bl All writ rs h v ph bo n t ti ony t th p ow of p k s y in i p essing udi nc This influ nc which w n w con id ing is n v of th t p i tur th p ow th i y x rt th y up on hi h b gin t ft th inw rd p k p ci ll y b fo fires of o tory f nn d into fl y of th udi nc th l o ll t o WIL LIAM PITTE NGE R E t p S p h There is a e a a ere , r e a m m r e e a es a re ra err er c a e r e a es e re a s e m s a e - . , ’ a e a re s s s e a m m a ea : a es er m e e x e er s o e e r e e r e e e er o s a ee . er e e e rese e e er , ea e e e a a e b e e e , e e m , a rea e e m s es e a a m m m m e e aze e e . , . erse se a r e m r ee er , es a ze o e re ea a a r er e e e a . e, es a m e se e s a e ng r re a a stra es a e eec S tu den ts e a e a ore e e e . of pub lic sp eaking continua lly a sk How ca n I overco e self con sciousness a nd the fear tha t p ara lyzes e b efo re a n a udienc e ? D id yo u ever no tice in l ooking fro a t ra in Windo w th a t so e horses f eed n ea r the tra ck a nd n ever even pa use to look up a t the thundering ca rs while just ah ea d a t the n ex t ra ilro a d cro ssing a f a r er s wif e will be n ervo u sly trying to qui et her sca red h o rse a s the train go es by ? How woul d yo u cure a horse tha t is a fra id of c a rs—graze hi in a b a ck woods lot wh ere he wo ul d n ever see stea engin es or a uto obil es or drive or pa sture hi where he woul d frequen tly see the a chin es? App ly horse sen se to ridding yourself of self conscio us ness a nd fea r : fa ce a n a udience as frequently a s yo u ca n m m , - m m m , ’ m m - - , m m m - , THE ART OF PUB LIC S PE 2 AKING you will soon stop shying You can n ever a tta in free do fro sta g e frigh t by rea ding a trea ti se A book ay give yo u exc ell ent suggestions on how b est to conduc t yo ur ust g et wet p er sel f in the wa ter b ut soon er or l a ter yo u hap s even stra ngl e a nd b e ha lf sca red to dea th There wetless b a thing suits wo rn a t the sea a ny a re a grea t in th e To plunge sh ore b ut no one ev er l ea rn s to swi is the o nl y wa y Pra cti se pra ctise PRACTI S E in sp ea king b efo re a n ove a ll fea r of a udienc es just a u dienc e wil l tend to re ing will l ea d to confidenc e a nd a s p ra c tic e in swi fa cili ty in the wa ter You ust lea rn to sp ea k by sp eaking The Ap o stl e Pa ul tell s us th a t every a n ust work out his own sa l va tion All we ca n do h ere is to ofi er yo u sug g estions a s to how b est to prep are for yo ur plunge The rea l plu ng e no one ca n ta k e for yo u A doc tor a y p re sc rib e b ut you ust ta k e the edicin e D o not b e dish earten ed if a t fir st yo u suffer fro sta g e fright D an Pa tch wa s ore su sc ep tib le to suffering th a n a sup era nn u a ted dra y h orse wo ul d b e It n ev er hu rts a foo l to a pp ea r b efo re a n a u di enc e for his ca p a ci ty is not a c a p a ci ty for f eeling A b l ow tha t woul d ki ll a Civil iz ed a n soons h ea l s on a sa v a g e The high er we go in the sca le of life the grea ter is the ca pa city for suffering For one rea son or a no th er so e a ster sp ea k ers n ev er en tirely overco e sta ge frigh t b ut it will p a y yo u to sp a re no p a in s to con q u er it D a niel Web ster fa il ed in his first a pp ea ra nce a nd ha d to ta ke his sea t wi tho ut fini shing his sp eech b ec a u se he wa s n ervo u s Gl a d ston e wa s often tro ub l ed wi th self con scio u sn ess in the b egi nning of a n a d mm and m . - . m , m , . m m . , . m m m m , , . , mm . . m m . m , m m . . . . , m . . mm , m , - , . . - . - THE ART OF PUB LIC S PE 4 AKING quiesc ence I f the thea ter ca ught fi re yo u co ul d rush to the sta g e a nd sh o ut direc tion s to the a u dienc e wi th o u t a ny sel f con scio u sn ess for the i p orta nce of wha t yo u were ind sa ying wo ul d drive a ll f ea r th o ugh ts out of yo ur Fa r worse th a n self con scio u sn ess thr o ugh fea r of doing p oorly is self consciousness through a ssu p tion of doing well The first sign of grea tness is wh en a a n do es not p t to look a nd act grea t B efore yo u ca n c a ll your a tte ust not l ook a n a t a ll Kipling a ssures us yo u self a too good nor ta lk too wi se No thing a dvertises i tself so th oro ughly a s conc ei t One p ty V oltai re sa id We a y b e so ful l of self a s to b e e ust concea l self love B ut tha t ca n not b e done You know this to b e true for yo u ha ve recogni zed overweening I f yo u h a ve it o thers a re seeing it in self l ove in o th ers yo u There a re thing s in this worl d bigger tha n self a nd — in working for the self wi ll b e forgo tten or wha t is b etter re e b ered only so a s to help us win towa rd higher thing s . m - , ' m - m m - - - m m . . m . , , . m m m . “ . , - . . , - . . - mm , m , , m . Ha ve S o The tro ub l e wi th ething mny p h i m ind to S a y k ers is tha t they go b efore It is no wonder s a b l a nk a n a u di enc e wi th t e r fil l s th e wi th the n ea rest th a t n a ture a b h o rring a va c uu “ I wonder thing h a ndy which g en era lly h a pp en s to b e if I a doing this right ! How do es y h a ir look ? I know I sha ll fa i l Their p rophetic so ul s a re sure to b e righ t — It is not eno ugh to b e a b sorb ed by yo ur sub j ec t to ust ha ve so ething in which a cquire self confi dence yo u to b e confid en t I f yo u go b efo re a n a u dienc e wi th o u t a ny s ea m m m . , , m a , , . . m - . m ACQ UIRING F F CON IDE NCE B E ORE AN AUDIENCE 5 prepara tion or previous k nowledge of y our subj ect yo u — o ught to b e self conscious y ou ought to b e a sha ed to Prepa re yo urself Kno w e of y o ur a udienc e stea l the ti Wha t you are going to ta lk a bout a nd in genera l how you Ha ve the first few sen tenc es worked a re going to say it h t r o l e t e ly s t a y o u a n o t b e t o u b l e d in out co t h e p y b eginning to find words Know y our subj ect b etter tha n y o ur hea rers know it and y ou have no thing to fear m , , m - . . , m , , m . . . , After P repa ring f or m m ct I t S uccess , E xpe m your b earing b e odestly confi dent but o st of odestly confident within Over confi dence is a ll b e b a d but to to l era te p re oni tion s of fai lure is wo rse for a bold a n a y Wl n a ttention b y his very b ea ring whil e a ra bbi t hea rted cowa rd invi tes di sa ster Hu ihty is not the p erson a l di scoun t tha t we ust — off er in the presenc e of o thers again st thi s ol d inter o st hea lthy odern rea ction p reta tion there ha s b een a True hu ility a ny an who thoro ughly knows hi self ust feel ; but it is not a hu ili ty tha t a ssu es a wor like eekn ess ; it is ra ther a strong vibra nt prayer for grea ter p ower for service a pra yer tha t Uria h Heep coul d never have uttered Washing ton Irving once introduced Cha rles Dickens a t a dinn er given in the l a tter s h ono r In the iddle of his sp eech Irving h esita ted b eca e e b a rra ssed a nd sa t down a wkwa rdl y Turning to a fri end b eside hi he ” re a rked There I tol d yo u I woul d fa il a nd I did If you b elieve yo u will fa il there is no hope for you You will m mm m Let , , - . , , m - . m m m m m m — m m m m . , . ’ m mm m . , m , . , , , , . . . 6 THE ART OF PUB LIC S PE AKING mpoo —o m— dust idea You a re a god wi th infini te c a p a bili ti es All thing s a re i nd b e so rea dy if the The ea gl e l ooks the cl o u dl ess sun in th e fa c e Rid yo urself of this I - m a a - - r w r , - in the - . . . ‘ . mM Assu e a stery Over Your Audience In pub lic sp ee ch a s in electricity there is a p o si tive Ei th er yo u or yo ur a u dience a re a nd a n ega tive fo rc e going to p o ssess the p o sitive fa cto r If yo u a ssu e it yo u ca n a l o st invaria b ly a ke it yo urs I f yo u a ssu e the n eg a tive yo u a re sure to b e n eg a tive Assu ing a virtue or a vic e vita liz es it S u on a ll yo ur p ower of self direction a nd re e b er tha t tho ugh yo ur a udi ence o re i p orta nt tha n yo u the truth is ore is infinitely i p orta nt th a n bo th of yo u b ec a use it is eterna l I f yo ur ind fa lters in its l ea dership the sword will drop fro yo ur ha nds Your a ssu p tion of b eing a b le to in stru ct or lea d or insp ire a ul titude or even a s a ll gro up of people — pudence a s indeed it a y a pp a ll yo u a s b eing co l o ssa l i ay b e ; but h a ving onc e essa yed to sp ea k b e co ura g eo u s — BE co ura g eo u s it li es wi thin yo u to b e wha t yo u will MAKE yo urself b e cal a nd confident Reflec t th a t yo ur a u dience will not hurt yo u I f B eecher in Liverp ool ha d sp ok en b ehind a wi re screen he woul d h a ve inv i te d the a u dienc e to throw the over rip e i ssiles wi th which th ey were lo a ded ; but he wa s a an — confronted his ho stile hea rers fearlessly a nd won the I n fa cing yo ur a udience pa use a o en t a nd loo k the — over a hundred cha nces to one th ey wa nt yo u to succ eed ; e p erh a p s for wh at a n is so foo li sh a s to sp end his ti , , m m m . m m mm mm . - . . m m . , m m , . , m m . m m m m m m . , m . . . m m m m - , m , mm . m , ACQ UIRIN G ' his m ol tr not AUDIE NCE 7 mn in the hope that you Will waste his invest oney, Do CONFIDE NCE B EF ORE AN mk a e haste to — b gin h hows la ck of aste s e e t con . pologize It ought not to be necessa ry ; and if it is it will not help Go straight ah ea d Ta ke a d eep b rea th relax a nd b eg in in a qui et con v ersa tiona l ton e as th o ugh yo u were spea k ing to one larg e fri end You will not fi nd it h a lf so b a d as y o u i agin ed ; rea ll y it is l ik e ta king a co l d plung e : af ter yo u a re in I n fa ct having sp oken a few ti es you the wa ter is fi ne Will even a nti cip a te the plung e wi th exh il a ra tion To a k e th e th ink yo ur sta nd b efore a n a u dienc e a nd th o ughts a fter yo u is one of the grea test pl ea sures yo u ca n Instea d of fea ring it you ought to be as ever kn ow a nx io us a s the fox h oun ds straining a t th eir l ea sh es or the ra c e h orses tugging a t their rein s — S o ca st out fea r for f ea r is cowa rdly when it is not a stered The b ra v est know f ea r but th ey do not yi el d — to it Fa c e your a udienc e pluckily ii yo ur kn ees quak e MAKE th e stop I n yo ur a udi enc e li es so e vic tory for yo u a nd the ca u se yo u rep resent Go win it S uppose Ch arl es Martell ha d b een a fra id to h a er the S a ra c en a t To urs ; supp o se Co lu b us ha d feared to ventur e out into the unknown West ; supp o se our forefa th ers ha d b een too ti id to opp o se the tyrra ny of Geo rg e the Third ; supp o se th at a ny a n who ever did a nything worth wh il e ha d b een a coward ! The worl d owes its progress to the Do not a . . . , , , m m . , . , m . m , . , , . m , . , m . m . . m m m m m . , THE ART 8 m A OF PUB EIC S PE KIN m G ha ve da red a nd you ust dare to sp ea k the — for often efi ectiv e wo rd th a t is in yourth ea rt to sp ea k it req uires coura ge to u tter a jsing le sentenc e But t e ber tha t en erect no onu ents a nd wea ve no e la urels for th o se who fea r to do wha t they ca n Is a ll thi s un sy p a th etic do yo u say? Ma n wha t yo u n eed is not sy p a thy but a push No p era en t a nd nerves a nd ill ness a fi d one do ub ts th a t te odesty ay singly or co bined ev en p ra i sew o rthy c a use the sp ea ker s ch eek to b la nch b efore an a udience but n eith er ca n a ny one do ub t th a t coddling wi ll agnify this wea kn ess The vic to ry li es in a fea rl ess fra eof ind S u cc ess or fa i lure in b usi Prof Wa l ter D ill S co tt sa ys : ness is ca used ore by enta l a ttitude even th a n by en B a ni sh the fear a tti tu de ; a c q uire the con ta l c a p a ci ty And re e b er tha t the only way to fident a ttitu de — to acquire it a c q ui re it is en who , v m mm m m mm m m mm . . , , , . m , , m mm m ’ , . . . m m mm - . . . I n this fo unda tion cha p ter we ha ve tri ed to strike the uch tha t is to foll ow Ma ny of th ese idea s will ton e of ore sp ecifi c way ; but b e a plifi ed a nd enfo rc ed in a th ro ug h a ll th ese ch a p ters on a n a rt Wh ich Mr Gl a d stone b eli eved to be ore p owerful tha n the pub lic press the no te of justifiable self confidence ust so und aga in a nd m m m . m . m - QUES TI ONS I . 2 . AND EX ERCI S ES Wha t is the c a use of self con sciousn ess? Why are a ni a ls free fro it? m - m , . ACQ UIRIN G F F AUDIENCE CON IDE NCE B E ORE AN 9 W yo u ob v ion g di g l f con cio u s s 3 ness in chil dren ? Why a re you free fro it under the stress of un 4 uS ual exci te en t? fl do s od era t x ci t n a e c yo u e H o w e e e e t t ? 5 Wha t a re the two funda enta l requi si tes for the 6 ore i p ortant? a cquiring of self confi dence? Which is the f f h Wh a t e e c t do es confid e nc e on t p r of e a t the 7 sp ea ker h a ve on the a udi enc e ? Wri te out a two inute sp eech on Confidenc e a nd 8 Cowa rdice a t fl e c t a t s t t W h do h bi of h o u g h h v on confi nc e a d e e e ? 9 In this conn ection rea d the chap ter on Right Thinking ” a nd Person a l i ty Write out very b ri efly a ny exp erience y ou ay have 10 ha d involving the tea ching s of this cha p ter II Give a three in ute ta lk on S ta g e Frigh t in cluding a (kin dly) i ita tion of two or ore vic ti s ha t . is ser a t r m m m m m . . re a r . - n se - mm . - . m . . m . . m m - . . m m - , . CH APTER II TH E One da y E nnui wa s S IN OF M ON OTONY b o rn fro mn m i —M m U ifor ty o . Our Engli sh ha s m cha nged wi th the yea rs so th at a ny word s now conno te ore th a n th ey did origin a ll y This is “ onotonous Fro ha ving but one tone tru e of the wo rd ore b ro a dly la ck of vari ation it ha s co e to ea n The ono tono us sp ea k er not only dron es al ong in the e vo lu e a nd p i tc h of ton e b ut u ses a lwa ys the sa sa e — h a s ph a s i t e s e s p ee d t h e a t h o u g h s e ts or dis e p en ses with tho ught a ltogether Mono tony the ca rdin a l a nd o st co on sin of the pub — lic sp ea k er is not a tra n sgression it is ra ther a sin of o is sion for it con si sts in living up to the co nfession of the Pra yer B oo k : We ha ve l eft undone th o se thing s we o ugh t to ha ve done E erson sa ys The virtu e of a rt li es in d eta ch en t in sequestering one ob j ec t fro the e b arra ssing vari ety — r Th a t is ju st Wh a t the ono tonous sp ea ke fa ils to do he do es not deta ch one th o ught or phra se fro a no ther th ey a re a ll exp ressed in the sa a nn er e ono tono us ay ean To tell yo u th a t yo ur sp eech is — very li ttle to you so let us l ook a t the na ture and the — cur se oi ono tony in o ther spheres of life then we S ha ll ore ful ly how it will b light a n otherwise good a pp reci a te m m mmm m m m m m , m . . , . , , m m m m m . , m , , m m mm m m m m m , . m , mm m . , , THE ART OF PU B LIC S PE 12 — tono u s it is the l ong rows of b rown AKING : m m one fronts a nd the iles of p a ved streets tha t a re so terrib ly sa e Na ture in her wea lth gives us endless va ri ety ; a n wi th his li itat ion s is often ono tonous Get ba ck to n a ture in your ethods of speech a king The p ower of va ri ety l ies in its pl ea sure giving qu a li ty The grea t tru th s of the worl d h a ve often b een co u ch ed in — fa scina ting stories Les Misera b les for insta nc e If yo u wi sh to tea ch or influenc e en yo u ust please the first or la st S trik e the sa e no te on the pia no over a nd over a ga in This will give yo u so e idea of the displea sing j a rring effect ono tony ha s on the ea r The dic tiona ry d efines ono tonous a s b eing synony o us wi th weari Th a t is pu tting it il dly It is a ddening The e so dep a rt ent store prince do es not disgust the pub lic by ” pl a ying on ly the one tune Co e B uy My Wares ! He gives recita ls on a orga n a nd the pl ea sed people n a tura lly sl ip in to a b uying ood m m m - st . m m . - . - . m m “ , , m . m , m . m m m m . , m m . m m m . . - , . , How m to Conquer . Monotony We obvi a te ono tony in dress by replenishing our wa rdrob es We a void ono tony in sp eech by ul ti plying our p owers of sp eech We ultiply our powers of sp eec h by inc rea sing our too l s The ca rp en ter ha s sp ecia l i pl e ents wi th which to construc t the severa l pa rts of a b ui lding The orga ni st a nipul a tes to p ro ha s c erta in keys a nd stop s which he duc e his ha r onies a nd effec ts I n lik e a nner the speaker a nd by ha s c erta in instru en ts a nd tool s a t his co which he b uil d s his a rg u ent plays on the feeling s a nd . m m mm m . m . . m m m . m , m m , S IN OF TH E m T MONO ON Y I3 guides the beliefs of his a udienc e To give yo u a concep tion of th ese in stru ents a nd pra c tic a l help in l ea rning a re the purp oses of the i edi a tely fo ll owing to use the ch apters Why did not the Children of I sra el whirl through the desert in li ou sines a nd why did not No a h ha ve oving picture enterta in ents a nd ta lking a chin es on the Ark? The la ws tha t ena b l e us to op era te a n a uto obil e p ro duce oving p ictures or usic On the V ictrola woul d have worked just a s well then a s they do toda y It wa s ignora nc e of la w tha t for a ges dep rived hu a nity of our odern convenienc es Ma ny sp ea kers still use ox ca rt n l oyi g a uto obile ethods in their sp eech i nstea d of e p They a re igno ra n t of l a ws or ov erl a nd exp ress ethod s a ke for effi ci enc y in sp ea king Just to the extent tha t tha t y o u rega rd a nd use the l a w s tha t w e a re a bo u t to ex a ine a nd l ea rn how to use will y ou ha ve effici enc y a nd force in y our sp ea king ; a nd just to the ex ten t tha t y o u disrega rd the will y o ur sp ea king b e feeb le a nd ineffec tive We ca nno t i p ress too thoroughly up on y o u the necessity for a rea l working a stery of these p ri n cip les Th ey a re the very founda tion s of su cc essful sp ea king ” Get y our p rincipl es right sa id Na p ol eo n a nd the rest is a a tter of d eta il It is usel ess to sho e a dea d h o rse a nd a ll the so und principles in Christendo will n ever a k e a live sp eech out of a dea d one S o let it b e understood tha t pub lic sp ea king is not a a tter of a stering a few d ea d rul es ; the ost i p orta nt law of public sp eech is the necessity for truth fo rce feeli ng a nd l ife Fo rget a ll el se but not thi s m . m m , , . m m m , m - , m m m , , m m m m m m - m m . . - . . m m . m . . ~ m , , . m m m , m . mm , , , . , . R THE A T OF PU B LIC S PE I4 m AKING m When yo u ha ve a stered the echa nic s of sp eech out l ined in the n ext few cha pters you will no l ong er b e troub led wi th onotony The co pl ete k nowl edge of these prin cip les a nd the a bi li ty to a pply th e will g 1v e yo u grea t va riety in y our p owers of exp ression But they ca nno t be a stered a nd a ppl i ed b y thinking or rea ding a bo u t — yo u ust pra c ti se pra ctise PRACTIS E I f no th e — yo u ust one el se wi ll l i sten to yo u l i sten to y o urself a lwa y s b e y o u r own b est c ri tic a nd the sev erest one of a ll The tech nic a l p rincipl es tha t we lay down in the foll ow ing cha p ters a re not a rbitra ry crea tions of our own They a re a ll fo u nd ed on the p ra ctic es th a t good sp ea k ers a nd — n a tura lly a nd unconsciously or a c to rs a dop t ei th er — und er in struc tion in getting their efl ects It is u sel ess to wa rn the stu d en t th a t he u st b e na tura l To b e n a tu ra l a y b e to b e ono tono u s The li ttl e stra w b erry up in the a rctic s wi th a few tiny seeds a nd a n a cid ta ng is a n a tura l b erry but it is not to b e co p a red wi th The dwa rfed the i p roved va ri ety th a t we enj o y h ere oa k on the roc ky hi ll sid e is n a tura l b ut a p oo r th ing co p a red with the b ea u tiful tree fo und in the rich oi st — bo tto l a nds B e na tura l but i prove yo ur na tura l gifts un til yo u ha ve a ppro a ch ed the idea l for we ust in frui t tree a nd sp eech striv e a f ter idea li z e d n a ture m m . m m m m . m . , , , . , . . m m m m . . m , . , m m . , , QUE S TI ONS I . 2 . 3 AND EXE RCI S E S m Wha t a re the c a u ses of ono tony ? Ci te so e in sta nc es in n a ture a n s d a i ly lif e Ci te in sta nc es in m m . ’ . . , , , . m m m . S IN OF 4 cases mof lou omp m ng D escrib e . . Rea d o s e the T MONO ON cts of effe Y I 5 m ono ony in bo h t t ch without paying partic ula r tion to its ea ni a tt en or forc e 6 Now rep ea t it a fter yo u ha ve thoroughl y a ssi ila ted I ts a tter a nd sp iri t Wha t difference do yo u no tic e in its rendition ? i s t Wh y ono ony one of the worst a s well a s one 7 of the o st co on fa ults of sp eakers? 5 . m a d s e s . . . m m m m ee . m CHA PT ER III E FF I CIE N CY TH ROU G H E MP HAS I S AND S U B ORD INA TI ON m o d th p rincip l of p h sis d s foll o w b in g p a ticul rul s b ut by b ing full b st n t by — of a p ticul f ling C S B AL DWIN W iting nd S p king In e w a r re o , ar mm e e , ar e ee e a r er . I ar e . m e , r , e a ea . The g un tha t sc a tters too u ch do es not b a g the birds The sa e p rincipl e a ppl ies to sp eech The sp ea k er tha t m m . m m m m . fires his forc e a nd e pha sis a t ra ndo into a sentenc e will not g et results Not every word is of sp ecia l i p orta nce th erefo re on ly c erta in word s d e a nd e pha si s You say Ma ssa CH Usetts a nd MinneAP olis yo u do not ph a size ea ch syllab le a like but hit the a cc ented e porta nt ones syll a b l e wi th fo rc e a n d hu rry ov er the u ni Now why do yo u not a pply thi s p rincipl e in sp ea king a To so e exten t yo u do in o rdin ary sp eech ; sen tenc e ? but do yo u in pub l ic di sco urse? It is th ere tha t ono tony c a used by la ck of e pha sis is so pa inful ly appa rent a y con sider the S o fa r a s e pha si s is conc ern ed yo u p orta n t avera g e sen tenc e a s ju st one big wor d wi th the i word a s the a cc en ted sylla b l e No te the foll owing a tter of It is a D estiny is not a a tter of c h a nc e choic e — H A S E TTS e g h ll A C U i t a s we You sa y M S S a s to la y equ a l stress i zing ev ery syll a b l e eq u a lly h s a p on ea ch word in the foregoing sentences S p ea k it a l o u d a nd see Of co urse yo u wi ll wa n t to e . - . m , m , m m m m , m , , m . . . m m : . . m - - , m , . . m F Y THROUGH EF ICIE NC A E MP H S I S AND S UB ORDIN ATION I7 princip a l idea in yo ur declara tion and yo u will p ut so e e pha si s on not el se yo ur a y thin k yo u a re a fi r ing tha t d estiny is a hearers B y a ll ust e pha size ea n s yo u r of ch a nc e a tte ce for it is one of the two big ideas in the sta te en t cha n Ano ther rea son why cha nce ta kes e pha si s is th a t it Obviously is contra sted with choice in the n ex t sen tenc e these idea s purp o sely the a uthor ha s con tra sted ight b e ore e pha tic a nd here we so th a t they see tha t con tra st is one of the v ery fir st devic es to g ain e pha si s As a p ub lic sp ea ker yo u ca n a ssi st this e ph a si s of con If you say My horse is not trast wi th yo ur voic e edia tely co es in to i nd ? White black wh a t color i na tura lly for tha t is the opp o site of b la ck I f yo u wish a tter of choic e to b ring out the tho ugh t tha t d estiny is a you ca n do so ore efi ectiv ely b y first saying tha t DES a tter of CHANCE Is not the co l o r TIN Y is NOT a of the horse i pressed up on us ore e pha tica lly when you say My horse is NOT B LACK He is WHI TE erely tha t th a n it wo ul d b e by h ea ring y o u a ssert your horse is white? In the second sentence of the sta te ent th ere is o nl y one — i p orta nt word choice It is the one word th a t p osi tively d efin es the qua li ty of the sub j ec t b eing disc u ssed a nd the a u th or of tho se lin es d esired to b ring it out e pha tica ll y a s he ha s shown b y con tra sting it wi th a no th er idea These lines th en wo ul d rea d lik e this : DES TIN Y is NOT a a tter of CHANCE It is a a tter of CHOI CE Now rea d thi s over striking mm m m mm m m d estiny, for it is the i z e h as p m , m , . , . m m m m m m . ' , , , , m m m m . . , , . , m m m , mm . . , m m m . , m , . m m , , . , 18 UB LIC THE ART OF P m S PE AKING in cap ita ls wi th a grea t dea l Of f o rce I n a l o st every sentence the re are a few MOUNTAIN PEAK WORDS tha t rep resent the bIg I p orta n t id ea s When yo u pick up the evening paper yo u ca n tell a t a g l a nc e whic h are the i p ortan t n ews a rticl es Th a nks to the editor he do es not tell a bo ut a h o l d up in Hong Kong in the sa e si zed typ e a s he uses to rep ort the d ea th of fi v e fi re en in yo ur h o e ci ty S i z e of typ e is his d evic e to S h ow e ph a sis in b ol d reli ef He bring s out so es even in red h ea dlin es the strik ing n ews of eti the words . , m . m m m m , mm the da y m . . It wo ul d b e . m boon to sp eech a king if sp ea kers wo ul d con serve the a ttention of their a udi enc es in the sa e way pha size on ly the words represen ting the i p orta n t a nd e idea s The a vera g e sp ea ker wi ll d eliver the foregoing l in e on destiny wi th a bo ut the sa e a o unt of e pha si s on ea ch word I nstea d of sa ying It is a a tter of he wi ll del iver it It is a a tter of ch oic e CHOI CE — or bo th equa lly ba d I T I S A MA TTE ROF CHOI CE Ch a rl es D a n a the fa o u s editor of The New York S un to l d one of his rep o rters th a t if he wen t up the street a nd sa w a dog bi te a a n to p a y no a tten tion to it The S un coul d not a fford to wa ste the ti e a nd a ttention of its rea d ers on su c h u ni p orta n t h app ening s B ut sa id Mr D a na if yo u see a a n bi te a dog hurry b a ck to the offi ce a nd wri te the sto ry Of course tha t is n ews ; tha t is u nu su a l Now the sp ea ker who sa ys I T IS A MATTE R OF ” is pu tting too uch e pha si s up on thing s CHOI CE ore i p orta nc e to etrop oli ta n rea ders th a t a re of no a - m . . , , , “ m , m m m , , m m mm m m m , . , m . . , . . m m m mm , . THE ART OF PUB LIC S PE 20 m m m AKIN G m you xp ct t giv you ch nc t d t oy nd ind ? If I h d b n guilty of th thing with p oi on J cqu l in wh t I h v don w uld h v b n which yo u ch g cowa dl y Oth wi it i j u tifi d A Fif th Aven u e b us wo ul d a ttra c t a ttention up at M inisink Ford New Yo rk whil e one of the ox tea s tha t frequently p a ss there woul d a ttra ct a ttention on Fifth a k e a wo rd e pha tic deliver it difl erently Aven u e T0 fro the a nner in which the words surrounding it a re delivered I f y ou h a ve b een ta lking lou dly utter the — pha tic word in a conc en tra ted whisp er a nd yo u ha ve e intense e pha sis If y o u ha ve b een going fa st go very pha tic word If yo u have b een ta lking on sl o w on the e o n h t o a h ig h e on t e ph ic o r d I f a a low p i tch ju e t w p yo u ha ve b een ta lking on a high pitch ta k e a low one on your e pha tic idea s Rea d the chap ters on Infl ection “ ” “ F eeling Pa u se Cha ng e of Pi tch Cha nge of E a ch of th ese wi ll expl a in in d eta i l how to g et Te p o pha si s through the use of a c erta in principle e I n this cha p ter however we a re con sidering only one fo r of e pha sis : tha t of a pplying force to the i p orta nt wo rd a nd subo rdin a ting the uni p o rta n t word s D o not forg et : this is one of the a in ethod s tha t yo u ust continua lly e ploy in g etting yo ur effec ts L et u s not confo u nd l o u dn ess wi th e pha si s To yell The is not a S ign of ea rn estn ess in tellig enc e or feeling kind of force tha t we wa nt a ppli ed to the e pha tic True the e pha tic word word is not en ti rely physic a l ore l oudly or it ay b e sp oken ore a y b e sp o k en sof tl y b ut the rea l q u a li ty d esi red is in ten si ty ea rn estn ess Wi thin o u twa rd It u st co e fro D id s e e a ’ e s ar r e e er . se , a a e, e e o s s e e es r o ee a a a e a e e e o a m m m m m m m m m m mm ee ” . m , , e m . , . , . , m . , . , , , , . . , , m mm m m . m m m m , . , , , , . . , , m m m mm . m m . . E FFICIE NCY TH ROU GH AS IS AN D S UB ORDIN E MPH ATION 21 ight a sp ea ker sa id : The cur se of this co untry He e p ha sized is not a l a ck of edu c a tion It s p oli tic s lack educa tion politics The o th er words were curse d over a nd thus given no co p a ra tive i p orta nce hurri e The word politics wa s fl a ed out wi th grea t a t a ll feeling a s he slapp ed his ha nds together indigna ntly His h rr n r h a i s w a s bo t co e c t n o r f u l H e co c e n t a ted s a e d w e p p ething in a ll our a tten tion on the word s tha t ea nt so stea d oi ho l ding it up on su ch wo rds a s of this a of I t s Wha t woul d y o u think of a guide who a greed to S how New York to a stra ng er a nd then took up his ti e b y vi sit ing Chinese la undri es a nd boo t b la cking p a rlors on the There is onl y one excu se for a sp ea k er s side streets ? a sking the a tten tio n of his a u dienc e : H e ust ha ve ei ther If he wea ries their tru th or en terta in en t for the a tten tion wi th trifl es they wi ll ha v e n ei ther viva ci ty nor d esire l ef t when he rea ches wo rds of Wa ll S treet a nd sky porta nce You do not dwell on these s a ll sc ra p er i words in yo ur every da y conversa tion b eca use y o u a re not a conversa tio na l bore App ly the co rrec t ethod of every da y sp eech to the p l a tfo r As w e ha ve no te d el se where pub l ic sp ea king is very uch like conversa tion en La st m m n ’ . , , . m m . , . m . m m . , ’ , , . , m - m m m m ’ . m - . m , . m m . , So m mim la rg ed . big e p ha sis it is a dvi sa b le to la y stress on every single sylla ble in a word a s a bsolutely in the following sentence : et es, for , , I a b so - m lut e - ly re fu se to g nt your d ra e mnd a . n this p rincipl e should b e a pp li ed It is pha tic senten c e by stressing ea ch wo rd Now e - a nd the . to a an good THE ART OF PUB LIC S PE 22 AKING device for ex citing sp eci a l a tten tion a nd it f urni shes a plea sing va riety Pa trick Henry s no ta b le cli a x co ul d — b e del ivered in tha t a nn er very effectively: Give o — — — — The i ta liciz ed p a rt of the lib erty or give e dea th following ight a l so b e delivered with this every word e ph asi s Of co urse there a re a ny wa y s of delivering it ; this is on ly one of sev era l good interp reta tion s tha t ight b e ch o sen m , m m ’ . m . m m h . m , - m . m u Knowing the p rice w e m m b u d ns w ust c rry ul — full w ll th cost y t w nlist nd w nd w know th j u tic of u c u s the r e e e e m BE m e VE RID GE , e e s — Fro ph triu a e e e “ r o , a a s e e e a e by ” g ressive P a rty S trong ly . . m ph certa in T J AL B E R before the Chica g o Na tiona l Conv ention , ar we know, too, its e, a e, re or e P rosperity A round , P a ss mm crific w ust k u t ndu —knowing th w enl i st f For p a y , the sa the a ssa ts we st f the . P ro o i zing a single word ha s a tendency to sugg est its a n ti th esi s No tic e how the ea ning ch a ng es by erely putting the e pha sis on different words in the following sentenc e The p arenth etica l exp ressions wo ul d pha tic words r ea lly not b e n eed ed to supp l e en t the e m as e m m . I int nd d t b uy e e o a m m . h ous I I N TE ND E D to b uy is S p ing ( v n if you did n t) thing ho u thi s S p ing (b u t o ’ e a . th r e e s r se m o . e p re v nt d ) nting s ho u thi s S p ing (in t d of I int nd d t B U Y h tofo ) I int nd d t b uy H 0 US E thi S p ing ( nd n t n u to obil ) ho u TH I S S p ing (in t d of n x t S p ing ) I int nd d t b uy h ou thi I int nd d t b uy S P RI NG (in t d of in th Au tu n ) e e e . e e re o re s ea r e o e e o m e r se a o r s a a se s a o a a s ea a m re e e se a e . r e . e s ea . When a grea t b a ttle is repo rted in the p ap ers they do e f a c ts over a nd over a g a in not k eep e pha si zi ng the sa m m , . E FFICIE NCY THROU GH A S IS E MP H ATION AN D S UB ORDIN m m m i d in v mo m 23 The They try to g et new infor a tion , or a new sla nt news tha t ta kes a n i p orta nt pla c e in the orning edi tion will b e rel eg a ted to a s a ll sp a c e in the l a te a fternoon m . new id ea s a nd new f a c ts We a re ntereste This p rincip l e ha s a ery i p rta nt b ea ring in deter ining y our e p ha sis D o not e p ha size the sa e idea over a nd over a g a i n u n l ess y o u d esi re to la y ex tra stress on it ; S en a tor Thurston desi red to p ut the a xi u a ou nt of f r i n h i n i on o c c g o h a s e s s h o a e 0 h s e ee t e ow N p 5 p p force is e p ha sized rep ea tedly As a g enera l rule how n ew sl a nt ev er the new i dea the wheth er in a n ews pap er rep ort of a b a ttle or a sp eaker s enuncia tion of his id ea s 18 e p ha tic la rg er is e p ha tic for In the fo ll owing sel ec tion Al l en ha v e ey es b ut this a n a sk s it is the new i dea r edition . m m . m . , a m ’ m m . m LARGE R eye Thi s , , . for m mmmm . , , m . m , , , . l a rg er eye sa y s he will di scover not rivers or sa fety a p p li a nc e s for a erop l a n es b ut NE W “ New sta rs a nd sun s a re ha rdly a s S TARS a nd S UNS h r r r h h a t ic a t w o d l a g e ? B e c a u x p c s e e W se w e e e t p y a n a strono er to di scover hea venly bodi es ra ther tha n cooking recip es The words Rep ub lic needs in the nex t sentenc e a re e p ha tic ; they intro duc e a new a nd i p orta nt idea Rep ub lics ha ve a lwa ys needed en but the a utho r sa y s they n eed NE W en New e h n r a t ic b e c a u s i t i t o d u c es a n i I n l i k e e w d e a e p ” a nner gra in ic a re a l so h e a t p The o st e p ha tic wo rds a re i ta lici z ed in this sel ec tion Are there a ny o thers y o u woul d e p ha si z e? Why ? an wi th the , ’ m . m . m . m m m ‘ , , m m . . . “ mm , , m m . . THE ART OF PUB LIC S PE 24 The ov ol d a st ono r m er sa — w m—mwh c er new sta rs a nd suns id G iv AKIN G m la rg er eye , a nd I will dis Tha t is Wha t the republic needs t a , . e e a od y o d th il tow d th g ins tow d th t l If G d wo ul d o nl y ise up f r th p op l tw r th ee nd M c en like W tt Fult n i k th y w oul d b e w th t th S ta te th n th t tr n d C lif nia u b up M ic And th al acy of n is b se d up on his p ity f educ ti n M n is uniq u in th l ngth of his child ns th p i d f pl sti ity nd du ti n The h d which th th di st nc tha t st nds b tw n th h tching chil dh ood of tu ity f th bin nd its nt f w h u p f ww k b ut tw nty y f g owth st nd b tw n n c dl nd his nship This p ot ct d chil dhood a k s it p ossible to ci t i h nd ov t th b y a ll the u ula ted t hi d b y ces i ili tions th o ugh th u a nd of y a nd ne en ar o en m m e oo s ore or ca ex o e re or m m m a o a e ro a o ze , or r a er c v o e er o e a , ra m u und ul of m ph i h ch o d m u o re re ox c re se a s e e ee a cc m s s e e , o e or a a e e e a ra e , a a e o c e a e o e e a a r za ea s or e r . c a r o re e a ea rs e a a s . ea , o o , a . ar , ra e o ac oo a e so m m m m o . r or wise t wa r o a re ee m m o o ca e a a ' r s or a ’ . ra s e ee s , e a e s ores a c ea rs . ev e ra m —Anony ous . nd tha t there a re no steel riveted st r es as s It is not a lwa ys p o ssib l e to design a te e w i w r ust not b e e pha sized st a nd whic h One spea ker will p ut one interp reta tion on a sp eech use differen t e ph a si s to b ring a no th er sp ea k er will N0 one ca n sa y tha t one out a differen t in terp reta tion in terpreta tion is right a nd the o ther wrong Thi s prin ust be born e in ind in a ll our a rked exercises cip le — ust g uide a nd grea tly to Here yo ur own in tellig enc e yo ur profit You ersta - m . , m m . , . m m m m . . . QUES TIONS AND EXERCI S E S I Wha t is e pha sis? ono tony of D esc rib e one 2 eth od of d estroying th o ugh t p resen ta tion Wh l ion do h v e to the use of the voic e ? a r h i s a t a t e s t e 3 ze w s u b a s Wh ic h o d h o ul d ph i d h ic h r b e e s s w 4 ordina ted in a sen tenc e? m m . . . m - . m . . , , E FFICIE NCY THROU GH Rea d E MPH AS IS ATION AND S UB ORDIN 25 2 l c io n on p g 0 1 n a t s a es d 5 5 53 5 5 54 devo ting specia l a ttention to e p ha si zing the i p orta nt words or phra ses a nd subordin a ting the uni p orta n t on es Rea d a ga in cha nging e pha si s slightly Wha t is the eff ec t? Rea d so e sentence rep ea tedly e pha sizing a 6 different word ea ch ti e a nd S how how the ea ni ng is cha ng ed a s is done on pa ge 2 2 Wha t is the effect of a la ck of e pha si s? 7 Rea d the sel ection s on p a g es 30 a nd 48 e pha 8 srz g every word Wha t is the effec t on the e pha sis? When is it p er i ssible to e pha size every single 9 word in a sentenc e? No te the e pha si s a nd subo rdina tion in so e 10 conversa tion or sp eech you ha ve heard Were they well a de ? Why? Ca n y o u suggest a ny i p rove ent? II Fro a newspap er or a a ga zine clip a report of a n a ddress or a biogra p hic a l eul ogy Ma rk the pa ssa g e for e pha si s a nd b ring it wi th y o u to c l a ss I n the following p a ssa ge would you a k e a ny 12 cha nges in the a uthor s a rkings for e pha si s? Wh ere ? Why ? B ea r in ind tha t not a ll words a rk ed require — the sa e degree of e pha si s {n a wid e va riety of e phasis . the m se e m m m , . , , , m m , , m . . m m m . . m m m m m m , , . m m m m . . m m ’ m m e m . . a nd m m , . m . m . , m , in nice shading o f m , the grada tions, lie the , excellence o f pha tic speech . m m m oul d c ll hi N p l n but N p oleon d his w y t ov b k n th nd th ough of bl d This n e pi b ok hi wo d No R tali tion w hi g t otto nd nev th rul of hi lif ; n d th l t wo d s u tt d t hi n in F nc w th My boy you will n d y go b ck t S nto D o in go ; f g t th t F n u d ed yo u f th I woul d c ll hi I w a re er e ere r er ro e e s e s oa r e r s a a e ra ce r er a sea a as m a a , e , a o eo . ese : or e a o e oo as r e re a r er s o a a e ” . a . re a m a a m m ra s so o m o a a e 26 THE ART OF PUB LIC S PE m mll i mn o g v g i gini n n m lv dom inion ink m f n ic nig Cro well, b ut Cr ed pire tha ra ther his Truth g it the i the Greek, “ hea a nd at a er o r a n, e Iw . e d in tra - m m m m oul d c ll hi W This . a a shing a n ris ked his the hu e found blest e v illa g e to re r ces rea s r ea rs . e, e r Ro B rutus for the Ha a n, o , m m e e , you d hi to y n t with B ut fifty y h nc wh n of Histo y will p ut P h i n f ht , for - oc o e or m m pden for E ngla nd , c oo W hing t n s th b ight con u t of u civili tion nd J hn B wn th ip fruit li n nd y th n dipp ing h p n n th sun l ight will w rit ll th n cl b lu bov th of th ldi th t t s r ea r o a oo e, a ea r the e a rtyr , se as za er , m m in the s a you p judi M us ring th L afa yette for Fra nce, h flow of u ra the sta te he . b u t w th ets a soldier , a nd held sla ves a r p e a r eyes , his i t er s You th you V rea t wa s only a we went down w th hi ton , b ut the of o AKING , e e o , m a a a er o m I e e , e a e r s , e r ro e a e e e , e so TOUS S A I N T L OU VE RT URE e s a e er , ’ WE NDE LL Pra c ti se . PH ILL IPS , Toussa int l Ouv erture ’ m . on the follo wi ng selec tions for e pha sis : “ Linco l n p a g e 76 ; Linco ln s Get B eech er s Ab ra h a p a g e 50 ; S ewa rd s Irrepressib l e Con tysb urg S p eech flict p a g e 6 7 ; a nd B rya n s Princ e of Pea c e p a g e 448 m ’ ’ “ , ’ , ’ , , . 28 THE ART OF PU B LIC S PE AKIN G m E v ery Cha nge in the Thought D e Voice - a nds Cha nge in the a _ Pitch Whether the spea ker follows the rule con sciously un conscio usly or subco nscio usly this is the logica l b a si s upon which a ll goo d voic e va ria tion is a de yet this law is viol a ted ore often tha n a ny o ther by public spea kers A c ri in a l a y disreg a rd a la w of the sta te wi th o u t de tection a nd pu nish en t b ut the sp ea k er who vio l a tes this reg ul a tion suffers its p en a l ty a t onc e in his l o ss of effec tiv e n ess while his innoc ent h ea rers ust endure the ono tony —for ono tony is not only a sin of the p erp etra tor a s we ha v e sho w n b ut a pl a g u e on the vic ti s a s well Ch a ng e of p i tch is a stu b ling b l oc k for a l o st a ll b e ginn ers a nd for a ny exp eri enc ed sp ea kers a lso Thi s is esp eci a lly tru e wh en the wo rd s of the sp eech h a ve b een ori z ed e I f y o u wi sh to h ea r how pitch ono tony sounds strik e You ha v e the sa e no te on the p i a no ov er a nd over a g a in in your sp eaking voic e a ra ng e of pitch fro high to low wi th a g rea t es Wi th a ny sha d es b etween the ex tre a ll th ese no tes a va i l a b l e th ere is no ex c u se for offen ding the ea rs a nd ta ste of y o u r a u di enc e b y con tin u a lly u si ng the one no te Tru e the rei tera tion of the sa e tone in u sic — a de ay be p o si tion a s in p ed a l p oin t on a n o rg a n co the fo u nd a tion of b ea u ty for the h a r ony wea ving a bo ut th a t one b a sic tone p ro du c es a con si sten t i nsi sten t qu a li ty I n l ik e a n not f el t in pure v a ri ety of cho rd seq u enc es — th o ugh it ra rely ay ner the in toning voic e in a ri tu a l — do es p o ssess a so l e n b ea uty B ut the pub lic spea k er , m mm , m , m m m m m , m , , . . . - m , m m . m . , . m mm m m , , , . m m m m m m m m , , , . m . E ould FFICIE NCY THROU GH un m ono o the sh sh t ne Continu a l Cha nge A GE T OF PI CH CH N he woul d as a 29 p estil ence Method Pitch is Na ture s Highest ’ f o . m ch for the p rincip l es of efliciency we ust con — — Li sten rea lly l i sten to the tinua lly go b a ck to n a ture birds sing Which of these fea thered trib es a re o st plea sing in their voca l efforts : tho se who se voic es though sweet ha v e l i ttl e or no ra ng e or tho se tha t lik e the c a n a ry the l a rk a nd the nighti n g a l e not only p o ssess a co nsi d er a b l e ra ng e b ut u tter their no tes in con ti nu a l va ri ety of co bina tions? Even a sweet to ned chirp when reitera ted a y g ro w a dd eni ng to the enfo rc ed wi tho u t cha ng e li stener The li ttl e chil d sel do ono tono us pitch sp ea k s in a Ob serve the conversa tions of li ttl e folk tha t yo u h ea r on the street or In the ho e a nd no te the con tinu a l cha ng es of p i tch The unconscio us sp eech of o st a dults is like wi se ful l of p l ea sing va ria tion s I a gine so eone sp ea king the followi ng a nd con si der if the efi ect wo ul d not b e just a bo u t a s i ndic a ted Re b er we are not now discussing the inflection of singl e e words b ut the g en era l p i tch in which phr a ses a re sp o k en . In our sea r m . . , , , , , m m , - m , m m . m . m , . m m mm , , , . , . . , . (High p itch) (l ower) still I , “ Rep ea t a e to ea e h to e so e l v m uc do m n v go v v ti ha i until I h I wa t lk Id i ’ e e er mv c y a (Higher) . m ion to o ow Y t I sup p o if at rr e , se . pi tches indica ted a nd then a ll in the one p itch a s a ny sp ea kers would Ob serve the difference in na tura lness of efi ect The fo ll owing exerci se sh oul d b e sp o ken in a purely this, first in I ll ’ for , m the , . . THE ART OF PUB LIC S PEAKIN m G conversa tiona l tone wi th n u ero us cha nges of pitch Pra cti se it u ntil yo ur delivery wo ul d c a u se a stra ng er in the nex t roo to think yo u were disc ussing a n actua l incident wi th a friend instea d of delivering a e ori zed onol og ue I f you a re in do ub t a bo ut the effect yo u ha ve sec ured rep ea t it to a fri end a nd a sk hi if it so unds lik e oriz ed wo rds I f it do es it is wrong e , . m m mm m m , m . , . . , A S IMILAR CAS E m Ja ck I h you v gon nd done it —Yes I know ; o st f ll ow will ; w nt nd tri d it onc ys lf si though you see I S ngl still And yo u t h —did you t ll d own a t e N Wp t l ast J uly a nd r solv d t sk th qu stion t i e? S did I I supp o s yo u l ft th b ll oo usic a nd its light ; with its f r th y s y l ov s fl is b right st in the d kn ss of the n ight W ll you w lk d l ong tog th ove h d th st lit sky ; nd n conf ss it—you w r fri ght n d I ll b t—o l d S w s I S yo u st oll d l ong th t c s w th su r oonlight di nc on th w t s s th y ripp l d on the sho e p o u r ll its till t l ng th you g th d cou g wh n you sa w tha t none wa s nigh—did you d w h Cl o se nd t ll h th t you l oved h r? ea r , m s e ’ e or e . m e , e e a e e a r o - e e e erra e, a , ere ra er a ra e a e . ar a m mm e o . a . e e e a e, a so re e e ea r er a m e e a ’ ar er, - e , e e a e m r m r, , e e a e o a e , e S o did I a a e ra a a a e m e ’ m a , ’ e , er e . o e e e m e a . , o e a e i e ’ r , e e . er a e m re I wi sh yo u j oy W ll I n dn t k you fu th nd I su down nd s you wh n you i d— h Think I ll w nd tt boy ? W h n h on y oon i ov n yo u l d down t h s d y j ct d ? w ll t y—Wh t ? th d u c yo u s y ! R j c t d—yo u e e ’ ee , m ’ ’ as e r S o wa s I a - . a e e m Anony er , a r er a e e ’ m ’ e ee ’ er a a e e e re m . a rr e re se e e , re e e , e ous. necessi ty for cha nging pitch is so self evident tha t However it sho ul d b e gra sp ed a nd a ppl i ed i edi a tely it requi res p a ti en t drill to free yo ursel f fro ono tony of p itch I n n a tura l conversa tion yo u think of a n idea first a nd I n e orized speeches th en find wo rd s to exp ress it m m The - mm . . mm ' . , , E FFICIENCY THROU GH A G T CH N E OF PI CH 31 you a re li a ble to spea k the words and then think wha t they — a nd a n y sp ea k ers see to tro ub l e very li ttl e ea n Is it a ny wonder th a t reversing the ev en a bo ut tha t process shoul d reverse the resul t? Get ba ck to na ture in yOur ethod s of exp ression Rea d the fo ll owing sel ection in a noncha la nt a nn er never pa using to think wha t the words rea lly ea n Try it a g a in c a refully studying the tho ught y o u h a ve a ssi i la ted B eli eve the idea desire to express it effectively a gin e a n a u di enc e b efo re yo u L oo k the earn estly a nd i in the fa c e a nd repea t this tru th If y ou follow directions you will no te tha t y o u ha ve a de a ny cha ng es of p itch a f ter severa l rea ding s It is n t w o k th t kill s n ; it is w o y W o k i h lthy ; n th n h you n h dl y p ut o up on Wo y is nb ust up on th bl d It i n t th volution th t d t oy th — t chin y b ut th f ic ion H NRY WARD B E E CHE R m m m , ~ . m r m m m m . , . , m . , , . mm . m m m , . r o ar ca m e a e e er Cha nge min This is e re r a a a highl y a s . r . f o a o a E e ca ea r a ea rr . es r s e m mn i y pi ch of u y — u uu l m i ud nly in mk d . Pitch P r oduces E p s r . e re mo i rr rta nt sta te e h as i s p t . in V a r et t in s the hea rer s interest but one the s rest wa s — to secure n s a to co p el a ttention e h p a s s is to cha ng e the p i tch of y o ur voic e s de a nd a ar e degree A grea t contra st a lwa y s a rouses a ttention White sh ows whiter a g a in st b l a ck ; a c a nnon ro a rs l o u der in the — i n h h t e C ic a go hurly b urly S a ha ra si l enc e tha n these ple illustra tions of the p ower of contra st a re si Wh t i C ong s going t do n xt ? a m ’ ta , . . m a s . re s o e I do no t (Low know p itch) . THE ART OF PUB LIC S PE 2 3 AKING m m uch su dden cha ng e of pitch during a ser on D r Newell D wig ht Hillis rec en tly a chieved g rea t e pha si s a nd sugg ested the g ra vi ty of the q u estion he ha d ra i sed ight b e reversed The foregoing o rder of p itch ch a ng e with equ a lly good effec t th o ugh wi th a slight ch a ng e in — ei ther ethod p rod u c es e pha si s when used serio u sn ess in telligently tha t is wi th a co on sense a ppreci a tion of the sort of e ph a si s to b e a tta ined I n a tte p ting these contra sts of pitch it is i p orta nt Mo st sp ea kers pitch their to a void unpl ea sa n t ex tre es voic es too high One of the secrets of Mr B rya n s elo k n i hi s l o w r b ll l i voic h k p a u e ce s e e e a es e e sa id th a t S q g en tle low voice wa s a n ex c ell ent thing in a soft it is no l ess so in a n for a voic e n eed not b e wo a n ; — b l a ta nt to b e p owerful a nd ust not b e to b e pl easing I n clo sing let us e pha siz e a n ew the i p orta nce of using va riety of pi tch You sing up a nd down the sc a le fir st to u ching one no te a nd then a no th er a bove or b el ow it D o lik ewi se in sp ea king Tho ug ht a nd in dividu a l ta ste ust genera lly be yo ur g uide a s to where to use a low a odera te or a high pitch By s - m m , m . - , , m m m m . m . m . ’ . . - , m m , , m , m , , , m . , . . . , QUE S TI ONS I . Na m mhod e two et m m . , AND EXERCI S E S s of d estroying m ono ony t a nd ga ining forc e in sp ea king Why is a con tin ua l cha nge of pi tch n ec essa ry in 2 sp ea king ? A r t e o t ic e yo u r h a bi u l on in p e a k ing e h y N t a t es s 3 too hig h to b e pl ea sa n t ? D o we exp ress the fo ll o wing tho ugh ts a nd e o tion s 4 . . . . . m E FFICIE NCY THROU GH A G T CH N E OF PI CH m m 33 in a low or a high pitch ? Which ay be expressed in en t Victory D efea t ei ther high or low p i tch ? Ex ci te S orrow Love E a rn estn ess Fea r r h t t o o d yo u n u ll v r y p i c h in in H o u l r a t e w w a t a y 5 duéing a n ex pl a na tory or p a renthetic a l exp ression like the fo ll owing : — — n S pt t t H st t d th t i h d p p ti n t b thi d 6 S p ea k the following lines wi th a s a rked va ri a tions in pitch a s y our interpreta tion of the sense a y dic ta te Which in ea ch Try ea ch lin e in two different ways — insta nc e is t he ore efl ectiv e a nd why? Wh t h v I t g in f o you ? Nothin g ng g u n tion in such co p ct woul d b n inf y T Not In th fo going nt nc xp i nt s t wh the ch ng in p itch woul d b tt b d Onc th fl ow s distill d th i f g nc h r but n w th d v st tion s of w — f c to H h d ck on d without n p ri his con ci nc M r r a k e a di a g a of a conv sa t ion yo u h a v h r d e e ea 7 sh owing wh ere high a nd low p i tches were u sed Were these cha nges in pitch a dvi sab le? Why or why not? Rea d the sel ections on p a g es 34 3 5 36 3 7 a nd 8 r 8 p a ying c a f ul t n t ion t o t h c h ng p i c h e t a e e a i n s e t 3 Rerea d sub stituting low pitch for high a nd vice versa . . . . . . . . ar e e er r a s, m e a e a ra re o s ar o s m , a a o e o e e o e: r . a se e e e e a a a re er er e e e, e a ar . e : . m o e e er e a e a a e r e , m m m a re . . a e e e m r e a e m m . . a m e o a m . e re o . ra ra e m e e e, r a see o s e e . , . . , , , , . , , S elections m No te : In for . Practise following selections tho se pa ssag es tha t a y b est b e d el ivered in a odera te pitch a re printed in o rdina ry (ro a n) type Tho se which ay be rendered m the m . , m ART OF P UB LIC S PE THE 34 AKIN G mk m — in a high pitch do not a ke the — voic e too high are prin ted in ita lics i ing the Th o se which igh t well b e sp ok en in a low p itch a re p rin ted in CAPI TALS Th ese a rra ng e en ts h owever a re erely sugg estive ust use yo ur we ca nno t a k e it strong eno ugh th a t yo u B efore doing own ju dg en t in in terp reting a sel ec tion so h ow ever it is well to p ra c ti se th ese p a ssa g es as they a re a rk ed m m m m , Yes , m the en a m la bor en RUF US . qu estion r n th sent out on mn B ut . knows th t it i living with th i a e r ea r ea e r WAGES : m fa r m m ov m n of CH OA TE critics the sa y , P L OYE D , A ND P AI D , m “ . l bo fa ctories m . , a ll tha t m ra s . , , of e . WE B S TE R la bor of ista ha e A ND D A NIE L v ry s e the nds ; who an t e e rea ds the TH A T ARE E M ga thered under roofs of sen t out on ships , g a thered on the wa lls s, a re m m m m . o cc p t tion th wo kin g cl s ns th n th t ok i i h nds f r w g s ny hou s a d y p l oy d v ryb ody l b y gr t c p it li ts ; th t wo k f Why do w ov f r this cl ? Why sk c itic d n t y u FOR In p p ul a r a w r W th the m a ea e e a r a a s a m ov ing s for . “ r , CL AI M S en i a nd s r a e e of w o k r, e t fi o e WH ILE e e D A NIE L D OLL ARS there is n o need , a ov e WH ILE RUF US FOR f a ny o CH 0A TE m ci lin d m F OR , t, r a es , do highly dis p n d w i t book s Th as on why th it lf t ingl l i b c u th t tha t work with their bra ins , e o , . ’ e MAK I NG ONE or URY there is no need of ov ing for hi m k ll d l bo inv n bo m ov m n con n for the a e se e B E CA US E , B E CA US E , e r a s a a m ARG UME N T TO A J cl m or e , ” so FI VE TH OUS A ND D OL L ARS GE TS La r ME X I CA N hi , ea FORT Y TH OUS A ND GE TS ARG UI NG TH E e ” WORK I NGME N? WE B S TE R body a o a ss o A LL ’ , a s r e , se - tha t e e e re . e C a ss o a s D OE S N OT GE T P AI D , does s e e a se a protection M E N TAL L AB OR is a deq ua tely pa id a nd M ORE TH A N A D E Q UA TE L Y protected I T CA N S H I F T I TS CH A NNE L S ; a ss r n ot g et . , m . m pply a nd de a nd I F A MA N FA IL S A S A M I NI S TE R why he beco es a ra il wa y conductor I F TH A T D OE S N T S UI T H I M he g oes West A ND I F H E FI ND S H I M a nd beco es g ov ernor of a territory S E L F I N CAP A B LE OF E I TH E R OF TH E S E P OS I TI ONS he co es ho e, a nd g ets to be a city editor He va ri e s his occup a tion it ca n v a ry a ccording to the su , m mm . , ’ , . , . , . 6 3 A ART OF PU B LIC S PE KIN THE G HAP P Y A M I THA T TH I S MI S S I ON HA S B ROUGH T M Y FEE T A T LAS T TO P RE S S NE W E NGLA ND S H I S TORI C S OIL a nd y eyes to the knowledge of her bea uty a nd her thrift Here Wi thin tou ch of Ply outh Rock a nd B unker Hill WHE RE WE B S TE R TH UND ERE D a nd Longfellow sa ng E er — A N I N P R E A H D o o A N D H N G C E H E RE I N TH E s n th ug ht C CRA D LE OF A ME RI CA N LE TTE RS a nd a l ost of A erica n m ’ m m m m n m k ob i nc v y mic n o ngl nd nfi nd uncov d in m ig y —c v d nc i m uniqu f om oc n il d n — m j y k n ing — g o ing m d o mof in of un i l gl oom b ok n — il m o g d mv l d f om l d king ud ou c of i ndf c on bl k unkno n o m ould v com m m f R M M R m bl o y of o im o l ok o mm — . , — liberty , I ha ste Ne w E e e S tra ng e the w the ppa rition! wa s sh ha th ul the e the ess ess its te r a nd er wes a h er ht p re s fi g u re e i dl a e st wa rs e ar a nd t1 a st at rested a nd a ze a st ar tha t e e a nd ea a its ba se at wh e r the w sh re bodied g enius o hu a n g overn ent FE CTE D OD EL OF H U A N LIB E T Y! e A ND TH E P E G od r r e s p ha s A er a nd the heroic workers a nd h t w e I TS B E A UT Y D I S CL OS E D I N TH E , s a nd e sta rt e e e tha t ere s ste er s e s Th the w st r r e sa he sta rst the i a the e a nd S UNS H I NE , r a ea ‘ a whe a . r r to e th r e rta se w r e rs , a nd pr sp e r fortun s of th i living sons nd p rp tu t th in p i tion of th ir h ndiwo k t th S ou th M P sid nt s p t d f o this s ction F the e r a ar by e r e o —n lin C a o e a e e r , re . e e , a ra e ra m r defi ned in irrepressible dif erence, ce s e tra ced in once blood , A ND NOW, THA NK GOD , B UT A VA NI S H fra tricida l — S HAD OW lies mf I NG e . e h a the f a irest a nd richest m f a in o do this ea rth . TH E RE IS hospita ble people CE N TE RED ALL THA T CA N PL E A S E OR P ROS PE R H U I t is the ho MA NK I ND yi l ds t e o The re , mn v u b nd by night th s a a e In the ind the w m a nd , sa t y p odu ct of th te e r er mfi ld a fertile p era te whitens benea th the sta rs , e cotton . . A P E RFE CT CL I MA TE AB OVE . the h S HE A F in s a nd bra v e a o WH E A T L OCK S TH E of e a nd soil ne zo by . da y TH E S UNS H I NE I N I TS B E ARD E D e e the ob cco c tch es a a l ov C er the l quick f a g a nce o of the m W m the stea s ar r r a ARE M OUN TAI NS S TORE D I TH E X — H A US TLE S S TRE A S URE S : forests v a st a nd pri ev a l; a nd Of the bling or loitering , run wa nton to the sea ers tha t , tu r ra . iv thr ee TH E RE m n i l i mof indu gion y con ol RO m— e sse —tha t re IN I t a ha s te a ll tr ea s N prov en , s pre su a cy . — stri es cotton iron I N COTTON a fi xed , , I N TI M B E R, the . m a nd ood poly supply ono reserv e w E FFICIE NCY THROU GH m A G T CH N E OF PI CH m m 37 o thi u d nd p n nt dv nt g gainst which rtificial condition c nnot uch l ong p va il ing yste of indu t i s N t int in d ha s gro wn n by hu n contriv nc of t riff r c p ita l a f r ff f o th full st ting in divin a ssur nc a nd ch p t sou c of up p ly b ut — n n t t i n o u c of fi l d n fo id costly hi t h d i n t Wt d f f o which co p tition h s driv n th f in desp ir id ch p nd sunn y l nd ich with g icul tu t which b ut n ith s on n soil h li it—thi yste of indu tri s t ounting to l nd illu in the is p l ndo th t h ll d — THA T S IR i th pi tu i A wo l d nd the p f yh f Republic the o Fr . a a m a a m a mm m m s ar r o a a m . s r a s , e s , e re a a r e a ar er a re , r e o se o m e e a ro re a , o s azz e e, a s s a e e se o a e, m m m m m m m mm er o e s, r c a a a e e a s se e o re s a a . a , e a a a a m a or s r e res e e as a , m e ea er a s r a e e er a m s r e es ea re s az a s a ss LA ND B E TTE RA ND FA I RE R TH AN I HA VE TOLD YOU, a nd yet but fi t g entle q ua lity This h setting f its in its citizenshi o ou littl n ds th r e m ONE S E CTI ON a nd estra ng e ee G ent. iv no North , the loya l a nd . L OYAL T Y TH A T IS L OYAL T0 yet holds the other in enduring suspicion e us the broa d a nd perfect loya lty tha t lov es — like wi th Ma ssa chusetts tha t knows no no E AS T no West b ut endea rs with equa l RGIA a nd trusts GE O S OUTH , p e a nd for a teria l excellence a , , pa triotic lov e every foot of our soil every S ta te of our Union A MI GH T Y D UT Y S I R A ND A M I GH T Y I NS P IRA TI ON i pels ev ery one of us to nig ht to lose in pa triotic consecra tion WHA TE VE R E S TRA NGE S WH A TE VE R D I VI D E S — E I R a r e A i c A ND WE S TA ND FOR H UMA N r S e a n s W a nd m , v y The on on VI CTORI E S IS G o d ha s s m ic n id — R m fm f W mn oi d of v the redee our s He will not la y the S ickl e m m co l the to the ea rth er king cra t a nd er OUR ppression E S HALL N OT FAI L ro A ND His see o ill e nial ha r ip ning c op until Hi full r und is ea a TH ES E A E Fra nce, B ra zil . OUR M I S S I ON! own in the A r e To . . , up liftin g fo c of ea rth e —TH IS — m , thr er , , LIB E RT Y! e . , s r e . e st , a n d a nd p er consta nt a nd fect da y ha s e 0 URH I S TORY S I R, ha s been a ira cle, FROM PL YM OUTH ROCK A ND J A M E S expa nding TOWN, . , — wa y a y e the e e ss a re s e e ss e a m r r a o o ere r e a ou r e o the h r e r a r e rea e s e res e whe m m m m a re e a a rv e o e , o co e e e s e e r e e r e e a e ea e a . a ea r ra r a e m ra , vnfo m n f o th voic l nd t c l oc n n w wo l d os t th ight of th in p i d s il o As w p p o ch th fou rth c n t nnial of th t — stup ndou s d y wh n th ol d wo l d will co t l nd id u g th to l n d t su —l t us solv t c own the i cl s of u p st with th p ctacl of R p ublic p t unit — D D L UB L E I N TH E B ON S OF L OVE l oving f o ed I N I S S O a ll a r ac , r m 38 THE ART k s t th v ry hill a s on the La e e o G e e OF PU B L IC S PE ulf—th e w ounds of w AKING ar hea l d in v y h e e ea rt er l endent A T TH E S UM MI T p OF serene a nd res , m m m— H UMA N A CH IE VE ME N T A ND E ARTHL Y GL ORY bla zing the ou t f t he o pa th ea rth ust co in God e Th s ’ s a ppointed ti W AD Y GR . a ll the na tions m e! The , Ra ce P roble er e . ol on CA L L H I M NAP OL E ON , b ut Na p e v o r e er broken oa ths a nd throug h a sea of blood p e his wor NO Reta a t wa s his re a t his wa y to e an m the wa y up which WOULD mi md i mn v b ok o o ul of m e clea r a king a nd HE NRY I a , r . d lif li ion . g A ND THE LA S T WOR DS “ UTTE RED TO H I S S ON I N FRA N CE WE RE TH E S E : My m the a nd tt his e r e; m boy, you will one da y g o ba ck to S a nto D o ing o; forg et tha t Fra nce I WOUL D CALL H I M CROM WE L L urdered your fa ther mll m o b ut C r with hi we . wa s g ra ther inion s YOU TH I NK WOUL D I . i gini n h ld m f his do v illa ge o the sta te he founded went do n only a soldier , a nd into his g ra v e TON , b ut the rea t V r H I S E MPIRE w . a tha n m e p CALL H I M er sla v es it the sla v e - m MA N RI S K E D TH I S . WAS H I NG u blest tra de in the h . ME A you FA NA TI C TO NI GH T, for - rea d i ory n t with y u y B UT WI TH YOUR P RE J UD I CE S s h nc wh n T uth g ts h ing th Mus of B ut fif ty y Histo ry will p ut P H OCI ON f th G k nd B RUT US f th h st o r e es , o , ea r e, e . e m e r or e ea r a ree , e , e a or e H A MP D E N for E ng la nd LA FA YE TTE for Fra nce choose WAS HI NG TON a s the bright consu a te flower of H N B ROWN the ripe fruit our E A RL IE R civ iliza tion A ND JO dip p ing her p en in the sunlight, wil l of our N OOND A Y then a ll , the na e of write in the c l e a r b lue a b ove the TH E S OL D IE R TH E S TA TE S MA N TH E MART YR TOUS S AI N T L OU VE RT URE Ro a n, m m , , , , , m , , m , , . - D rill on WE NDELL PHILLIPS , Toussa int l ouv erture ’ . following selections for cha ng e of pitch “ Ab ra h a Linco l n p 76 ; S eward s Ir B eech er s “ p 67 ; Everett s History of Lib erty rep ressib l e Confl ic t “ p 78; Gra dy s The Ra ce Prob le p 36 ; a nd B ev “ Pa ss Pro sp eri ty Aro und p 470 eridg e s m the ’ ’ . , ’ , . ’ m , . , . ’ , . . CHAPTER V E F FI CI E N CY TH ROU G H cl Hea r how he Wi Now He ’ ra tt ee ’ m lin n kly c l t p in m ’ s s a a m a ’ ’ m the p ea rs ’ now an ’ he oints 0 i Fa th ’ p in ! thu , OF PA C E CH A N G E ’ ’ il d in wr w m ju s —ROB E RT a th, ’ p in B URN S , H oly Fa ir . . The La tin s ha ve b equea thed to us a word tha t ha s no precise equi va len t in our tongue therefore we h a ve ac — it is the wo rd te po a nd cep ted it body uncha ng ed ov e ent a s ea sured by the ti e con su ed ea n s ra te of in executing tha t ove ent Thu s far its use ha s b een l a rg ely li ited to the voca l usic a l a rts but it wo ul d not b e surpri sing to hea r a nd ore concrete a tters for it perfectly te p o a ppli ed to illustra tes the rea l eaning of the word to say tha t a n oves in slow te p o a n express tra in in a fa st ox c a rt te p o Our gun s tha t fir e S ix hundred ti es a inute uzzle loa der tha t required shoo t a t a f a st te p o ; the o l d inutes to loa d shot a t a S low te po Every three usici a n understa nds this principle : it requires longer to sing a h a l f no te th a n it do es a n eigh th no te Now te p o is a tre en do usly i p orta nt el e ent in good platfor work for when a sp eaker delivers a whole e ra te of sp eed he is de a ddress a t v ery n ea rly the sa n hi h i r n l f of o e of s c e f n of ph i hi i v i se ea s e a s s g p The b a se b a ll pi tcher the bowl er in crick et a nd p o wer m m m , m mm m mm , , , m . m m m m m m m mm m m m m m , , - , . m . , m m m m m m , , m . m m - . , , THE ART 40 A OF PU B LIC S PE KIN G nnis server all know the va lue of change of p a ce — in d el ivering th eir b a ll a nd so ust the cha ng e of te p o pub lic speaker ob serve its p ower m the te “ , , m . Change f o m Te po Lends Na tura lness to the Deliv ery m m lea st see ing na tura lness as wa s “ Monotony is grea tly to be expl a in ed in the cha p ter on desired a nd a continua l cha ng e of te p o will go a long way Mr Howa rd Lindsa y S ta ge towa rd s esta b li sh ing it Ma na ger for Miss Ma rga ret Anglin recently sa id to the presen t writer tha t cha nge of pa c e wa s one of the o st effec tiv e too l s of the a c to r While it ust be a d itted o uthing s of a ny a ctors indica te clo udy tha t the sti lted irrors still the pub lic sp ea k er wo ul d do well to stu dy the a c to r s use of te p o Th ere is h owever a ore funda enta l a nd effective — a tra i t wh ich onc e so u rc e a t wh ic h to stu dy n a tura l n ess lo st is shy of recap ture : tha t so urc e is the co on con versa tion of a ny well b red circle This is the sta ndard — we striv e to rea c h on bo th sta g e a nd pl a tfor wi th cer ta in differenc es of co urse which wi ll a pp ea r a s we go on I f sp ea ker a nd a c tor were to reproduc e wi th a b solute — fi del i ty ev ery va ria tion of u ttera nc e every wh i sp er — grunt pa use S ilenc e a nd explo sion of conversation a s we uch of the in terest fi nd it typ ic a lly in ev ery da y l ife wo ul d l ea v e the pub l ic u ttera nce Na tura l ness in pub l ic ething o re tha n fa ithful reproduc tion of a ddress is so — na ture it is the reproduc tion of tho se typica l p a rts of n a ture s work which a re truly representative of the whole Na tura lness, or a t , , . , , . , , , m m m m m m . m , ’ L m m . , , m m m , , - . , . , , , , , - , m m m . ’ . E FFICIE NCY THROUGH A OF P CE 41 o y writer understa nds this in writing dia logue a nd we ust ta ke it into a ccount in S eeking for na tura lness through cha ng e of te po S uppo se yo u sp ea k the first of the foll owing sentenc es in a slow te p o the second quickly ob serv g how na tura l is the effec t Th en sp ea k both wi th the sa e ra pi dity a nd no te the differenc e The rea listic A GE CH N m st r , - m . m m m , , . . c n t r c ll wh I ga ve it t M ry I a ’ o We i I did w th at e a a mk if n y e Oh . now , I re mm b e er m . here tha t a cha nge of te po often occurs in the — for te p o a ppli es not only to singl e words sa e sen tenc e group s of words a nd group s of sentences but to the aj or parts of a public speech a s well m m see m , , , . QUES TIONS AND EXERCI S ES In the following sp ea k the words long long while very slowly ; the rest of the sentence is spok en in odera tely rapid te p o Wh n you nd I b hind th V il p t Oh b ut th l ong l ong whil th wo l d ha ll last Which of u co ing nd d p tur h ds As th s v n s s houl d h d p bb l c st No te : I n the following sel ec tion s the p a ssa g es tha t sh o ul d b e giv en a fa st te p o are in i ta lic s ; tho se th a t p o a re in s a ll ca pi ta ls a sl o w te sh o ul d b e g 1v en Pra c ti se these selec tion s a nd th en try o thers ch a nging fro fa st to slow te p o on difi erent pa rts ca reful ly noting the effect 2 No M IRAB EAU NAPOL E ON B URNS CROMWE L L NO n ADE Q UATE t D o ANYTHING but i fi t f ll in RIGHT EARNE S T I , , . m m . a e e o e e e e , r ea e m e a e ee ar e a e m m m m m as , s r e e s a re , ee e , a . m , . , , . . , o , , s rs o , a m a K G THE ART 42 it—wha t I OF PU B LIC S PE A IN m TY a GRE AT DE E P GEN U INE S INCE RITY i the fi t CHARACTE RIS TIC f N t th sin e ity tha t CALL S itself n in ny w y H E ROIC a — t Ah n Th t i t e i sin n d e d A S HALL OW y p in ity ft n st S E L F CONCE IT ly B RAGGART C ONS CIOU S a in kind he CANNOT SPEAK OF Th GRE AT MAN S S INCE RITY i f — TH OMAS CARL YL E I NOT CONS CIOU S f — — B E I N N T E E I G O S M NG i n d ing e ch 3 TRUE WORTH i in by S OME L ITTL E G OOD n t in D RE AMING f G REAT d y th t g THING S t d by nd by F wh t n s y in thei BL INDNE S S a nd in pit f th F OLL IE S f Y OU TH th e i n thing o KINGpY a s — ROYAL TRUTH An ny u nd n thing KIND NE S S a bout m , S I NCE RE a a o . s a v er a . s o o s r m e - a s a o , o e a o To g et e a er s , as so m r o o . m m c m o W at cold h hi as i he tr es ra , a o No he doe sn t know the wa y He b ega n to l ea rn too la te ’ , S he ’ r iling m F or mold mv gi s a le t hi she . ha g , is Fa te , ha ‘ his p wh e , ile , il Kno wing wh t th co t woul d b Wh n h d fou nd th G old n K S lf e to herse e e, s e a e the ’ e e mm Mul tirnill iona ire is he Ma ny ti es ore rich ey . , tha nw d d e; oul dn t t With th b g in th t h ny y s g h C N t p son did h k now ; on y hung b d H d th on y p iggish d ; M d f Didn t l t j oy div t hi so ow hu t hi D idn t l t Let his fri nd s nd kin des rt hi Whil h p l nn d nd p lugg d nd hurri d B ut at tha t I w m m m m e a ’ o ar a e ere a er a a ’ ’ e e or e e a e a e ea r er - rr e a a e. o, m m m a a , , r , e a a e e er e e e a a m ra a m , e a . low g y t pl y ; a nd s use s , ’ there , , s FOOL S GOLD S ee hi a o na tura l effec t wh ere wo uld te p o in the fo ll owing ? a fa st wh ere m o a ev er or . e o . . , o , . oes o a nd a s a . c r . . 4 o e e o , ’ e e oor cer s , rs m a . should sa y S INCE RI I . s , , a an , a cere A ca ll e A G THE ART OF PUB LIC S PE KIN 44 m With the b a rga in m m he md a e . Just w tch hi to d y S ee hi trying t p la y H s co e b ck f r b lue skies B ut they in n w guis ll is g a y Winte s h The b i rds a r wa y e b rown e do ws The The l v s lie a g ou nd And th g a y b rook tha t wound With swi ling nd whirling Of wa t s is fu l ing Its bo so in ic And he h sn t the p ric With ll of his gold To b uy wh t h sol d H kno ws n w th cost Of th S p ring ti h l o st Of th fl ow s b to ss d his w y F o a e ’ ’ r o a a ere , m , e e r a e a a ea . o re ’ a , , ar , r e , e a r a m er r , e . ’ a e, a , a e e m o e m r And , e e - er e . e e a , e , sa y , He d p a y ’ ic if md Any p r e C be oul d He ’ a the da y e not so g y ra . pla y —HE RB E RT KAUFMAN ca n t m i ion . . Use d by p er of E v erybody s ss Ma g a zine ’ . m M f c n y in c g b fo indo dding b uy ch m of inging by con inu l ch ng of m po If ing olom on b n o o undoub ou d h v g h d i do m f om ong of ild bi d ll f om b Im gin ong mm u o i h i n ih qu no Cha nge The the te edly l w r wr tte as wt e we b ut p d one s ee a e e . re onotony the w his S a t ere as r a rter w w is a ha d S a s Te po Prevents ar K . w only a nd t ea the ar a o an ee the tes the r s . ees I t ra t r ag a to a a a he e t the s e e an a a t s wt E FFICIE NCY THROU GH A G A CH N E OF P CE 45 EXE RCI S ES mo in t h e fo ll o wing in p Rea d it a l oud (Fa st a nd how it giv es a pl ea sing va ri ety te p o is indic a ted by i ta lic s S low by s a ll c a p i ta l s ) I No te the cha ng e of . m te dic a ted , m . m . m , . And he thoug ht tha t so e da y he would ta ke the ti e to pla y; but, OU H ca n L IF E S S ON G ; in the S PRI N G HE WAS WRON G sa y S I NG a nd ca n FL IN G ; B U T J O S WIN G WH E N WE RE OL DE R, L IKE The roses were red a s he wen t rushing THE B IRD S when it s C OL DE R — ’ . Y Y T A ’ ’ . by, a nd 2 in g lorious ta pestries hung in the Turn to . Foo l s Go ld, on m m sky . Pa g e 4 2 , m m a nd deliver it unva ried te p o : no te how onotonous is the re lt This p oe requires a grea t a ny cha ng es of te p o su a nd is a n exc ell en t one for p ra c ti se n h h n i n h c ng of p o i c d fo ll o i g U se t e a es t e di a t t e w e 3 no ting how they prevent ono tony Where no cha nge of te po is indica ted use a odera te sp eed Too uch of va riety would rea lly be a return to onotony an . m m m . m , THE A MOB m KILL S TH E hea dline la tely The . I t a lwa ys destroys B UT NE ATE S CRE conde . , m . m . . wa s fl a shed in a T newspa per AS S B UT NE VE R a n IRRE S PONS IB L E , U N H INKIN VE RCONS TRUCTS . I t criticises G M . . m Utter is , MOB WRON G MAN ob m a truth AND THE MOB g rea t ned A TE t D N o E X ILE world for its benefi t, AND ridiculed COL UMB US , m ATE H YOU E ncounter the da ng ers . THE a nd . S ee how it f the unknown o A MOB WIL L DE CL RE YOU CRA Z for m HI M P RI S ON A ND CHAI NS Write a WILL discov ering new a Y It . world GA VE . poe to thrill hu a n hea rts with plea sure AND THE MOB WILL ALL OW YOU To G O HUNGRY : THE BLIND HOME R B E GGE D B RE AD THROUGH THE MOB WILL DE CL a S TRE E A . m I nv ent a a chine ARE YOU ITS E ME NY m furious ra bble s B UILD TS , a shed AMS HIP S TE m Thi . ’ onier s to L ess tha n sa v e a THE m hundred yea rs a g o inv ention , the sewing ARRY ME RCHANDIS E To C la bor AND AND a chine . ACCELE RATE 46 K G ART OF PU B LI C S PE A IN THE AVE L m the a nd TR will ob ca ll HUD S ON RIVE R OF THE T Y TO is mon y m ving mlv of on m Volun ily d c nd d fit hour “ F UL ON E ’ FOLL S e rs sa the re a an whole A s: es se . f is constitution his little stea s a m boa t e . e ers ra a es e a ctiv ity IS o . oci ty of bodi s volu nt rily s nd t v ing it work Th t th n tu of th b e st N I G HT ITS ACTION S A RE INS ANE lik ob rea ta r ! a ca lled they as , A MOB L INE D THE S HORE S TH E MAID E N ATTE MPT OF fool LAU GH AT you e o e I t persecutes ta r a n d ea the r re e a m be ob I ts . its e , — ple IT p e . WOULD WH IP rinci a . s a . a A T It w oul d f j u tic by inflic ting fi nd ut g up on th hous nd p ons of tho wh h v th s b o d in u land tod y Ev ry Th b sp i i t t lk f h Victi t its lign nt y f bl ood Ther w k giv s 48 p son kill d b y ob s in th Unit d S t t s in 19 13 ; 64 w in 19 12 nd 71 in 19 11 A ong th 48 l st y w n wo chil d Tw Victi s w p ov n innoc nt ft th i d th a nd IN 3 99 B c A DE MAG OG APPE AL E D To THE POPUL AR MOB To HAV E S OCRATE S PU T To D E ATH nd h w nt n d t th h l k up FOU RTE E N H U ND RE D YE ARS AFTE RWARD AN E NTH U S IAS T APPE AL E D TO THE POPULAR MOB nd ll E u p plung d int th RIG H ra . m e e ee e re , s r a a o s er e r e e e a cr or e a e o . e . e . m e ea r a e e re a er a a e r ea e a s se e ce o e . m . a c a r a e ere o . o a . . o e a a re a se m m m m m re s a e s a r o e e rs e a e s e oc . m H oly L a nd to kill de century a a g og a WE RE PE OPL E a nd T a ng le ppea led E XE C U T m a a ro the hea then TE D AT S AL E M , MAS S . , e m sev enteenth I n the . to the ig nora nce e f o e TWE NTY S IX MONTH S en AND o m A m WITH IN ob yelled , WI CHCRAF Two thousa nd yea rs a g o the ”— “ REL E A S E UN TO US B ARA B B AS AND B RA B B S WA S F OR . m A MU RD E RE R! Fro a n E ditoria l by D C in - . P resent da y bu sin ess is - md A OL D TIME OX C RT is - ha s a e - m . odern v bound e IT the p e OL D resent ov er - - TIME . m otiv e ission as illions in C the teleg ra ph, m AME C ONCE RN S . VE NTION ATIONS into MOD E RN N f these closely knit bu siness is the IN . ra ilroa d , The o B U S INE S S by per , B U S INE S S da y loco a g a in e Weekly s FAM ev ery INTO B E IN G . G RE S S CH IL D OF TH E E C ONOMIC PRO S o wa rfa re to destroy big business IS F OOL IS H B E NOT CAN N OT S U C CE E D a nd wicked B E C U S E IT OU G H OF M NKIND AU S E unl ik o l of G RE AT country A as the p e p To do the business Wha t we ca ll big C e L eslie . the whole world telephone ha IL IE S unlik ’ A TO S U CCE E D . Wa rfa re . business , which - . m A . J . es ou t on WHICH BE T to destroy big bu sin ess does n ot hurt big a lwa ys co AL L OTHE R B U S INE S S OU T ON TOP A , top , S O I N S U CH A VE RID GE . MU CH A A W RF RE , T AS IT H U R S NE VE R COME S E FFICIE NCY THROU GH Change f A N GE CH A OF P CE m m m po m ic ill c i h a s s p Te po Produces E o a tch the big cha nge of te is e p ha t a nd w You a y sca rcely be consciou s tha t a p a sseng er a tten tion oving when it is flying over the ra ils a t ninety train is il es a n hour but if it slows down very suddenly to a ten il e ga it your a ttention will be dra wn to it very decidedl y usic a s y o u You a y fo rg et tha t yo u are li stening to dine but let the orchestra ei ther increa se or di ini sh its a rk ed deg ree a nd y o ur a ttention will te p o in a very be a rrested a t onc e This sa e p rincipl e wi ll p rocure e pha si s in a sp eech If you ha ve a point tha t you wa nt to b ring ho e to y our a k e a su dd en a nd grea t cha ng e of a u dienc e forc ef ully pa ying te p o a nd th ey wi ll b e p o werl ess to k eep fro Recently the present wri ter sa w a ttention to tha t p oin t a pl a y in which th ese l ines were sp ok en : “ I don t wa n t y ou to forget wha t I sa id I wa nt yo u — to re e b er it the l o ng est da y yo u I don t c are if yo u ve i x r h r o t g u n s T h p a up t o t e d a s h w a s d l iv e d in e e e t S g a v ery sl ow te p o the re a in der wa s fl a ed out a t lightning sp eed a s the cha ra c ter who wa s spoken to dr ew a revo lver The effec t wa s so e p ha tic tha t the lin es a re re b ered S ix onths a fterwards whi le o st of e the pl a y ha s f a d ed fro ory The student who e ha s p owers of O b serva tion will see thi s principl e a pp li ed by a ll our b est a c tors in their efforts to g et e p ha si s where e pha si s is due B ut re e b er tha t the e o tion in the a tter ust wa rra nt the intensi ty in the a nner or the effec t wi ll b e ri dicul o u s Too a n y p ub lic sp ea k ers a re i p ressive over no thing m Any m m m . , m m m m m m m m , m . . m m , , . . mm ’ . ’ m . , mm . m m , ’ m m mmm , m . m m m m . . . mm m m m m , 48 TH E ART OF PUB LIC S PE Th o ugh t m AKING h tha n rules ust govern yo u while pra ctising cha nge of pa ce It is oftena atter of no con seq uenc e whic h p a rt of a sen tenc e is sp o k en S l owl y a nd The which Is given In fa st te p o a in thing to b e de sired is the ch a ng e i tsel f For exa pl e in the S el ec tion The Mob on p ag e 46 no te the la st pa ra graph Re verse the instruc tions given delivering ev ery thing tha t is a rk ed for sl ow te p o quickly ; a nd everything tha t is a rk ed for qu ick te p o slowly You will no te tha t the fo rc e or ea ning of the p a ssa g e ha s not b een d estroy ed However a ny p a ssa g es c a nno t b e c h a ng ed to a sl o w te p o wi th o ut d estroying their fo rc e I n sta nc es : The Pa trick Henry sp eech on p a g e n o a nd the fo ll owi ng p a s “ sa g e fro Whittier s B a refoo t B oy ra t er m m m . m . . , , , m m , . m m , , m m m . , . , . m , ’ . m boyhood s ti of Jun crowding y rs in ne b ri f ll thing s I h a d s w th i ster w it d oon wh n f r I w s rich in fl ow s nd t s hu ing b irds a nd honey l p l y d ; p li d th snout d ol be s ; f y sp o rt th squ i his S p d ; f y t st th b l ckb rry cone p u rp l d ov r h dg l ugh d the b ook f a nd ston ; y d light th ou gh th da y t the g d n w ll t lk d wi th a nd th ou gh th night whi sp ring f ll t f ll ; in th sa nd ri d p ick l p ond ; ine e f o in on b ending orch rd t es the w ln u t l op es b yond ; s y pp l s of H p rid s ! S till y ho ri on g w l g r gr w ll th w o l d I s w kn w se ed a co p lex Chin se ric h s t ; toy f shione d f r b a r fo ot b y J G WHITTIE R m 0 for o ’ e , or e a a e or mm r r a , oo , a a e o , e, e r e o a a , m - , a e e e e e e m m m m m m m m m m e a e r ar e a a , a e re z or o e re a a e e e e, r e ere e - e r e a e , a e e or e e e a ree e e m m m m ea or rre , a o es , e r a e a s e e m e a a er a e e, e m a . e , ar e , e e e - . . . m m m m m m m m c a reful in regula ting yo ur te p o not to g et yo ur ove ent too fa st This is a co on fa ult wi th a a teur A hun Mrs S iddon s rul e wa s Tak e ti e sp ea k ers dred yea rs ag o th ere wa s used in edic a l ci rc les a prepa ix it wa s a the S h o t g u n re edy ; ra tion k nown as mm Be . . . , . E FFICIE NCY TH ROU GH A G A CH N E OF P CE 49 ure of a bout fifty different ingredients a nd wa s given woul d to the p a ti ent in the h op e th a t a t l ea st one of th e prove eflica cious ! Tha t see s a ra ther poor sche e for S h o t g un te p o edica l p ra c tic e b ut it is good to use for o st sp eeches as it gives a va ri ety Te p o l ike di et is b est when ixed t , m mm m m , , m m m , . , . AND EXERCI S ES QUE S TIONS m po Wh o d com f om moo mn by ch ng of m Wh po W c g in d by mhod of d oy ng m ono ony N mh g i ng fo c in p king o ch ng of m po in conv ion p ch h you h W hy ll m d Why ? D efin e te 9 at w 9 at is . r s 9 ha t effe ts 9 a a ni 6 s ee S te the t Illustra te a a re ea a e r sa ? te e t? it? e i estr s a nd t . a at a et ree r e N . t e t ea the r e te es ea r ere . ersa t a t we e a or e? ? . Rea d a s 6 l c ion on p g e t s a n d 8 4 3 5 7 7 3 3 3 3 pa ying ca reful a ttention to cha nge of te po 8 AS a rul e exci te en t j oy or in ten se a ng er ta ke a fa st te p o while sorrow a nd senti ents of grea t digni ty Try to deliver Lin or so l e ni ty tend to a S l ow te p o coln s Gettysburg speech (page in a fa st te p o or Pa trick Henry S sp eech (p a g e n o) in a sl ow te p o a nd no te how ridicul ous the effec t will b e Pra cti se the fo ll owing sel ection s no ting ca refull y wh ere the te p o a y b e ch a ng ed to a dva n ta g e Exp eri ent ero u s ch a ng es Which one do ak ing n u you like b est? . m m m m se e , , , , , . m m . , , , , , . ’ m m , ’ ' , , . mm mm m , , . . ART OF PU B LI C S PE THE o s AKING DE DI CA TI ON OF GE TTYS B URG CEME TE RY ou sco nd v n y s g u f th b ought fo th up on n w n tion conc iv d in l ib thi s contin n t ty nd d dic t d n c t d qu l N w W t th p o p o ition th t ll ng g d in g t civil w t ting wh th th t n tion— ny conc iv d nd d dic t d n l ong ndu n ti n g t b ttl fi ld of th t w W t on W et t d dic t p o tion of it th fin l sting p l c of tho s wh h v giv n th i l iv th t th t n tion ight liv It is ltog th fi tting nd p op th t w houl d do thi l g n w c nnot d dic t w c nn ot n B ut in c t w c nno t h ll ow this g ound Th b v n l iving nd h v con c t d it f d d wh t u ggl d h bov u t dd t d t ct Th w o l d will v y l ittl no t n p ow l ong b wh t w y h ; but it n n v fo g t wh t th y did h It is f u th l i ing th t b d dic t d h t th un fini h d wo k th y h v thu f nobly c i d on It i th d dic t d t th g t t k in ing b fo f us t b h th t f o th hono d d d w t k inc d d votion t us f g v th l t full u of d th t c u which th y h highly olv th t th d d h ll n t ti n ; th t w h n w G d h v h v di d in v in ; th t th n tion h ll und bi th of f do nd th t gov n nt of th p op l by th h ll n t p i h f o f th p o p l th th p op l F r se re a e o e e a e m so e r e ea er re se a e e, a er e a o . a or a e m re a a - re . o e a . a er e m e ra e se ra e a e ere ca a a er e e er e se co , ar , r e o e e, a e e m . . . e a re . e e e r a ar e e a re a ca - s er , ra s e e e a e se ea e e e a r o e r or e a a e se m m — e r re o e o e er e re s ea er e s ra ea s , er s m m rea se a a o . as e S o e re re e e er a as a e a a e, S e a e re a re s a e a rr e e ere a , e a r so re m o o e re e a or a e a a e re e e rea e e a e , a e re e r v e a e a er e e e sa or o a re r . e r a r e a e e e ra o m o e ere , a r e or v o e s, or a , er ere : a mm e s se , or e e e rs a e S a s r o a so a er se a o , es a a er ar a , a r, rea a es a e as e r e, a r a e a ra a r ' e e a re e e o, o , rea a o e a a m a s ‘ a e a r ea r e e a o e a a , e e e e, e ea r . AB RAH AM L INCOL N . A PLEA FOR C UB A d lib T [ his e d b S t Th d d i f ll i h It i di d i C b A d i i ff i i h i l dt w a s d eliv era tiv e or a tion er e en a y in the Unit e u r st o n or d sS t M h 2 4 1 898 i l C M Th t st h R d f th t d d h h sb d wh w i ti t st d hi tm —h thi ti t i d th U it d S t t s t i t ! by co nd of il nt lip s t sp a k h M P id nt I onc nd f ll up on th Cub n itu tion I h ll nd vo t v tiv nd ju t I h v no p u p o t ti b h on st con ny ction n t n c s y nd i p tiv th p ub lic p s ion t of A ic n sp onsibility t th d u ti s n d n c s i ti t S ta t e en a e o n ecor o er n u ce o r o rs . e a nv e s m o e re m a s e e, a o a e a ng a ga n e n e n e rv e n e u a rs a m m en ce e s s a a S o a e e s es , s s u o e o e a ea r m se o era a a e o r e es a r er re q u e e e m o ong ress on a on S . a . s an s ora e y ng s a . n t n t u a a e se r , s r e cor u r s on a e , . . as o , e , or a e ee n e e a e an u re s . e a te a ur g e a rc re s o r e , ART OF PU B LIC S PE THE 2 5 AKING nit d S t t Think of th sp ct cl ! W f ding th nu ing th i sick ; w ci tiz n s of S p in ; w s ving su ch nd y t th th o s wh still n b s v d s y it i right u t k p h nd ff I y th t the f r us to s nd f ood b u t w co wh n u k t ought t go with th food h ti W sk d th gov no if h kn w f ny li f f th t h h h h rity of th o l x t o u g c U nit d S t te s H did t p p p Wh n do you think th ti will co W sked hi n t n b lf sup p ort ? th t th s p op l p l c d in p o si tion of Onl y th good G d r th H rep li d t us with d p f ling g t gov n nt of th Unit d S t t s will nsw r tha t qu stion nt I h o p a nd b eli v th t the good G d by th gr t govern will nsw th t qu stion of th Unit d S t t h o rrib l things no f urth r Th y are th e I sh ll f t th I h v s n th a in in G d p ity ind ; th y will r y for v — nd thi is l o t th tw nti th c ntury Christ di d nd S p in is a Chri ti n n tion nin t n hund d y g or cross s in o l nds b n th o ski s S h h s s t up ha s b utche d o p op l th n ll th other a nd u nd r th n tions of th a rth co bin d Europ XS y to le t h G d gr nt tence as l ong a s th p op l of th Old Wo l d wi h orning th l st v stig of S p nish tha t b efo r a noth r Ch i st a s ssion will ha ve va ni she d fro nd o pp th W ste n tyra nny He isp h ! No g t a son f it a n f r a c tion h s co Th ti xi t t orrow th n xists t d y Ev ry hou s d la y onl y dd s a noth r ch p t t the wful sto y of is y nd d th — n l y o in v n e n r n t r th Uni te d S ta t s of A rica O p w oth of A rica n t n tion in th w o l d th Ou s is the on g S he hol ds p o ition of tru st and r sp on ibili ty to w rd rep ub lic s isp h It th p e o p les a nd a ff i s of th whole W st rn H r t h t r l c in i d iots of Cub hi h w wa s her gl o io us x p p p W ca nn ot r fuse th fl g of lib erty in h t rn a l hill s to r i sp on ib ili ty which th G d of th u niv s has to cc p t this r t h e N c d u n h n g a o in l d o u s s t r t w w W or W e l a p p p ust ct ! Wh a t hall ur ction b ? Aga in st th int rv ntion of th Unit d S ta te s in this holy n voic of dissent ; tha t voice is the voice ca use there is b ut Th y fea r wa r ! Not b eca use of a ny on ey ch ng rs of the the U a es e e a e ca m m m e o a e e e ce e e o er rea m re e r a ese o e, o er e s a e e e s - m m a e e r e er a e e e o e re a r a e e m e o e o e a e e e e . e e c e a ea e . a ere . a e e e . e a o e r s e . e a e e e e e o - e e m m m m m e e S a m s e s a e e e I a ’ er , a or r e , er e e re o e r . e e e a e m a a er e . er s a r e ra e e e . . e rea e r re e a a m a e a a s r e m a re a e er e ea r a o ca . a se e e e a - m mm m e . . . , m m ” e s e a o e e . e a re o e a . e ere a o e re a e o r e e e e e re m mm - . e m m a e ea e e re e e m m e e a o, e e e m e o e a e ea rs a e e e s m m e a m ee a re e ee e e e a a ese . e o er or a se a e a e m e , e a es e e re “ a e a , a . a ee e e e e s sa . e ee , e o e a a e e es e sa s o a a e m o e e o e e ca e ee e ee e a re o e , e e a s r m r e a re e e s er e e a . s e e e e r m e , as e a e re a re e a , e rs e a re a e a e . e er e . E FFICIE NCY THROU GH CH m ANGE A OF P CE 53 i in nnobling nti nt g in t w nd in f vo of th c b ut b c u th y f th t d cl tion of w p int v ntion which ight ul t in w woul d h v d p ing ff ct up on th tock k t L t th go Th y do n t p nt A ic n nti nt ; th y do n t p nt A ic n n Th i Le t th t k th i ch nc s th y p t oti is of b u t l ittl i p o t nc t th lib ty l oving w w l h h h t t o l of t h U ni t d t t h y i ll n t do t fig ing i S T w ; p p blood will n t fl w ; th y will k p on d ling in op tion on hu n n who lif L t th loy lty i t th doll t nd id whil n who l oy lty is t th fl g co t th f ont th ction p o ibl if ny is M P id nt th is onl y n th ind p nd nc of th i l nd ta k n ; th t is in t v n tion f nd v Cub without th x cis B ut w c nnot int rv n of fo c a nd fo c ns w r ; w n bl ood Th lowly n on th ho s of G lil p ch d th divin doct in N of l ov P c on th good will tow d n N t p c on xp ns of lib ty nd hu nity N t good will th t th n wh de p oil n l v d g d nd t v t d th to w d th i f ll ow n I b li v in th doct in of Ch i t I b li v n in th doct in of p c ; but M P id nt uthv lib rty b fo th n co biding p c ns fo c F o c ns w ns Int v ntion W bl ood B ut it will b G od fo c Wh n h b ttl f hu nity nd lib ty v b n w n xc p t by fo c ? Wh t b r i c d of w ong injustic nd opp ion h v b n c i d xc p t by fo c ? F o c co p ll d th ign tu of unwill ing oy lty t th g t M gn Ch t ; fo c p u t l if into th D cl tion of Ind p n d nc nd d ff ctiv th E ncip tion P ocl tion ; fo c b t with n k d h nd up on th i on g t w y of th B til d p i l in n wful hou f c ntu i of kingly c i ; nd fo c w v d th fl g of volu tion ov B unk Hill nd kd th now of V ll y Fo g with bl ood t in d f t ; fo c h l d th b ok n lin of S hil oh cli b d th fl w p t hill t Ch t t n nd to d th cl oud on L ookout H ight ; fo c g ch d with S h n t th s od wi th S h id n in th v ll y of th S h n ndo h nd g v G nt victo y t Ap p t t v d th Union k p t th t s in th fl g d ; fo c Chr st er er s a ri m . m a er , r e, “ e, ea e e r e er r a r s r e o e ea e o ea o e mm m r s e . s e , . ar ar . as a a as e e a e or a r a er e ea e r e re ss a e r o s ar e e e er e . e . e . ea s a e e m . a . e e e e, s e e a e e, a re s r e m e e ra . - . m m ea . r e e r , ee m r m oo ar a e e e a e a r sa e e s a, s o e er e e r e sa e e m r a rr e ee e r a a or e , a e a o e a m e - , e e r e ee r e e er r s ar e e e a a s r e m m e a o a e e ar a e ra m m as r e e s e r e e ea , a e a er s a re a e m a s e , o r es e - e e a m a a ra er r e a e r e re a e a e a e r e r s m m e a e e a a e re a r e e re a e s e e S e ar a e a r e ox er e, e a a a ’ , m m e a r e r e a r e e ea e a e e a m a m e m ere ca . e a e, e e ea e ea e ea s a e , e e e a e s e a a er e r as ar s a ar er . re e er e e e , re e r ss re a ee re . er e a ar a ca e o e m o s m e re ss e e e a e o - e e o e sa a ea ea r m m ar e re e e e a e e s e e e or m r e r a o e e as a ere a e e o , e o e rese o s or e a ea a a e a ee a r, e . re e . se a o e r e e e m e a es o se e a m e . e a e re s r a za re e a ra e a r, e e e m a r a ar a s a a a e e e e e r ea r oe o ea r ar se a e e e s . or ea e e e re s m m se . m m m m se e e e se e a e, ea e or e a a , a a e THE ART 54 m e m e a e . s e In the b ea u ty With a g l or As H e di e of to a ay th e lilie s s pa en , mg in m k fo ce h co triots onc o s r as e s h oly , l et us d ie to a r chi ng e a re a ta ss th Let . e up the m m mf Chri t wa s b orn a cr o th a t transfi g ur es y ou o G od is nsw he s ta te , rther for b ut for a ’ AKING e s ea , a nd a ke e; en re e , " m i o m oc in o m fu l omic n go i ion ic mn d l y m m dy m c ion m dy mcon ci nc mcoun y m Others ea er a ke While pl d for G o His b o n o e m mm m yi dt P U B LI C S P E m d mic n nigg s n Th ti th i p ssion d l ip of A song er OF e, er I to dip y at to rea a s thers e e pr t at y . ra st ay a ct n ow , a nd e, on tr , for , wh h ea t I y a nd JAME S thers a te , a y G od MELL E N s a ay e a ; rea . T TH U RS ON . CHAPTER VI WE R PO AND PA U S E u bu in of th lit y ti t i t p l it w v his n ng nvolving it ound it lf ; ch nt nc by th t h ll fi t com u cc iv p h into kind of knot nd th n m ft om nt of u p nd d ' ning olv nd cl it lf G E ORG S A NTS B U RY on E ng li h P S tyl in Mi ll n u E y h di tinctiv v lu xp d in p u in oth wo d whil th voic i w iting th m u ic sil nc ; of th m ov nt i going on n g it wi th it T m d lic ci nd co p n tion qui th t mfin n of on which w u t d p nd f ll f ultl p o hyth Wh n th i no com i in dv t n t p n tion wh n th p u i n of j ol ting nd l ck if o p in f t ning h d th f ll n ut m The tr e i I ea , e ss s a e ss s e ar ra se s , S e se rs a s e er a S ar e ra r e so m e e e e es a a e ere s ere s a se e s e o s, s e e e sa s e sa s , re re s or a e e , e a a —J OHN , se a as s r e a , . rose s . resse e e e s s , m e ss e se r m s se , a sa e ss a e, a a e ssa s a o se . a e e, s eo a e a , sce a e ea r e a I ea se ea , s e e e a m m m r er e e as or a a s , e, se o a ea E a s s . ea r e er e e or FRAN KL IN G E N U NG , as e The a Working f Rhetoric P rinciples o . m in p ublic sp eech is not ere S llenC%lt is a d e desig nedly el oqu en t si l enc e it is wi th p rofo un d a h p l ea s When a a n sa y s : I uh— ure tha t er I ha v e b een p er i tted to sp ea k to y o u tonight — tha t is not p a u si ng ; tha t is a nd uh uh I S ho ul d sa y er bling It is conc eiva b l e tha t a sp ea ker ay b e effec stu — tive in sp i te of stu b li ng b ut n ever b ec a u se of it On the o ther ha nd one of the o st i p orta nt ea n s of d ev el op i ng p o wer in pub l ic sp ea king is to p a u se ei ther b efore or a fter or bo th b efore a nd a fter a n i p orta nt wo rd or p hra se No one who wo ul d b e a forc eful sp ea k er Pa u se, m m - m - , . “ - - - - - m . , , . m - - m mm m m . , 56 THE ART OF PU B LIC S PE AKING m — ford to n egl ec t thi s principle one of the ca n a f o st signific a n t th a t has ev er b een inferred fro listening to grea t o ra tors S tudy this p otentia l device u ntil yo u ha ve a b so rb ed a nd a ssi il a te d it th a t this p rincipl e of rh eto ric a l p a use It wo ul d see o ught to b e ea sily gra sp ed a nd appli ed but a long eX n r a t n in ining bo h co ll g e n u p k e r i c t e e a d r e e a t re r s ea e s p ha s de on stra ted tha t the devic e is no ore rea di ly u nder a n wh en it is first expl a in ed to hi stood by the a v era g e Perh a p s th i s is tha n if it were sp o k en in Hindoo sta ni b eca use we do not ea gerly devo ur the frui t of exp erience wh en it is i p ressively set b efo re us on the pl a tter of — r a u th o ri ty ; we l ik e to plu c k fruit fo o urselves it not only ta stes b etter but we n ever forget tha t tree ! For tuna tely th is is no difli cult ta sk in th i s insta nc e for the trees sta nd thic k a ll a bo ut us One a n is pl ea ding the ca u se of a no ther : m m m . . m m m , m m m . m , , , m for a a . m mf i nd m is n you nd Th , y , e r e s, ha s md a e is wond rful th sa crifi ce e ” . p a use surp ri singly enha nce the p ower of this sta te en t? S ee h ow he g a th ered up reserv e fo rc e a nd i pressiveness to deliver the words for yo u a nd e Rep ea t thi s p a ssa ge wi tho u t a king a p a use D id it l o se in effec tiveness? Na tura lly eno ugh d uring a p re edi ta ted p a use of th i s kind the ind of the sp ea k er is conc en tra ted on the He wi ll th o ug ht to wh ic h he is a b ou t to give exp ression he not d a re to a ll o w his tho ugh ts to wa nder for a n in sta n t wi ll ra th er sup re ely c en ter his th o ugh t a nd his e o tion m m D id not the m ' , m m m . . . m m - “ AU S E AND POWE R P up on 57 c ifice who se service sweetness a nd divini ty he is enforcing b y his a pp ea l — Concentra tion then is the big word here no p a u se wi tho u t it ca n p erfectly hit the a rk Effi cient p a using a cco pli shes one or a ll of four resul ts the sa r , . , , m I . Pa use Ena bles the Mind of m . the S pea ker to Ga ther His Forces B efore D eliv ering the Fina l Volley It is often da ngerous to rush into b a ttle wi thout p a using for prep a ration or wa iting for recruits Consider Cu ster s a ssa cre a s a n in sta nc e You ca n light a a tch by h ol ding it b en ea th a l en s a nd concentra ting the sun s ra y s You would not exp ect the a tch to fl a e if yo u j erk ed the l en s b a ck a nd forth quickly Pa use a nd the lens ga thers the hea t Your tho ughts wi ll not set fi re to the inds of y our hea rers uh l ess yo u p a use to ga ther the force tha t co es b y a second or two of conc en tra tion Map l e trees a nd g a s wells a re ra rely ta pp ed con tin ua lly ; when a stro ng er fl ow is wa n ted a p a use is a de n a ture ha s ti e to g a th er her reserv e forc es a nd when the tree or the well is reop ened a strong er fl ow is the resul t on sen se wi th y our ind If yo u Use the sa e co fec tive p a u se ju st wo ul d a k e a tho ught p articul a rly ef b efore its utterance concentra te y our ind energi es a nd th en give it expressio n wi th renewed Vigo r Ca rlyl e wa s right : S p ea k not I p a ssiona tely entrea t thee till thy th o ught ha s si l en tly a tured i tself Out of S ilence co es thy streng th S p eech is S ilvern S ilenc e is gol d en ; S p eech is hu a n S ilenc e is divin e m ’ . m . m m . ’ . m , . m . m m , , , , mm m m m . m . , - , , . , m , m , . . , . m 8 5 THE ART OF PU B L IC S PE AKING S i l enc e ha s b een c a lled the fa ther of sp eech It S houl d Too a ny of our pub l ic sp eeches ha ve no f a th ers be Th ey ra b l e a l ong wi tho ut p a u se or b rea k L ik e Tenny Li sten to l i ttl e chil dr en son s b roo k they run on fo rever the p o lic e a n on the co rn er the f a ily conversa tion a ny p a u ses they n a tura ll y a ro und the ta b l e a nd see how use for they a re u ncon scio u s of effec ts Wh en we g et b efore a n a u di enc e we throw o st of our na tura l ethods of exp ression to the wind a nd strive a fter a rtificia l eflfects — eth od s of n a ture G et b a c k to the a nd p a u se m m m . ’ . i . . m m , , , , m 2 . m . , m . , . . P a use Prepa res the Mind of Your Herb ert S p enc er , Auditor to Receiv e the M essa ge m id tha t a ll the universe is in o tion — Pa rt of rhy th S o it is a nd a ll p erf ec t o tion is rhy th Rest fo llo ws a c tivi ty a ll thro ugh n a ture In is rest — — er a u tu n sta nc es : da y a nd nigh t ; sp ring su win ter ; a p eriod of rest b etween b rea th s ; a n in sta n t of co pl ete rest b etween hea rt b ea ts Pa u se a nd give the Wha t y ou say a tten tion p o wers of yo u r a u di enc e a rest a f ter su ch a S il enc e wi ll then ha v e a g rea t d ea l o re efl ect When y o ur co untry co usin s co e to town the noise of a p a ssing ca r will a wa k en the tho ugh it sel do a ffec ts B y the con tinu a l p a ssing of c a rs a sea son ed ci ty dwell er I n one who his a tten tion p ower ha s b eco e d ea den ed V i si ts the ci ty b ut sel do a tten tion va lu e is in si sten t To hi the nois e co es a fter a l ong p a u se ; h enc e its p ower To yo u dweller in the city there is no p a use ; Af ter ri ding on a tra in henc e the low a tten tion va lu e m sa m m m . . m . . m m . , m m - . m m m m m . , , . - m . . - , , , - . . THE 0 ART OF PU B L IC S PE m p p fo mf d lib mnn in m inc x AKING n a chieves it Even e the era te a er which he a rra ng es the p re — li ina ries rea ses our e p ec ta tion we l ik e to b e k ep t ” wa i ting I n the l a st a ct of the pl a y Po lly of the Ci rcu s there is a circu s sc en e in whic h a li ttl e dog turn s a b a c kwa rd so ersa ul t on t he b a c k of a ru nning p ony On nigh ts wh en he h esi ta ted a nd ha d to b e co a x ed a nd work ed wi th e b efo re he wo ul d p erfo r a l ong ti his fea t he g ot a g rea t dea l ore appla u se tha n when he did his trick a t onc e We not only like to wa i t but we apprecia te wha t we wa i t for I f fi sh bi te too rea dily the sp ort soon c ea ses to b e a S p o rt It is this sa e p rincipl e of su sp en se th a t h o l ds yo u in a — S h erl oc k Ho l es sto ry yo u wa i t to see how the y stery is so lv ed a nd if it is so lv ed too soon y o u throw down the ta l e u nfini shed Wilki e Collin s rec eip t for fiction wri ting well a ppl i es to pub lic sp eech : M a k e e l a ug h ; a k e e weep ; a ke e Above a ll el se wa i t a k e the wa i t ; if th ey will not do tha t yo u a y b e sure they will neither la ugh nor weep Thu s p a u se is a va lu a b l e i nstru en t in the ha nd s of a tra i ned sp ea k er to a ro u se a nd a in ta i n su sp en se We onc e hea rd M r B rya n sa y in a sp eech : r ivi l e g e It wa s y p — to h ea r a nd he p a u sed whil e the a u di enc e wond ered the for a second wh o it wa s his p rivil eg e to h ea r — grea t eva ng eli st a nd he p a used a ga in ; we knew a li ttle o re a bout the a n he ha d hea rd but still wondered to which ev a ng el i st he ref erred ; a nd then he conc lu d ed : D wight L M oody Mr B rya n p a u sed S lightly a ga in — I c a e to rega rd hi here he p a used a n d co n tinu ed : a tte ts to er r a ea t, a nd . the . , , m . m m m . . m m . m , ’ . m m ’ m ’ . m m m m m ’ m . m m . . m m m . . , m , m ’ . AU S E AND POWE R P 61 mm ga in a nd held the a udience in a bri ef o ent of suspense a s to how he ha d reg a rded Mr M oody th en con tinu ed ” Let the da shes a s the g rea test prea cher of his da y illustra te p a uses a nd we ha ve the following : a . , . m L . — — It wa s y p rivilege to hea r the gr a t eva ngeli st D wight — M oody I ca e to rega rd hi —a s the grea test p rea cher of . his d a y m m e . un skilled sp ea ker woul d ha ve ra ttled this off with neither p a use nor suspense a nd the sentenc es woul d ha ve fa llen fl a t up on the a udience It is precisely the applica a k es uch of the difference tion of th ese s a ll thing s tha t b etween the successful a nd the unsuccessful sp ea ker The , m . mm . 4 . P a using After An I m p orta nt m I dea Gives it Ti e to P enetra te m ill Mi sso uri far ll y ou tha t a ra in tha t fa lls too f ast wi ll run off in to the c reeks a nd do the c rop s b ut li ttle good A story is tol d of a co un try dea con pra ying L ord don t send us a ny chunk for ra in in thi s a nn er : floa ter Just give us a good ol d drizzle dra zzle A uch good if it sp eech l ik e a ra in will not do a n y bo dy co es too fa st to soa k in The fa r er s wife follows this e p rincipl e in doing her wa shing wh en she p u ts the sa — clo thes in wa ter a nd pa uses for severa l ho urs tha t the wa ter a y soa k in The p hy sicia n puts coca in e on yo ur — turbin a tes a nd p a uses to let it ta k e h ol d b efore he re oves the Why do we use thi s p rinciple everywhere unica tion of idea s? If y o u ha ve given ex cep t in the co the a udi ence a big id ea p a u se for a second or two a nd let Any er w m . te ’ , m - . m m m m m , . , m ’ . . m m , 62 THE ART OF PU B LIC S PE AKING mu n ov c f ok m cl y yo u m v no i c ll on mubj c b fo you d m ol i ci d l of o h yo u yi g d o k im on m o u p ch b l ho ou do o k in y p nd fif n m inu looking N m pi c M o o l i n M u um of M u um m i u in of N u l i o y k p in o qu iumhu y c o ookly n idg u b ck b y n om b c ll ing o k If y o u b y y ou im p o n p oi i ho u p u ing yo u u nc i ll the t it r er S ee wha t effe t it ha s . ea rs a wa the sa e s t at s ew Y y at the r a nd a tha t rta t “ estr to n e t the se A ar s n ts rists e a nd t a D . who try ’ t let to tes Arts, se H a r ss st r ta , the Gra t a e a Br ’ s T ha sten . s r e r r e e ta p rr r ta t e h S he n - tee e , 14 the a t ra New Y wt Ta . etr to the Zoo , S ee sh t se The . y ther a e in the sh up e, r re to fi re e e es the t eep e da y a tes n ha rese ee a ster ten Br tr a re r t e ay A ter the s . r , a r die e w ha ve ju st a bo ut a s a dequa te a n idea of wha t y ou ha ve tri ed to co nv ey Ta k e ti e yo u ha v e ju st a s uch of it a s our richest ul ti illion a ire Yo ur a udienc e will wa it for yo u It is a S i g n of s The grea t redwood trees of a ll n ess to hu rr y Ca liforni a ha d b urst th ro ugh the soil fi v e hundred y ea rs b efore S ocra tes dra nk his cup of h e lock p oison a nd a re only in thei r pri e toda y Na ture S ha es us wi th our p etty ha ste S i lenc e is one of the o st eloqu en t thing s in M a ster it a nd use it thro ugh p a use the wo rl d m mm m m . , . . . m . . . m m m , . , following sel ec tion s da sh es h ave b een inserted a y b e u sed eff ec tiv el y Na tura lly y o u where p a u ses it so e of these a nd in sert o thers wi tho ut going ay o t — wrong one sp ea k er w o ul d interp ret a p a ssa g e in one a tter of p erson a l p ref wa y one in a no ther it is l a rg ely a A do z en g rea t a c to rs ha v e pl a y ed Ha l et well erenc e Which a nd yet ea ch ha s pl a y ed the p a rt differen tly m mmm In the , , . , . m m . , P co m AU S E AND P OWE R 63 fectio n is a question of op ini on You wi ll su cc eed b est b y da ri n g to foll ow y o ur own co urse —ii y o u a re i n divi dua l en ough to b la ze a n origi na l trail the n ea rest to p er es m om n m A t ’ a e ’ s nothin g it The w se t ou t o ldl y hop r e ta r e —nd a . m om n y of b ng f om lo n omc v n c —O m f om m i u on— u n — ha lt a i d the w a ste the . r ta ste ei ! the p ha t a ra h ak e ha ste ! the se t en hea rt s r the we r ha s a t p r re a he d ll s a she s — a n d a non lik e snow up on the d e se rt s du sty f a c e o r it p ro sp ers ; lighting a little hour or tw o—is gone ’ ~ is m bi d of ti on th win g The r e e . ha s b ut littl a wa y to fl u tte r — a n d the e , . You will o m m ion mk p un tu a t m . ar s ha ve r o i g to do wi th the p a u si ng You a y run b y a p eriod v ery quickly a nd a ke a long p a use where there is no kind of Tho ug ht is g rea ter tha n p unc tu a tio n It p unc tu a tio n ust guide y ou in y our p auses n te tha t the c bi d n th n . . . book of v und n th th bough — jug of win — l o f of b d nd thou b id inging in th wil d n — Oh wil d n di now w p A e rse s re a a er a e ss er m u ea es ere m e e e S se e a ra a , e . er e, a ess m co nfu se the p a use for e p ha si s wi th the n a tura l p a uses tha t co e through taking b rea th a nd For ex a p l e no te the p a u ses in dic a ted in phra sing this sel ec tio n fro B yro n : You st no t . m m m , B ut hushl—ha rkl— tha t — n ea rerl clea rer m And Ar oun d b k in onc — l d dli th n b fo it is th c nnon o p ning o , it is ARM - d ee p s ea e er a re a a s e ’ s re e e o m re , . r ar ! y to dwell a t length up on these obvious distinc tion s You will ob serv e tha t in n a tura l conversa tion our words are g a thered i n to clusters or p hr a ses a nd It is c not n e essa r . , THE ART OF PU B LIC S PE 64 AKIN G m often pa use to ta k e b rea th b etween the S o in public ust sp eech b rea th e n a tura lly a nd do not ta lk u n ti l yo u ga sp for b rea th ; nor unti l the a udience is equa lly winde d A serio us word of c a u tion u st h ere be u ttered : donot overwork the p a use To do so wi ll a ke yo ur sp eech heavy a nd stilted And do not think tha t pa use ca n tra ns ute co onpl a c e th o ughts into grea t a nd dignified A gra nd a nn er co bined wi th insignifi ca nt uttera nc e idea s is like ha rnessing a Ha b letonia n with a n a ss You re e b er the fa rcica l o l d schoo l dec la a tion A Midnigh t Murder tha t proceeded in gra ndio se a n ner to a thri ll ing c li a x a nd end e d a nd rel en tl essly ” — urdered a o squi to ! The p a u se dra a tic a lly h a ndl ed a lwa ys drew a la ugh fro the tolera nt h ea rers This is a ll very well in fa rc e but such a n ti cli a x b eco es p a inful wh en t he sp ea k er fa lls fro the sub li e to the ridiculo us qui te unintention The p a use to b e efl ectiv e in so e o th er a nner tha n a lly in tha t of the boo era ng ust prec ede or follow a thought th a t is rea lly wo rth whi l e or a t l ea st a n id ea wh o se b ea ring up on the rest of the sp eech is i p orta nt Willia Pi ttenger rela tes in his volu e Exte p ore S p eech a n in sta nc e of the u ncon scio u sly fa rcic a l use of the p a use by a rea lly grea t A eric a n sta tes a n a nd o ra to r “ He ha d Visi ted Nia g a ra Fa ll s a nd wa s to a k e a n ora tion a t B uffa l o the sa e da y b ut u nfo rtu n a tely he sa t too long over the wine a fter dinn er Wh en he a ro se to spea k the o ra to ric a l in stinc t strugg l ed wi th diffi c ul ti es a s he declared Gentle en I ha ve b een to l ook upon yo ur ag — — — ag a g nifi cent c a ta ra c t one hu nd red a nd fo rty sev en we m . , m . m . m m m . m . m m mm m m , m m m m m m m m m m m m m m m m m m m m m , , , , . , - . , , , . , , , , , , . ' mm , m m ~ , , , . AU S E AND P OWE R P m 65 m m feet high ! Gentle en Greece a nd Ro e in their p a l i est — — da ys never ha d a ca ta ra ct one hundred a nd forty seven feet high ! QUES TIONS AND EXE RCI S ES - , ’ I Na . mfou mod eth r e destroying for s m ono ony t a nd ga ining p ower in sp ea king Wha t are the four sp ecia l efi ects of pa use? 2 o t h a u ses in conv r ion l a y or p c h a S e t e e e s a t e N p p 3 Were they the b est tha t coul d have b een used ? Illustra te — t d R ea d a l o u se l e c ion s on pa ges 50 54 pa ying 4 sp ecia l a tten tion to p a u se h w h n R a d t e fo ll o ing w i t o u t a k ing p u e a a ses 5 y Rerea d correctly a nd no te the difference : nd wh n of th S ntin l on th S oon th night will p ; h f i t y t nxious k I W tch n wh t of the L t s b p t night ? his n w will b I L th pp u t p y I th c ifice I w ust Knowing th p ic w k Ith bu d n Iw u t c y Ith sa ul t Iw u t n du knowing full w ll th co t Iy t w nli t nd w nlist If r th w IF w know th ju stic of u c u se I n d w know its c t in t iu p h I t N t lu ct ntly th n Ib ut g ly In t wi th f int h rts Ib ut n i of th p p l IFor st ong do w n w dv nc up on th t ur f th As th c l l th t co s t us i th c ll th t c h ll w th y p ond d H h th o und d fo th t u p t Ith t h ll n ve c ll t t n Ib fo H i sifting ut th h t s of His j u dg nt . . . . , , . , . m . . a ss e ar er o ” m a s e e ar e r r a m o a e , s e Oh b e e e . r a ea r e a Iour mf . an o BE o s ul s to mc ar VE RID GE , P rog ressive a n e o ee a , e , e swer Hi m . ea a eo e o o a e ng on hi e e r , e et , TJ a es e a a e e a Our G od Iis LBER a o , . f ou r r m m m m er e e swift , ea s o sea t — A so S re rea a o , s e s s e e m m e r e as e , m a , ea re sa e , e , o s a a a , a rr e a a e re s e e , e , o e ra e . a re o m e er a oo , e or . s e mm a s m e a e s e , : o, e e re , e m m e r r e e e, as er e e a e s a a . , e a . . r m re mI e ers a s , e be j ubila nt m his speech a s te pora ry cha ir Na tiona l Conv ention , Chica g o, 19 1 2 Fro . AKING THE ART OF PU B LIC S PE 66 B ring m pa use : t h e g us contra sting idea s in the fo llowing by the out m m ont st n w the i cu sta nc s of your lif an d e g ntly n d then sk these p op le who s a nd with t p r E s hin s ; fo tun th y woul d e ch of th p r f You ta u ght r ding chool you p rfor d initi tions I r ceived th I w nt t ass b ly you d nc d in th cho ru s I fu rnish d it yo u w cl k I w a p k you ct d third p rts I h d you you nd I hi s d you h v wo k d as a sta t s n f r b ro k do wn I p ss by th n y If st ; b u t this v ry th y coun try on y p ob tion f c own nd cknowl dg d d y I dy j udg d t b e to b innoc nt of a ll off nc ; whil you al nd th qu stion is wh th yo u sh ll continu p ttifogg th t t d t onc b sil nc d by n t g ttin g a fif th p a rt of you h v nj oy d tha t th vot s A h p p y fo rtu ne do yo u s — in s i D E MOS THE NE S bl you shoul d d no unc C ra e r e e a s e e e a ea r e e e er , e a ra e a e , or a e e 7 the c a reful following : er o e udy m e a e e a e pra c tic e a nd st m o e o a ee , sera e a a rea e e m m e Af ter . , e a a re , e in e a , e e e a . e e e re r : e a or a a r : e ea r , , e e re a . e , : e m m m ea a a e . e : or , e er e , e e a m m mm a e er : s e a a m , a , e m a e e as e e : e , e a s o e c , e e er m C r o e e e mk , . pa uses the ar , e m m m m m b fo l ik d Ag in we in the g t t uggle f n tion l l if W h th sounds of p p — u ic of th b oi t ous d u s th ilv voic s of tion th nd h r th h oic b ugl s tho u nds of bl g s W th p l ch k s of wo n nd th pp al s of o to s ; w s flu h d f c s of n ; nd in tho s bl g s w s ll th d d whos dust w h v cov d with fl ow s W l os S ight no o W t wh n th y nl ist in th g with th of th tho th y l ove y of f do th So W p tf o in qui t w oody p l c s with th id ns w lking f th l t ti nd th do w t vows of th y W h th whi p ing th y l ing ingly p t fo v Oth s b nding t n l l ov sl ov c dl ki ing b bi s th t So c iving p t h ings of old n S o t ing f o os wh hol d th b l p nd p t g in nd g in nd y s th t th ir h th nothing ; nd o t lking with wiv s and nd vo ing wi th b v wo ds S p ok n in th ol d ton t d iv f o th i h t th th wif t nding in th W s th a wful f p t W i The p a st rea or e m e e e re ar re e a re a e e er a re er es , ra m e ess e a a ra e r ea r s o e a re ee a re a es . o r e see e m . s m rea a e e ee m m a re e e a re re e a r e a m e , e e e a e ee a e er . a e e e r e a ar se e a e . ar ea e . e er ee ea r s a e e e re e a re . e e a e e s a ar e a ra e a , e er a er m m m m m e . s er e r e e a e ar e ea r a m m m e e e ere m e a re er ee a e e e see ss re s e e a re . e . e s e , se a se a e as e as a e . or ee e a sse a e mm m m ea sa e r r a re a . ea r e . s er e see ra a e e . e e a re a e a e a s er s re e m s r e a r ses ea e r e s a o a , sa r ea r s e e T THE AR 68 Rep ub lica n OF PU B LIC S PE AKING y of 1800 did in n word its f ith nd E qu a l x ct j u tic t ll n Ev n wh n it its wo ks fi st ent red the fi l d onl y half org ni d it st u ck bl ow which s cu r co p l t nd triu p h nt Victory o nly j u st f il d t dy won dva nt g s In this its se cond c p ign it ha s l th t t iu p h n w both ea sy nd cert in The which r nd su d su cc ss li s in th t v ry ch r ct ristic which sec r t of its s consti tut s its g ou th of scoff t nd l ting i b e cil in th ity a nd r p ro a ch It l i s in th f c t th t it is p a ty of on id a ; — n u h a t i s a no b l o n id ea th t fi ll s n d xp nd s ll g n b t t ll n tri e us so ul s ; the id ea of e qu lity of en b efo re hu n l ws s th y a ll re qua l b fo the Divine b una ls nd hu trib una l a nd Divin e l a ws I kno w a nd yo u know th t I know ev olution h s b gu n a nd ll the wo l d knows tha t revolution s n ve r go b a c kwa rd hu nd d Tw n ty sena tors nd b ol dl y p r sen t tiv s p roc la i in Congress t d y s nti nts nd op inions nd p rincip l s of fr edo which h rdly s ny n v n in this f e S ta te da red to utte in th ir wn ho s tw nty y s g o While the gov rn nt of th Unit d S t t s und th condu ct of th D o ll th t ti e su nd ring one p l in a nd cra tic p a ty h s b e n ca stl e a fter a no ther t sl v y th p op l of th Unit d S ta tes ha v b n no l ss st dil y nd p rs v ringly g th ring tog ther the fo c s wi th which to cov b ck g in ll th fields nd all th c stl s which h ve b n l o st a nd t confo u nd nd ov throw b y on d cisive b l o w th b et y s of the C on titution nd f ee d fo ve —W H S E WARD the as r p a rt a nd e , r e e a e e e m r a as e e er e m ro a a e a e a . a a a a rea r m a a a a m as a e . e a a e e a e a a a e a e , . a a o a a ” a rea , e a , r , a , e . m m e e ze e e a re e o a m m m e o er e a a e s a , , o , e e m a e , a e a e re e . , a r e m m e e o - a a a e e e a e e a a m e o a e re . . e er . . e er er . a a e a e e e a a m . e e a , e a e e e a o , ra e e e e . re ea r rre , m e e e , er e a e e a e , , ee , r a a re a a a e ea e e e a r e e re e o e ee m mm m m re o e a e o r , a r , a e r a , s a er a , r CHA PTER VII TH ROU G H E FF I C I E N CY m IN FL E C TI ON oft th u ic of tho vill g b ll s F ll ing t int v ls up on th In c d nc w t ; n w dying ll w y N w p ling l ou d g in nd l ou d till nd sono ou s th g l co s on ! Cl e With sy fo c it op ns ll th c lls Wh M o y S l p t — WILL IAM COWPE R How s s e a a a er e s e ee r m , a e re e r e e e a a m er s a , as r e ea a o a ar a e e a , e ea r a ea o se a e a e , , e e . The Ta sk . , Herb ert S p enc er mn mk d m odul ar re e tha t Ca d enc e —by which ion of the tones of the voice in is the running co otions enta ry of the e sp ea king upon the prop o sition s of the in tellect How true this is will a pp ea r when we reflect tha t the li ttle upward a nd downwa rd sha dings of the voice tell ore truly wha t we The exp ressiven ess of la ngu a g e ea n tha n our words ultip lied by this sub tle power to sha de the is litera lly voca l tones a nd this voic e sha ding we c a ll inflection ore i The cha ng e of pi tch within a word is even porta nt b eca use ore delica te tha n the cha nge of pitch fro phra se to phra se I ndeed one ca nnot b e pra c tised a ny with o ut the o th er; The b a re words a re onl y so — bricks infl ection will a ke of the a pave ent a gara ge or a c a th edra l It is the p ower of infl ection to cha ng e the It ea ning of wo rds th a t ga ve birth to the ol d sa ying : is not so u ch wha t yo u sa y a s how yo u sa y it ha s Mrs Ja eson the S ha kesp earea n co en ta tor he ea t the m m at m . m m m . mm - . , m m , , m m m m m , . , , . . m m , , m m . , THE 70 ART OF P U B LIC S PE m AKI NG given us a p enetra ting exa ple of the effect of inflec tion : I n her i p ersona tion of the p a rt of La dy M a cb eth Mrs S iddon s a dop ted su cc essively three difl erent inton a tion s in giving the words We fa il At first a quick conte p We fa il ? Afterwa rds wi th the tuous interrog a tion note of a d ira tion We fa il a n a ccent of indigna nt pha sis on the word en t l a ying the p rincip a l e a sto nish L astly S he fix ed on wha t I a convinced we fa il we — — is the true rea ding We fa il wi th the S i pl e p eriod odul a ting the voice to a deep low resolute tone which I f we settl es the i ssu e a t onc e a s th o ugh S he ha d sa id : fai l why th en we fa il a nd a ll is over o st exp ressive el e ent of our sp eech is the la st This a stered in a tta ining to n a tura ln ess in sp ea king a to b e foreign l a ngua ge a nd its correct use is the ain ele ent in Wi th o ut a n a tura l fl exib l e u ttera nc e of our n a tive tong u e va ri ed inflec tions sp eech b eco es wooden a nd ono tono us Th ere are but two kinds of infl ec tion the ri sing a nd the fa lling yet these two ay b e so S ha ded or so co bin ed a ny va ri eti es of th a t th ey a re c a p a b l e of p rodu cing a s odul a tion a s ay b e illustra ted by either one or two lin es stra ight or curved thus : S h a rp ri sing Long ri sing L evel L ong fa ll ing \ S h a rp fa lling S ha rp ri sing and fa ll ing A S h a rp fa ll ing a nd ri sing v Hesi ta ting m ‘ m ’ . m m ’ , m , . m m ’ ‘ . , , m , , , ‘ m m , m , . , m , m , m , m m m m m m . , , \ . E FFICIE NCY THROU GH m F T IN LE C ION m m m 1 7 va ri ed indefini tely a nd serve erely to ill ustra te what wide varieties of co bina tion ay be pl e infl ection s of the voice effec ted by these two S i It is i p o ssib l eto ta b ul a te the va riou s infl ection s which serve to exp ress va rio u s S ha d es of tho ught a nd f eel ing A few sugg estions a re offered here tog eth er wi th a b unda nt a ster in ex erci ses for p ra c ti se b ut the o nl y rea l wa y to fl ection is to ob serv e exp eri ent a nd pra cti se on sentence Oh he s a ll For exa pl e ta k e the co right No te how a ri sing infl ec tion ay b e a de to ex press fa in t p ra ise or p o lite doub t or unc erta inty of Then no te how the sa e words S p ok en wi th a Opinion generally fa lling inflection ay deno te certa in ty or good na tured a pprova l or enthusia stic p ra i se a nd so on I n genera l then we find tha t a b ending upward of the voice will suggest doub t a nd uncerta in ty whil e a decided fa lling infl ection will sugg est tha t you a re c ertain of yo ur gro und S tu d ents di slike to b e tol d tha t their sp eeches a re not so b a d sp o k en wi th a ri sing infl ec tion To en unci a te th ese words wi th a l ong f a lling infl ec tion wo ul d indorse the sp eech ra ther h ea rtily yo u exp ec t S a y good bye to a n i a gina ry p erson wh o to see a g a in to orro w ; then to a d ea r fri end yo u n ever exp ec t to eet a ga in No te the differenc e in infl ec tion I have ha d a delightful ti e when sp oken a t the ter ina tion of a for a l tea b y a frivo lo u s wo a n tak es a l tog eth er dif feren t infl ec tion th a n the sa e words sp oken b etween lovers who have enj oyed the selves Mi ic the two cha ra c ters in rep ea ting thi s a nd ob serve the differenc e These ay be , m m , . . m , m m m , m , , , m m , . , m , , m . , , , , ’ . , , , . , . m m . m m - m . m m , . m m m m . . THE ART OF PUB LIC S PE 2 7 AKING No te how ligh t a nd S hort the inflec tion s are in the follow ing b ri ef quo ta tion fro S a uel Mervin m m n hony b solute A t the A by , — M h 28th At S e Thi s evenin g I tol d S i Rob rt Wh t s His Na e he w s foo l I w s quit right in this H is h ha s p side d Ev ry ev ning ince th ship l ft V nco uv ro und t b l in th iddl of th s oking roo Th re ov r th fie nd liqu u n d ho l ds fo rth on h sip s his v y sub j ct known t th ind of n E ch sub j ect is hi sub j ct He is n l d e l y p son wi th b a d f c nd droop ing l ft y lid — h h is in th B ritish S rv ic t t j udg so e Th y t ll th y d rink ore th n is good for wh r do wn in Ma l ysi wh . a rc a r a e e co o a e r e e e a e a m e m - “ e a . er s . e m e ere e e e e e a e a, a re e e a e a e er a . a , m a r, a e er e e e a e e the e e a . m m m m s a e e m ’ a . e e e e . . e e a e m . a . D eliver the two fo ll owing sel ec tions wi th grea t ea rnest ness a nd no te how the infl ec tions differ fro the fore going Then rerea d th ese selec tions in a light sup erficia l a nn er no ting th a t the ch a ng e of a ttitu d e is exp ressed thro ug h a c ha ng e of infl ec tion When I d sub li f ct in Plut ch n u n s lfi sh d d in lin of p o t y th ill b n th o h oic l g nd it is no — — long fa iryl nd I h v s n it tch d W E ND ELL PH ILL IPS Tho u ght i d p tha n ll S p ch F ling d p th n ll tho ught ; t ch S oul s t so ul c n n v Wh t unto th lv s w s t ught —CRANCH ust b e a de p erfec tly cl ear tha t infl ec tion d ea ls It o stly in sub tle delic a te S ha ding within single words plished by a g enera l rise a nd is not by a ny ea n s a cco Yet c erta in or fa ll in the voic e in sp ea king a sen tenc e fec tively d elivered wi th ju st su ch ih a y b e ef sen tenc es Try this sen tenc e in severa l way s a king no fl ection m , m . , , re a a e r e er m a e a a e ee ee s a m m m m m , . s a ee ee o m ea e s m ar a r or , . e e er er a m e se or a e er e e ee , . . ee a a e , , a er e ea a a . . m , . , m E m od FFICIE NCY TH ROU GH F m m ion until you co indica ted And yet I to l d hi ul a t , la st to the e T IN LE C I ON two yllab les s , as dis tinctly And yet 73 . m I tol d hi dis m ntence b y infl ecting the i p orta nt ea ning The wo rds so a s to b ring out va riou s sha d es of fir st for sfiillustra ted a bove S how cha ng e of p itch within the fo r s yo u will work out for y o urself a single word; sh oul d sh ow a n u b er of su ch infl ec tion s thro ugho u t the sen tenc e One o the chief ea n s of securing e pha si s is to e ploy a long fa lling inflec tion on the e p ha tic words tha t is to let the voic e f a ll to a l ower p i tch on a n interior vowel so und in a word Try it on the words every o syna ry a nd destro y el ee Use l ong fa lling infl ec tion s on the i ta liciz ed wo rd s in the fo llowing selection noting their e pha tic p ower Are th ere a ny o ther word s here tha t l ong f a ll ing infl ec tion s a k e exp ressive ? woul d h elp to Now try this m se m m , m m . I’ . m m m , m . , “ . , m , . m ADDRES S I N THE DARTM OUTH COLLEGE CAS E mc This, sir , is y a se It is the ev ery st t t ; it is the a se in i u ion . c of mly of c s nt coll ge in a e e o ere ou r l nd a m m u bl tha t h . It is e ore; THE ART 4 OF PUB LIC S PE m mm m AKI NG ca se of syn y in stitution throu ghout our y l country— i a ll tho g t ch riti s foun ded by the p i ty of ur nc sto s t ll vi t hu n is ry nd sca tt b lessings along S i yo u the p thw y of l if y dest y this littl institution I know it is n of th l sser lights it is w k it i in you h nd y ho i on of u count y Y u y p ut it ut B ut in th lit if you do you u t c r y through you wo k ; you ust e ft noth ll thos gr t lights of sci nce which n ting ui h o th n c ntury h v thr own th ir di nc ov ur f l nd ! s I h v s id nd y t—th r It is sir s all coll g are it ! wh l tho y lf wh n I S ir I know n t h w o th s y f l b ut a s f t su oun d d lik C sa in th s n t hou s y al by those wh it ting ta b ft t b I woul d n t f this h tu n t nd s y And th u to right h nd h v y s n! —DANIEL WE B S TE R it is the ev er a e r o a a e m m , a re or s r , se o a m mm o ee e a , a er m r r e m o ea m m ee e a . x e e a rr e e , m era er e o e - ra a e e, a , er o e e m or , e e se e ' o a re re a a o a er a e e ove , . e a , a ro r o er o a , a . er , a e a e a r er a e a o e a o r z s s e a a r era r e r, . s , ar a a e e a ea rea se o o e ee s r o r ae er s a a e a a e e a o , o , , o, se , e m or o . mm m ca reful not to over infl ect Too uch odul a tion produc es a n unpl ea sa n t effec t of artifi cia lity lik e a a ture a tron trying to b e ki ttenish It is a sh o rt step b etween true exp ression a nd uninten tion a l b url esq u e S cru tiniz e your own ton es Ta k e a single exp ression like Oh ” no ! or Oh I see or I ndeed a nd by p a tient self ea ning a y b e ex ex a in a tion see how a n y sh a d es of pressed by infl ec tion This sort of co on sense pra c tise ore good tha n a book of rules B ut don t will do yo u Be - . m , . . , . m , , m forget to listen m , m m m m - . ’ . to your own v oice . QUE S TI ONS AND EXERCI S E S m I n your own words define (a ) c a denc e (b) odul a tion (c) infl ec tion (d) e ph a si s 2 Na e fi v e wa ys of d estroying ono tony a nd g aining eff ec tiv en ess in sp eech I m . , . m , . , . m THE ART OF PUB LIC S PE 76 AKING S ELECTIONS FOR PRACTI CE m m I n the following selections secure e pha sis by ea n s of l ong fa lling inflections ra ther tha n lo udn ess Rep ea t these sel ection s a tte p ting to p ut into p ra c ti se a ll the tec h nic a l p rincipl es tha t weh a ve thu s fa r ha d : pha sizing i p orta nt words subordina ting uni p ort e p o pa use a nd a nt wo rd s va ri ety of p i tch c h a nging te infl ection I f these principles are a ppli ed yo u will ha ve no troub le with onotony Con sta n t p ra c tise will giv e grea t fa ci li ty in the use of inflec tion a nd will render the voic e itself fl exib l e , m m m . , , m . m m , , , . . CHARLES I mi We cha rge m m ving b ok n his co on tion o th ; a nd k p t his ri g w e tol d th t h v w! W ccus hi of cil ss inflictions of th ost ha ving giv n up his p op l t th t d of p r l t s ; nd th d f nc is h t h d d nd h d h nd ki ss d hi ! We n th t h too k his littl s n on his kn hi f h vin g vio l t d th ticl s of th P ti tion of Right su tion p o is d t h vin g f r good nd va lu b l consid a ft ob s rv th ; nd w info d th t h wa s a ccusto d to orning ! It is t su ch consid h p y s t i o cl ock in th s his h nd so tog th wi th his V ndyk d e tion s s th s f c nd his p k d b d th t h ow w v ril y b li v ost of his p op ul rity with th p s nt g n r tion —T B MACAUL AY hi e ar a e e o ea - a m er e e ea r ra er a e, a e ea e er e a a a , e , e es , e , r e o e res e e a e , o e re e e era e e e ce e a m m m m m e e a ea r e e e e er a e m m r e a o e a ’ e e, e e ar e a re s x a e a ee a a a a e a e a e e ar o o , o r e ea r e - a m a e e or re a ar e a r e e e m m w th ha era a , e e e e, . . . . AB RAHAM LINCOLN We needed o d p ut on p a p r th t h b elieved in sla v y wh with t son wi th urd with cru lty inf n l d ound th t j stic n t d st oy his lif H wa s h ov hi s lf b ut th l ong sting with which S l v y stru ck a t lib erty ; ri d the p oi on th t b l ong d t sl v ry As l ong s nd he c ne this n a tion l sts it will nev r b fo gott n th t we h v er m ere o, , he rea ar a sh ul , a e a o e e a m m m no t tha t ar s e a , a e e e e r a e er , e e e r a er o e er e a e a a e . a . a e o , E m FFICIE NCY THROU GH — never ! a rtyre d Preside n t F T IN LE C ION 77 m mm m il i l sts whil e go n i fo gott n th t h v n l sts whil h ll ock Sl v y by it inion sl in l ying d ni f t its whol n tu nd t nd ncy B ut noth thing f b is th t this bl ow was u t ifn d t th l if of th gov n nt nd of th n tion Lincoln w s sl in ; A ic w s nt Th n w c t down ; the gov n nt w s s itt n t It w s th P id nt wh was ning kill d It w n tion l lif b thin g f do nd th t w ought H th n of Ill inois th p ri b n fi n n div st d of ob vt nd th in signi of utho ity p s nting nothing b u t his p lf ight h v b n h t d ; son l It ud b ut th t woul d n t h v c ll d fo th th s blow tood in th p l c of gov n nt p nting w s b ca u s h gov n nt nd gov n nt th t p nt d ight nd lib ty th t h w s singl d ut This th n i ci g inst univ l gov n nt It is n t bl ow t th found tions of u gov n nt o th n a t th fo und tion s of th E ngli h gov n nt of th F nch gov n nt of v y co p ct nd w ll o g ni d gov n nt It w s c g in t nkind Th whol wo l d will p udi t nd it s ti stig d d without S h d of d ing light Th b l ow how v h ign lly f il d Th c u is n t st ick n ; it is st ngthen d This n tion h s di solv d — b ut in t rs only It t nd fou qu o olid t d y th n ny id in E gyp t This p op l n ith w t d n d unt d py no di o d d M n h t l v y nd l ov lib ty wi th st ong r nd l ov h t t d y th n v b fo nt i Th G ov n n t w k n d it is d t ong And n w th ty i oving in t iu p h l ch ighti r t h n wh n l iv Th n tion i up t v ry st g of his hi p ll b ing Citi s nd st t s nd th c nnon b ts s — — — h h th ou s wit sol n p og ssion D d d d d d h y t p e k th ! Is W shington d d ? Is H p d n d d ? I D vid d d ? Is ny n d d th t v w fi t t liv ? D is nth ll d of fl sh nd i n t th unob st uct d p h wh p ion n v co s h b gin hi illi it bl wo k His lif n w i g ft d up on th Infinit nd will b f uitful s no rthl y l if n b e P s on thou th t h st ov co ! Y ou sorrows ea e a er a m e , s , es e e a e m a er e m e a e m ce , a s e e a o m e er e a a e e , a o m m m e a e e , a ri e a , o s a r e er m m s a e re m r s r a e a o ea e s a . r ar e . , er a m a e e , s a re e e as a ea a e s r s a , a or , a e a a e r er e , ar e a a e S e er r s e e re m e e a ra e a ss e . m r e e ere s ea ea o e co ea e e , a ea , e e e m e a a , er . as m e ea a - a a er r o , as e ea . . r ea re r - a e a m m m m re . e, a e . e re r o e er o e r ses a er a er e , e a . se a s s er ee e . s ea r se e re er e s r e a e ca a a ea ra a - a e e e a e S a e re re a re e , . re , r e e a re e er e er a a re , - m m a r a s e a e e r s re se a e ze m a a e e a m m m o , o a . e . e e . as s a . er , e a a e ’ re , re re , ee e r e er r a - e m mm m m m e e . s, e a e . e re er a er , rese r o ea r e e rsa ee e er re a ere r r e a s a , a o a a e a a a e ra a e a a e , m m m , r e e e a e as a a se a . a ze a e a m m m e e m m er a e . re s ree e, a r a as e rea e a a e e a a es a a e s e e . r , a a . er a e e e, as s er e . a e s o re a a . ea e a , a a e er m a as ce m mm m m m e e a , , or e . e e s, re a a er a wh e t e s a nd r a s , w ll it b e hi ew hi a nd s a r er a a e Never o ea a r . 78 THE ART OF PU B LIC S PE o l d ru c m ound mk 0 pe p s m s G od it es a Victo ! F ou y Y his p ea e ! tr ph e , a re e ou b ll s r e iu in his cho j oy nd t iu a nd a p h the re uffl e weep on Pa ss . md a nd , here ; th , ou un t i d n nd fro ong th p op l ; w tu n hi t you a ighty Con qu o ny N t thin o b ut th n tiOn s ; n t ours but th wo l d G iv hi id st of this pl c y p i i ! In th g t Contin nt hi dust sh ll t c d t u t y i ds wh S h ll k p il g i g t th t sh in t kindl n w th i Y wind l nd p t iotis ov ov th ighty th t q ui ! Y p op l b hol d p l c s of th W t c h n t his s ty who b l ood ny in ticul t wo d p l ds f fid lity — l w f r lib ty l HE NRY WARD B E E CHE R f m a r mm . ’ r s re a e . r e e es se a o , e r a sa , re e m ar m ’ a re rea s re o e e, s, r r a e e e r a or ea er m m m e er e , o e a e a e r e o e e a m st a n o m r a s, a o re ra r e s re s o i r e e a a , as , e e . e r, a e e, m r re , a a r a m s a a zea or e a e o a m m m m m o we t , e e a er r e 0 I ea rs a g o , a , ll inois b nds a W il . r r a nd , m ook f om you m d ea r a AKING ar e , . THE HI S TORY OF LIB E RTY m mm m m m v nt which w co o t is ll i p o t nt n t ly in u wn nn ls b ut in tho s of th wo ld Th s nt ntious E ngl i h p o t h s d cl d th t th p op stu dy of nkind n ll inqu i i s of a t nd of th hi sto y is p o l n tu f u f ll ow b ings is unqu tion b ly ong th ost int st ing B ut n t ll th ch p t s of hu n hi tory l ik i p o rt nt Th nn l s i u c h v b n fill d up wi th incid nts t l conc n th g t which conc n n t st o u ght n t t co p ny of nk ind Hi tory it h s of t n b n w ri tt n nd th is th g n l ogy of p inc s th fi ld boo k of conqu o ; fo tun s of u f ll ow n h v b n t t d onl y s f s th y t st s nd d s h v b n ff c t d by th influ nc of th g c S uch hi to y is I will n t s y wo thl s t y s of u w ll it i n c y f u t know th d k S id tu dy f B ut it is l ncholy study th b ight id of u condition of th p hil nth op ist nd th f i nd of whic h fi ll th bo o lib ty with so ow n st u ggling t b B u t th hi to y of l ib ty— th hi to y of — f cqui d nd x ci ing n wh h v th hi to ry of — i f do g t ov nts in th wo l d th hi sto y of tho th by which lib rty h s b n t bli h d nd p p tu t d fo c nnot cont p l t t cl o ly Thi is th su b j c t whic h w The e e e r o o a m s a o e m a er a r a ro ee , r e o r ra S e e e r e ree s e s a or e e m r m r s e e e a ee re a e s e o a e a e e a ar a e a e es r e as as e r e a re e se er e a e e . e o r e er oo e a e m mm a e a a , e a e rea m s er a re e a se es a r rs a m a r e m ar e o re a e ee o a m e re , o , e r a e . er er o rea e r r e er ee e e a re a - e s e a . e e e e e ssa r m , e e e as , s o ee m re , a s o e . e e a e rr er m e s e e ere a a a s e - a e er ra e o , . m m m r ea . e a s ree or a , r e er r ra r or r e m o o er s o o ea e e a a e a es e r a - e r e a e a . a re e o e e a - . a a e a e , a , r o a ra e e s m r r , s , s a e E FFICIE NCY THROU GH m of o y of hist real i l of dv ity T mn f mly u the h an, r F IN LE C ION a i a 79 o l m m ional i Of ra t , rta i s ; th tri l of p o p ity is ou s L t u t it n wh kno w th ir du ty n d p ri th ir bl ing Ou p o ition i th o t nvi bl th o t p on i b l which n n fill If thi g n tion do it duty th c u — — t t t of con i u ion l f do is s f If w f il if w f il n t onl y do w d f u d u child n of th inh it nc which w c iv d f o u f th b ut w bl t th hop es of th f i nd of lib ty throughout u contin n t th ou ghout E u op th ou ghou t th nd of ti w o l d t th Hi to y is n t without h x p l of h d fought fi l ds wh th b nn of lib ty has flo t d t iu p h ntly on th wil d t sto of b ttl S h i without h x p l of p op l by who th d bought t u h b n wi ly p loy d n d s f ly ha nd d down Th y s of th wo l d tu n d f th t a p l t us Let u th n s w bl on th bi thd y of th n tion as w g th up on th g n tu f onc w t with p ciou blood—l t us d vo t o u lv s t th c d c u of con titution l lib ty ! Le t u s b j u th int ion which divid th g t ts nd p f ily of A ic n f n ! L t th g of p ty p i it l p L t us to d y ! olv th t u chil d n h ll h v c u t bl s th ory of th ir f th w h v c u t bl th — o y of ou E D WARD E VE R TT m m The tr a r s e . ess s a ee r . e, e r o e ra r , s e r m ea r e m a e o e e , e rse e m m mm mm a re e er a - e a es e e r e rs m as es r a a re e r a re s o e sa e , re m eres ree a e e a o e a ers , a s E e m a r a e a e or e a e a ar S a e , s er e e ex a e s . m es e e a re ere , e s e er e - se r e r re e ra e s r e e, e a ss a e re e e r e r es se a o a se e ree m m s e a e ar ee e e a sse e e a m a er a re a e res , e e er e . e er er ze s s a r s re as . e a e e - s, e er e . es . m e e, e . er e e m e a r , o r a e e s a era e as e er s s r a e e e r e m re e e o a r r o e m . e rs , a o r s ree o wa s the e s a m e as ca s m ers a a S a e se o e rea S ee r a se e ss o e CHA PT ER VIII CON CE N TRA TI ON mc o co D E LIV E RY IN m i m m of th ent l y Its p ow ay b e high low ; its fi l d of Vi w n ow b ro d Wh n high crib d p ow r is u s d tt n tion is confin d wi thin v y ci cu li its b ut its a ction is x ce dingly int ns nd b so bing It s s b ut f w thing s b ut th s ob s rv d through nd f w a th ou gh M nt l n gy a nd ctivi ty wh th of t lik th su n s p rc p tion r of thou ght thus conc nt t d r ys conc n t t d by th b u rning gl ss Th ob j c t is ill u in d hea t d s t on fi e I p ssions a so d n n v r p th t th y b ffa c d Att ntion of this sort is th p ri condition of the ost p rodu c tive nt l l b o — DANIEL PUTNAM P sy h l gy Attention is the i r s or e m e e a e o a e e m e e a e r e . a m m a re e a a re ee . a e ac e . e r e , e r , ra e e s “ a e . r a e er e . e a re e , ra e e , e er . er e e e e or e , e e e e ” r a a rr e e ee e e , e pe m e e e m a er ’ e e ca e , e e . , c o o . of yo ur h ea d forwa rd a nd b a ckwa rd a t the sa Un l ess e ti e tha t yo u a re p a tting yo ur c h est your p owers of coo rdina tion a re well devel op ed yo u wi ll find it confusing if not i p o ssib l e The bra in needs ore things S p eci a l tra ining b efo re it ca n do two or a y see It like spli t effi ci en tly a t the sa e in sta n t ting a h a ir b etween its no rth a nd no rthwest co rn er b ut so e p sych o l ogi sts a rg u e th a t no b ra in ca n th ink two — distinc t th o ugh ts a b so lu tely si ul ta n eo usly tha t wh a t ul ta neo us is really very ra pid ro ta tion s to b e si see fro the first tho ught to the second a nd b a ck a ga in just ent the a tten tion ust shift a s in the a bov e ci ted exp eri fro one ha nd to the o ther until one or the o ther ove atic en t b eco es p a rtly or wh o lly a u to Wha tever is the p sych ologic a l tru th of this conten tion mm Try to rub the top . m , m m m m m m m m , - . m m m . , m m m m , m . CONCE N TRATION mm mm V Y 81 IN DE LI E R undeni ab le tha t the ind ea surab ly loses grip on o ent the a ttention 15 proj ected decidedl y one idea the ahea d to a second or a thir d idea A fa ul t in pub lic sp ea kers tha t is a s p ernicio us a s it is co on is tha t they try to think of the succeeding sen tenc e whil e still u ttering the fo r er a nd in this wa y in consequence they start their conc entra tion tra il s ofi wea kly I n a well th eir sen tenc es strongly a nd end the prep a red written sp eech the e pha tic word usually co es B ut a n e ph a tic word n eeds a t one end of the sen tenc e e ph a tic exp ression a nd thi s is p reci sely wh a t it do es not ra tion fl a g s b y l ea p ing too soon to tha t t h e n conc e n w e t g which is n ex t to b e u ttered Conc en tra te a ll yo ur en ta l Re e b er tha t the en ergi es on the p resen t sen tenc e ind of your a udienc e foll ows yours very cl o sely a nd if yo u wi thdraw your a ttention fro wha t y ou a re sa yi ng to wha t y o u a re going to say yo ur a udienc e will a l so wi th draw th eirs They ay not do so conscio usly a nd de lib era tely b ut they will surely c ea se to give i p orta nce It is fa ta l to ei th er to the things th a t y o u yo urself slight the a c tor or the sp ea k er to cro ss his b ridg es too soon Of co urse a ll this is not to say tha t in the na tura l p a uses of your sp eech you a re not to ta ke swif t forward survey s they a re a s i p o rta n t a s the forwa rd l oo k in driving a otor car ; the ca ution is of qui te a no ther sort : while it is m m . m m m m , m . , m . , m . m m . m mm . , , m , . . , m m m ea king one sentence p s m do not think o f the sentence to follow — ou c wi thin you lf . co e fro its proper s r es rse You c a nno t deliver a b ro a dside wi th o ut concentra ted — force tha t is wha t produces the explo sion I n prepara tion you store a nd concentra te thought a nd feeling ; in the Let it . . 82 THE ART OF PUB LIC S PE AKIN G p a uses during delivery yo u swiftly l ook ahea d a nd ga ther yo urself for effective a tta ck ; during the o ents of — DON T ANTI CIPA TE D ivide a c tu a l sp eech S PEAK yo ur a ttention a nd you divide your p ower fect of the inn er a tter of the ef Thi s a n up on the o uter n eeds a further word here pa rtic ularly a s tou ching conc entra tion r ? Wha t do yo u rea d l o d l pl i d H a r e t e e y Words Words Words That is a world o l d troub l e ech a nic a l c a lling of wo rd s is not exp ressio n by a The l ong stretch D id yo u ever no tice how hollow a e ori zed You h a ve li sten ed to the ra n ting sp eec h u su a lly so und s? la wyers a nd echa nic a l c a d enc e of in effi ci en t a c to rs — p rea chers Their tro ub l e is a enta l one they a re not concentra tedl y thinking tho ughts tha t c a use words to i ssue wi th sinc eri ty a nd conviction but a re erely enun Pa inful exp eri enc e ech a nic a lly cia ting word so u nd s a l ik e to a udi enc e a nd to sp ea k er ! A p a rro t is eq ua ll y elo quen t Aga in let S ha k esp eare in struc t us this ti e in He the in sinc ere p ra yer of the King Ha l et s un c l e la en ts thus p oin tedly : mm ’ , . m . m , . , m m m , - . . . mm , . m , m . m - , m , . m m . , m ’ , m ords fly up y thoughts W o ds without thoughts n v t My w , re e r er o min . l ow he v n go a a be e : . m m m p ea k er yo ur words ust b e born e th ey a re sp o k en th en th ey wi ll not suffer a g a in ev ery ti in their u ttera nc e even tho ugh p erforc e co itted to ory a nd rep ea ted lik e D r Russell Conwell s l ec ture e Acres of D ia ond s fi v e th o u sa nd ti es S u ch sp eech es l o se noth ing by rep etition for the p erfec tly pa tent rea son The truth is, tha t m mm as a s , , m . , m . ’ , C S PE AKIN G 84 THE ART OF PU B LI m in cha p ter a nd second with due regard for pha sis towa rd the clo se of ea ch sen tenc e e 2 Put into a bo ut one hu ndre d words yo ur i pression of the effec t produced n r a e a e t ll of p c ul i h od yo u h v ob v d T e s a a s e e r e 3 y y or h ea rd of by which sp ea kers ha ve so ugh t to a id th ei r p owers of conc entra tion su ch a s l ooking fix edly a t a bl a n k sp o t in the c ei ling or twi sting a wa tch c h a r f f t h a t e e c do s u c h h bi t s h a v on u nc a e t h a di W e e e? 4 r h a t e l a t ion do s p a u se b r t o conc n ion e ea ra W t e t ? 5 Tell why conc en tra tion n a tura lly h elp s a sp ea ker 6 to c h a ng e p i tch te p o a nd e ph a si s h r R ea d t e fo ll o w ing se l e c t ion t h o ugh to g et its 7 ind Th en rea d it ea ning a nd sp iri t c l ea rl y in yo ur a l o u d conc en tra ting so l ely on the th o ug h t th a t yo u a re — do not tro ub le abo u t the sentenc e or tho ught exp ressing Ha lf the tro ub l es of tha t is co ing a nk ind a ri se fro Avoid thi s in sp ea k a n ticip a ting tri a l s th a t n ever occ ur ing Ma k e the end of yo ur sentenc es just a s strong a s the b eginning CONCENTRATE m ned de h t is , m . . m . . m m , , . . . m m . , , m . m . . , m m m . . . . md The a a st of la w e were l sa . the a nd viours WAR! instinct is w s v g cu d food Might d a a p ro s e re ar . . m ca ve a n s club d right Wa rriors ’ The ecree . . m ca rp enter la id down the sa w a nd p ea ched the b rothe hood of an Twelve centuries fterwa ds his foll owers destroy a ll who difi ered with the a rche d to th Hol y La nd t Triu p hantly they wrote in the worship of the G od of Love In S ol o on s Porch a nd in his te p le our en rode in the b lood of th S ara cens up to the kn ees of their horses History is a n a p p alling tale of wa r In the seventeenth century In Naza reth m r r a e m ’ r a . o m m m . ” e . . m TRATION V Y mny nc gd bu g 85 IN DE LI E R CONCE N d n nd S p in w d f r thirty y rs f se w re kill d r g dl ss O ut of ny schools w cl os d f thi d of c ntury In G e g bu n d wo n out g d towns d olish d nd th nu ho wil d rness till d la nd b c ny s p op erty w s d st oy d and Tw thirds of G e n qu of h r citi ns w kill d b c u ll d bout th w y t gl o ify Th Princ of P c M ching through r in ting ta l food r st rv ing nd snow sl p ing on th g ound s i hundred ti cting di nd f cing gun s th t fi con t — inut f fifty c nt d y thi i th sol di s lif At th window it th widow d oth crying Littl chil d n s d g inst th p n w tch nd w it with t rful f c s p ns of liv lihood th ir ho Thei th ir h pp in ss is gon n ick disa bl d nd F th l ss chil dr n b ok n h rted w o — d d n this is th w g of w on y p p ing n t kill ch oth r th n W S p nd o t liv w do in tea ching th W S p nd or on y buil ding nnu l int n nc of ll u st t n b ttl ship th n in th univ siti s Th fin nci l l o s ul ting f o d t oying n noth s ho s in th civil w woul d h v built f r h ous s ch co ting W p y f l ov b ut p p h t W p ch p c b ut quip f r w G er a At Ma e r . es r e e S we e, o e a e a o r , ee a m “ s m m ea r er e a e re e a e er e er a e a e m ’ e ea , ar re ar e a e s m a o e er er . a , e ’ e re e a a . e e a s , . a e e e , . a e a e es r r ra e ar e o e or o a e r o a e a e e e a a e ea o ar ea e a e a e res s a rre . e a e re s x e . e rea s e s e . ea - a a , ar . e, e a e . e r e e ” e e o a , m m m m mm m m a e e e e o a e e e e s , , x e a m a a e e ea , e mm m e ea ea e r e se e a , a e r a a re s e ea e r s a or a r e s e a ’ e e e m e , ere e e ar . . a ze or e, e e se a ses a ra a ra r - ere ea o e e a e , a rre a a , o e a e e m m m m r e m or a Fra , re e a re o . Were ha lf the p ower tha t fills the world with terro r m , W h lf th w l th b tow d on c p nd cou t G iv n t d thi s wo l d f o o Th w oul d b no n d of n l nd fo t ere a e o re ee ere m es ea e e r e m a r, r a . v lly b ttl d until it i ttl d ightly Lik iv l gun g ng in b ck ll y th n tion of th wo ld th ough th bloody g h v fought ov th i diff nc D nv c nnot fight Chic go nd Iow c nnot fight Ohio ny b p itt d t Why hould G fight F nc B ul g i fight Tu k y ? Wh n nkind i s bov c ds colo s nd coun t i wh n citi n n t of n tion but of th w o ld th r i nd we n vi of th th w ill con titu t fo c n int n tion l p olic th p t p c nd th dov will t k th gl p l c s se e a er a a re o r es m e, or r se es erse rv e s, o r ree e a ea e a , a m a er a r a e a a es , a m a e er e a o e er a m r es , r e e a e s a e e , s e ea r e er e . e se e S a a a er rea e “ r ar a a ze r , . ra a e re a e e e e r . . s a e , r e No issue will r a e rr a rse ee Wa r onl y defers a que stion r a a e e a , es a a e ea e e ’ e s r e a e . 86 THE ART OF PUB LIC S PE AKIN m Our difi erences will b e m G l d by a n interna tion l court with the In ti a nd t s s of p a c to e nf orc its p r p a r for r t h e a f ar a e w c g o w ges of sin nd the wa ges ea e T h e es a w p of sin is d ea th e . sett e a e . e a e , e e e a . used m by per ission 88 S hi m o po G ART OF PUB LIC S PEAKIN THE wder, which m m m m its so e infl uence fro wi th out to expl ode it However susc ep tive to o utside sti uli the true so urc e of p ower in a n l ies wi thinhi sel f Thi s ay see ere p sych o l ogy l ik e but it ha s a n inten sely pra ctica l b ea ring on pub lic sp eaking a s will app ea r Not on ly ust we di sc ern the difference b etween hu a n force a nd ere physica l fo rce but we ust not confuse its — rea l essenc e wi th so e of the thing s th a t ay a nd ay — not a cco pa ny it For exa ple lo udness is not forc e th o ugh forc e a t ti es a y b e a ttend ed by noi se Mere ro a ring n ev er a de a good sp eec h h t r r e t e e a e o y — — en ts o ents ind yo u not inutes when big voic e p ower ay b e used wi th tre endous effect — o tion forc e yet forc e ay result in Nor is Vio l en t Violen t o tion Ha let co unseled the players : se a wa m . , m m m m m m m m m m m m mm m m m mm m m m m m m m m . , , . “ , . , , . , , , . . m m m m do n t s w th ir t uch with you h nd thus ; but use v ry to r nt t p st nd ( s I y s y ) a ll g n tly ; fo in th ust cquir nd b eg t t whi lwind of you p s ion yo u oothn ss Oh it off nds t n th t y giv it p ob ustious p iwig p t d f ll o w t r p ssion the oul t h a s of th t t tt s t v y r gs t sp li t th g undling ; otp t c p bl of nothing b u t in xp lic ble th wh f du b S how nd noi I w ould h v su ch f ll ow whipp d f r doing T g nt ; it ut h ods H od P y you void it o n ith b ut l t you disc tion b you tuto B n tt t ction t th wo d th wo d t th ction ; with this su i t th od sty of n tur ; tha t yo u t p n t th sp ci l ob rv nc nything s ov don is f o th p u p os of p l ying whos f nd is t ho l d s tw r nd n w w s n d bo th t th fi st ir o up t N tu t how Vi tu h wn f tu S co n the g nd th v y g nd body of th ti e his for her wn i co t dy off though ssu N w thi s ov don nd p t T h s wh t i th p it p Nor o a r e m a ce , e ra s , a er m o, ’ e or m m m s er er - e oo o a a m e a , m r r re a 1 o e se re . o sa a o er e r o a a o re , m e , or ea r e , r a a e e a e, a r q ue . a a a or o a l ro s a e ra . e e e o a e . r m r: e a e e o a , er , e e o r o S er e n r e , e re r o ers e e, o er e ’ e , a e e , a e a . m m m e er - er, r a e a e , a , a e - a . e a e ea r a re , e e o , ar e, a a o a a o or a s er o se a e , r a , e e, a e a e a s er a , r e r a r o , e a e o oo e r r o e a e , a o m e ar e ’ a m ea e , , er o e a re , , e e, m r F ORCE mk 89 m unskillful l ugh c nnot but k th j udicious griev ; th c n u of th which n ust in your ll ow nc whol th t o rw ig h of oth rs Oh th b p l y rs th t — nd h d oth s p i nd th t highly—not I h v seen p l y cc nt of Ch is to Spea k it p of n ly th t n ith h ing th th g it of Ch isti n p g n tianS n n h v r tru tt d of N tu j ourn y n a nd b ll o w d th t I h v thought o n h d nd n t d nity a d th w ll th y i it t d hu S o bo in b ly it ’ the e a e e e a e a a s re e e a e r or , mm m a a e e , a a a o ea er e e ea r e . a e a , ere , r a e , a er a , e o , s e a a e e e a , r m m e so s ’ re s e e a e e , a e e e a o e, a av a a a e ra se , a er e m m m m m a , a e e a a e e a m a , e a 1 . Force is both a ca use a nd a n effec t I nn er force which ust prec ede outer force is a co bin a tion of four ele First of a ll force a rises fro en ts a c ting p rogressively You ust b e convinc ed of the truth or the conviction i porta nc e or the ea ning of wha t you a re about to ust la y It say b efore yo u ca n give it fo rc eful delivery strong ho l d up on yo ur convic tion s b efo re it ca n grip y o ur Convic tion convinc es a u di enc e The S a turda y Evening P ost in a n a rticl e on Eng l a nd s ”— — Winston S p encer Churchill a ttrib uted uch T R of Churchill s a nd Roo sevel t s pub lic pla tfor succ ess to th eir fo rc eful d elivery No a tter wha t is in ha nd these en ake the selves b eli eve for the ti e b eing tha t tha t o st i p orta nt on earth Henc e they one thing is the IS H sp ea k to th eir a u di enc es in a D o this or yo u PE R a nn er Tha t kind of sp ea king win s a nd it is tha t Viril e strenu ous a gg ressive a tti tu d e which bo th disting ui shes a nd a in ta in s the pl a tfo r ca reers of our grea test l ea ders B ut let us l ook a li ttl e cl o ser a t the o rigi ns of in ner forc e How do es convic tion a ffec t the a n who feels it? m m m m . , m m , . , . , m , , m , . . . m ’ m . . m mm m mm m ’ ’ m . , . - - - - . , m m , Ha . m . 1 , m let Act III , S cen e 2 , . K G THE ART OF PUB LIC S PE A IN 0 9 We ha ve a nswered very question itself he feels it : Conviction produces e otiona l tension S tu dy the p ic tures of Theodo re Roo sevel t a nd of B i lly S u nda y in — a ction is the wo rd a c tion No te the tensio nof th eir ja w uscles the ta ut lines of sin ews in their entire bo dies wh en rea ching a cl i a x of forc e M o ra l a nd phy sica l fo rc e pa nied by a re a lik e in b eing bo th p rec eded and a cco — — in tens ity ten sion tigh tn ess of the cords of p ower It is this ta utness of the b ow string thi s k no tting of the uscles this contra ction b efore the spring tha t a kes — al o st see the reserve p ower in a a n a u dienc e feel sp ea k er I n so e rea lly wonderful wa y it is ore wha t a o sp ea k er do es not sa y a nd do th a t rev ea l s the dyn a wi thin Anything a y co e fro su c h sto red up fo rc e onc e it is let l oo se ; a nd tha t keeps a n a udience a lert ha ng ing on the lip s of a sp ea ker for his n ex t wo rd After a ll it is a ll a q uestion of a nh ood for a stuffed doll ha s n ei th er convic tions nor e o tiona l tension I f yo u a re uph olstered for yo ur own sp eech wi th sawdu st k eep off the pl a tfor wi ll punc ture yo u Growing out of thi s convic tion ten sion co es resolve to a ke the a udience sha re tha t conviction tension Purp o se is — it the b a c kbon e of fo rc e ; wi th o u t it sp eec h is fla bby a y g li tter b ut it is the i rid esc enc e of the sp in el ess j ell y fi sh You ust h ol d fa st to yo ur reso lve if yo u wo ul d h ol d fa st to yo ur a u di ence Finally all this convic tion tension purp o se is lifeless You re e b er a nd u sel ess u n l ess it resul ts in propulsion how Yo ung in his wond erf ul Night Th o ugh ts delin ea tes the inquiry in m the - m - . . m , m . - . m m - , — m , , m m m mm . . m - , m m . , . m , , m . m m , - - . m , . . - - , . the m an who mm THE 2 9 a nd m in th a t fa r K G ART OF PUB LIC S PE A IN ay be a cquired : ideas , feeling m a bout of these is ore or less fully disc ussed in this volu e excep t wording which rea lly requires a f ull er rh eto ric a l stu dy th a n ca n here b e ventured It is h owever of the ut o st i po rta nc e tha t you sho ul d b e a wa re of precisely how wording b ears up on forc e in a sentenc e S tu dy The Working Principles of Rhetoric by Jo hn Fra nklin Genung or the rh etorica l trea ti ses of Ada s S h er a n Hill of Cha rles S ea rs B a l dwin or a ny o thers wh o se n a a y ea si ly b e l ea rn ed fro es a ny tea ch er Here a re a few sugg estion s on the use of words to a tta in fo rc e : sub ect, j wording , a nd delivery . Ea c h the m mm , . , , , . m m mm , , m , , . PLAI N wo rd s co m m o ly u n m o fo c ful h n o d l — m d j o Vigo h n a re se re t r e uggle ha s w a r r re s t ess a r estidigi ta te p S HORT words . ong er tha n l ong words ore direc tn ess tha n ter ina te end ha s ore forc eful tha n S AX ON wo rd s a re u su a lly — L a tini stic wo rd s for forc e use wa rs a ga inst ra ther tha n ilita te a ga inst S PE CI FI C word s a re strong er th a n g en era l — words press a n is o re d efinite tha n printer CONNOTATIV E wo rd s tho se th a t suggest ore th a n they say ha ve ore p ower tha n ordina ry words S he let h erself b e arri ed ore tha n S he a rried exp resses E PITHETS fig ura tiv ely d escrip tiv e wo rds a re ore eff ec tive tha n direc t n a es Go tell m a re str m m mm m , , m m , m . , . . m m m m . , F ORCE tha t old fox , tha t sly ha s 93 m o punch re ha n t Go tell ellow f . ONOMATOPOETIC words words tha t convey , m m nse by the sound are ore p owerful — tha n o ther wo rd s cra sh is ore effective tha n the se , m m odifi ca taclys Cut . out ers . connectives B egin wi th words tha t d e a nd a tten tion “ End wi th wo rds th a t deserve di stinc tion sa y s Prof B a rrett W en dell S et strong idea s over a g a in st wea ker on es so a s to g a in streng th b y the con tra st — Avoid el a bora te sentenc e stru cture S h ort sen tenc es a re stro ng er tha n l ong on es Cut out every u sel ess word so a s to give pro in ence to the rea lly i p orta nt ones L et ea ch sentenc e b e a con den sed b a ttering ra swinging to its fin a l b l ow on the a tten tion if not worn by uch A fa ili a r ho ely idio ore effective tha n a highl y for a l use is scho l a rly exp ression Consider well the rela tive va lue of differen t positions in the sentence so tha t y ou ay give the p ro in ent pl a c e to id ea s yo u wi sh to e pha Cut out m . . , . . , . . m m m m m m m , . m m . , , , , , . m m m m m ys so eone is it not ore honest to depend on the inherent interest in a sub j ec t its na tive truth cl ea r B ut, sa , , , THE 94 ART OF PUB LIC S PEAKIN G ness a nd sincerity of presenta tion a nd b ea uty of utter a nc e to win yo ur a u dienc e? Why not char en in stea d ” of ca pturing the by a ssa ult? m m “ , m , Why m uch Use Force? u h in such a n a pp ea l but not a ll the Cl ea rn ess p ersua sion b ea uty S i pl e sta te en t truth — of truth a re a ll essentia l indeed they a re a ll defi nite p arts of a forc eful present ent of a sub j ec t wi thout b eing the only p arts S trong ea t ay not be a s a ttra c tive a s ic es b ut a ll d ep end s on the a pp eti te a nd the sta g e of the ea l You ca n not del iver a n a ggressive essa g e with c aress ing little strokes No ! Jab it in wi th ha rd sw1ft sol a r pl exus punches You ca nno t strike fi re fro flin t or fro a n a u di enc e wi th l ove ta p s S ay to a crowded th ea tre in It see s to a l a c k a d a i sic a l a nn er : e th a t the h o u se is on fi re a nd yo ur a nno u nc e en t a y b e g reeted wi th a l a ugh If yo u fla sh out the words : The house s ” on fi re ! th ey will crush one a no ther in getting to the exi ts The sp iri t a nd the l a ng ua g e of forc e a re defini te wi th con v iction orta l sp eech in litera ture conta ins such No i ” “ exp ression s a s it see s to I sho ul d ju dg e e ” “ ” i i r T h o p inion I upp o p h p u r s t s t e e s e a s e y en a b l a z e sp eech es th a t wi ll l ive h a v e b een d el iv ered by wi th the co ura g e of th eir convic tion s who u ttered their “ wo rds a s etern a l tru th Of J esu s it wa s sa id tha t the co on p eople h eard Hi gla dly Why ? He ta ught There is tr t . m m , , , , m mm , , . m , , m . . m m mm mm , . m . , ’ . . m m . m mm , , m . , , m m . m . 96 K G ART OF P U B LIC S PE A IN THE mnd of yo ur a udi enc e An a ir gun will ra ttle bird sho t — it ta kes a rifl e to w g a b ullet a g a i n st a Wl ndOW p a n e thro ugh pl a te gl a ss a nd the o a k en wa ll s b eyond i s m - . - . When to Use Force m — An a udienc e is u nl ik e the kingdo of h ea ven the VIO l ent do not a lwa ys ta ke it by forc e There are ti es when b ea uty a nd serenity sh oul d b e the only b ells in yo ur chi e Forc e 1S only one of the grea t extre es of contra st use n ei th er it nor qui e t u ttera nc e to the ex c lu sion of o ther ton es : b e va rio u s a nd in va ri ety find even g rea ter forc e tha n yo u co ul d a tta in by a tte p ting its con sta nt use I f yo u a re rea ding a n essay on the b ea uti es of the dawn of a honey suckle or ta lking a bo u t the d a in ty b l oo of a g a s engine a Vigoro u s ech a ni s expl a i ning the B ut wh en yo u styl e of d eliv ery is en ti rely out of pl a c e a re a pp ea ling to will s a nd con sci enc es for i edia te a c tion forc eful d elivery wins I n such ca ses con sider the ind s of yo ur a udience a s so a ny sa fes tha t ha ve b een locked a nd the k eys lo st D o not try to fig ure out the co bin a tion s Po ur a l ittl e ni tro g ylcerine into the c ra ck s a nd light the fuse As these lines a re b eing wri tten a con tra c to r down the street is c l ea ri ng a wa y the rock s wi th dyn a ite to la y the fo unda tion s for a grea t b uil ding Wh en yo u wa nt to g et a ction do not fear to use dyna ite The fina l a rg u en t for the effec tiveness of forc e in pub lic sp eech is the fa ct tha t every thing ust be enl a rged — tha t is why so few for the purp o ses of the pl a tfor orning a fter sp eec h es rea d well in the rep o rts on the m . m m m . , - , , . m m , . m m , m . m m m , . . . m m . m . , m m m ; mn FORCE 97 pp ear crude a nd ex aggera ted b eca use they a a re un a cco e ni d b y the forc eful delivery of a glowing p sp ea k er b efore a n a u dienc e h ea ted to a ttentive enthusi as S O in prep a ring y our sp eech you ust not err on — h il t e S ide of d sta te ent y our a udienc e will inevi tab ly tone down y o ur wo rds in the col d grey o f a ftertho ugh t When Phidia s wa s criticised for the rough bol d o utlin es Of a figure he ha d sub itted in co p eti tion he s il ed a nd a sk ed tha t his sta tu e a nd the one wro ught b y his riva l shoul d b e set up on the co lu n for which the scul p ture wa s destin ed When this wa s done a ll the ex a gg era tion s a nd c ru diti es toned b y dista nc es el ted in to ex u i i r n r s t e a a d E g c of l in e fo c p c u e a h h s ee st b e a q sp ecia l stu dy in sui ta bil i ty a nd p rop o rtion O it the thunder of delivery if y o u will but lik e Wendell Phillip s p ut S ilen t lightning in to yo ur sp eech Ma ke y o ur thoughts brea the a nd y our words b urn E erson wri tes l ike a n el ec tric a l ca t B irrell sa id : e itting sp ark s a nd S hock s in every sentenc e GO tho u a nd sp ea k li k ewi se Get the big stick in to y o ur de — livery be forceful sta te m ts e m a m m m . . m m m , , m . , m , m . m m . , , . m m . . . . QUE S TIONS AND EXERCI S ES mmm mm Illustra te b y repea ting a sentence fro ory e Wha t is ea nt by e pl oying force in sp eaking 2 Which in y our op inion is the ost i p orta nt Of the tech nica l p rincipl es of sp ea king tha t y o u ha ve stu di ed so fa r? Why? i h f f h W a t s t e e e c t of t oo u c h fo c in p c h r e ? a s e e 3 TOO l ittl e? 1 . . . m , m . m , 98 THE 4 No te . p ch o s ART OF PUB LIC S PE AKIN mun n ing conv ion ll h f il d m gh im p ov d i terest e ersa t w y it a e S uggest how it i t b e s ee 5 6 . , a nd te G or ineffective . r e m . Why do sp eech es ha ve to be sp oken with ore force tha n do conversa tions? t h s R a d a l o u d e e l e c t ion on p a g u ing e e 8 s 4 7 the technic a l p rincipl es o utlined in cha p ters III to V III but neg l ec t to p ut a ny fo rc e b ehind the in terp reta tion Wha t . . , , . is the resul t? 8 Rerea d . v se era m doing you l ti es, r b est c v to a hie e rts of the sel ec tion on p a g e 84 requi re Wh ic h p a 9 o st forc e? the 10 Write a fi v e inute sp eech not only di sc ussing the erro rs of th o se who ex a gg era te a nd th o se who ini iz e the use of fo rc e b ut by i i ta tion sh o w thei r wea k nesses D O not b url esqu e but c l o sely i ita te Give a list of ten the es for pub lic a ddresses 11 o st l ikely to require the frequent sa ying whic h see use of fo rc e in d el ivery I n your own op inion do sp ea kers usua lly err fro 12 uch or too little forc e ? the use of too D efin e (a ) bo b a st ; (b ) b a th o s ; (c) senti en 13 ta l i ty ; (d ) sq uea i sh 14 S a y how the fo regoing wo rd s describ e wea k nesses in pub lic sp eech Reca st in twen tieth cen tury Engl ish Ha l et s 15 D irec tion s to the Pl a yers p a g e 88 M e o ri z e the follo wing extra c ts fro 16 Wen d ell Phillip s sp eeches a nd d eliver th e with the . m - . , m m , mm . mm m m m m m . . , m m . . . , . . . m m m ’ - . . m , ’ , . THE 1 00 K G ART OF PUB LIC S PEA IN dea d into e il f r his op ini ons The n xt week she is stripp ed d th in the p ub lic squ r NO inquiry na k d a nd fl ogg d t no xpl n tion no tria l no p rotest one dea d unifo S ilence Wher is the g ound f r ny hop of the l w of th tyr nt s h c f ng N no ! in u c a l nd d n a i t d g h ea u l c a e ? e a n d t h y p g er nd p rop e sub stitutes f F neu il Ha ll a r th n c ss ry Any k th d a n qua k in his b edch b a nd thin g th t will s in to r c kl ss nd d sp t si st nc This ro u se his victi ric n th chil d of 1620 nd 1776 ca n is th onl y Vi ew n A Any o th un ettles nd p p l x s th thics ta ke of Nihilis tion of ur civil i B o n within S ight of B unk r Hill —s n of H rv d whose fi rst citi n of p ublic b s d on th cl i th t p l dg w s Truth no gov n nt is rightful unl s r sting on th cons nt of th nd whi ch ssu s t l d in ss rting th rights of p e op l — — t s n s t hi s n d t h l t ca y no ng l no ing l ss no hu a nity I on C b ridg oof w d vil hooting y not if v y til wo rd ! x e o o e e e a a a e e a e . e r a a a a e e a e e a za a er m e, m ze , e a a s re er a a er , e . , e e er e a a m m es o e e e , e a s e e re a m a e e e a e a e e ea e r ar a e a ea a o a re e ‘ e m . a e e era e a . r e e a e , e a e , a e a er . o o or a e e m r a m mm m m m e , r re 0, e m . , , e e ea , a e . e e m , s pra c tise on forc eful selec tion s use The Irrep ressi p ag e 6 7 ; Ab ra ha Lincoln p a g e 76 ble Conflic t “ pa ge 470 ; A Plea for Cub a Pa ss Pro sp eri ty Aro u nd pa g e 50 m For , , , . ° , , CHAPTER X F E E L IN G n usi E th o v er m as the p r i s tha t AN D E N TH U S IA S M oniou m c ha r se re t a nd odu ction of g niu e s —IS AAC i it s sp r tha t h ov e rs . AEL I D IS R , L itera ry Cha ra cter . If you a re a ddressing a body of scientists on such a sub j ec t a s the v ei ns in a b utterfl y s wing s or on ro a d stru c t uch feeling ure n a tura lly you r the e will not a ro u se in either you or y our a udience These a re p urely enta l B ut if y o u wa n t en to vo te for a ea sure th a t sub j ec ts to will a bolish chil d l a bor or if you wo ul d in sp ire the y o u ust strike stra ight a t ta ke up a r s for freedo th eir feeling s We lie on soft b eds sit nea r the ra dia tor on a col d da y ea t cherry pie a nd devote our a ttention to one of the opp o si te sex not b ec a u se we ha ve rea son ed out th a t it is the righ t thing to do b ut b ec a u se it f eel s a N0 one but a dysp ep tic choo ses his diet fro right chart Our feelings dic ta te wha t we shall ea t and g en Ma n is a feeling a ni a l h ence era lly how we sha ll act the pub lic sp ea ker s a bili ty to a ro u se en to a c tion de p ends a l o st wholly on his a bili ty to touch their e otions o thers on the a uction b lock seeing their chil Negro dren sol d awa y fro the in to slavery have fla ed out o st stirring sp eeches True the e of A eric a s so other did not ha ve a ny knowledge of the technique of sp ea king b ut S he ha d so ething grea ter tha n a ll technique ore effective tha n rea son : feeling The grea t speeches m m m m ’ , . . m , , m m m m , . , , , , m , . m m m m . , . m m mm m m m m m m ’ - . ’ . , , , . THE ART OF PUB LIC S PE AKING b een delivered on ta riff reductions The sp eech es th a t wi ll l ive or p o st Ofli ce a pp ro priation s ha ve b een cha rg ed wi th e o tional force Pro speri ty a nd p ea c e a re poor develop ers of elo quenc e When grea t wrong s a re to b e righ ted wh en the p ublich ea rt is fl a ing wi th p a ssion tha t is the occ asion for e ora b l e sp ea king a de a n i orta l a ddress for in a n Pa trick Henry He ha d ro used hi ep oc h a l cri si s he pl ea d ed for lib erty self to the p oin t wh ere he coul d h on estly a nd p a ssion a tel y Giv e e lib erty or give e d ea th His fa e ex c l a i woul d h a ve b een different ha d he lived to day a nd a rg u ed for the rec a ll of ju dg es of o ld the w r ha ve not m - . . ' . mm , m , m m m . m , . m m , m m . - . The P ower m E h u n t a s i s f o — r i r o l i ic l p a i e s h b a nd s n d a f or ppl u h y e a P t a t a a s e t e p y is ore a rgu e th a t for vo te g etting to sti r up en thu si a s How fa r th ey a re right d ep end s effec tiv e th a n rea so ning on the h ea rers but there ca n b e no doub t a bo ut the con A wa tch a nufa c turer in ta g ious n a ture of en thu si a s New York tri ed out two seri es of wa tch a dverti se en ts ; a rg u ed the sup erio r con struc tion work a n ship one dura bili ty a nd gu ara ntee Offered with the wa tch ; the “ o th er was h ea ded A Wa tch to b e Pro u d of a nd dwelt up on the plea sure a nd p ride of own ership The la tter A sa l es a n for a ny a s the fo r er seri es so l d twic e a s o tive works infor ed the wri ter tha t in selling a l oco o tiona l a pp ea l wa s strong er tha n a n railro a d engin es e en t b a sed on ech a nic a l ex c ell enc e a rg u Illustra tions wi thout n u b er ight b e cited to S how mm , - , , . m m , . , m m , , , m m m m m m m mm . . . m , TH E ART 1 04 mdy h mi in OF PUB LIC S PE AKIN G m m m m m m m m m m m done for hi wa shed his fa c e in it to de on stra te t a t it wa s a s h a r l ess a s wa ter a nd enla rg ed on its a nn er tha t the h a lf er ts su ch a n en thu si a sti c do lla rs p o ured in on hi in a si lver flood When he ha d he a sk ed why a suppli ed the a u di enc e wi th h a i r tonic grea ter prop ortion of en tha n wo en were b a l d N0 He exp l a in ed tha t it wa s b eca use wo en wo re one kn ew a d e a good el ec tric a l con thinn er so l ed sh o es a nd so o ther ea rth while en wore thick dry nection wi th so l ed sh o es th a t did not tra n s i t the ea r th s el ec trici ty to M en s h a ir not h a ving a prop er a o un t of the body di ed a nd fell out Of co urse he ha d a el ec tric a l food re edy a li ttl e copp er pl a te th a t S h o ul d b e n a i l ed on the bo tto of the sho e He pictured in enthusia stic a nd Vivid — ter s the d esira bi li ty of esc a p ing b a l dn ess a nd p a id a y see trib u tes to his copp er pl a tes S tra ng e a s it wh en the sto ry is to l d in co l d p rin t the sp ea k er s eu ha d swep t his a u di enc e wi th hi thusias a nd th ey cru shed a ro und his sta nd with o utstretched qua rters in their a nxi ety to b e the p o ssessors of these a gic a l pla tes ! — E erson s sugg estion ha d b een well ta k en the ob server ha d seen a g a in the wonderful p ersua siv e p ower of eu re ha d e , , . , m . ‘ . - , , , m ’ ’ . , m m m . , - . m m m m . m ’ , , m m n u i mn m ill on c u ding in o oly nd d m f om c n n hu i m pl g d u op in o hi y y ov ligion n hu i m n h mll ply ng unkno n m o of o l d Wh n p ol on y ’ , thusia s ! E th to E se re r e S h res t ree a a rt n ew out a nd ea rs ship s a s r s the S a ra r t i t se it ee t t wo rn s as w r ’ e wa r E t s . er re e Na di scoura g ed in their E t ’ sea s s as to the ar c nt of as e La un e s as w e H the . the i . t sa the were Alp s, FEELIN G T A AND E N HU S I S M m 105 i le Corp ora l stopped the a nd ordered the b a nds Un der its soul stirring stra in s to pl a y the Ma rsei ll a i se th ere were no Alp s E erson sa id : Li sten ! No thing grea t wa s ever ved witho ut enthusia s Ca rlyl e decl a red tha t a chie ove ent in the a nna ls of history ha s b een Every grea t It is a s conta gio u s a s the triu p h of en thu sia s El oqu enc e is ha l f in sp ira tion ea sl es S weep y o ur L et y o ur a u dienc e wi th y o u in a p ul sa tion of enthu si a s n ev er ri se s so A a n sa i d Oliv er Cro well self go high a s when he knows not whither he is going the L tt - . m m mm m m . . m . . . m m , . m . , . How It is a re not to We be to Acquire m D evelop E nthusia s a nd m ? lipp ed on l ik e a s oking j a cket A book — y ou wi th it It is a growth an effect s . ca nno t furnish B ut a n effec t of wha t? L et us see A p a i n ter to l d e tha t nobod y coul d E erson wro te : draw a tree wi thout in so e sort b eco ing a tree ; or draw — erely b ut a chil d b y stu dying the o u tlin es of his fo r by wa tching for a ti e his o tion a nd p la y s the pa i n ter a t will in ev ery en ters his n a ture a nd then ca n dr a w hi S o Roo s en tered in to the in o st na tur e of his a tti tu de I kn ew a dra ughts a n e plo y ed in a pub lic sur sheep v ey who fo und tha t he co ul d not sk etch the rock s u n til th eir g eo l ogic a l stru c ture wa s first exp la in ed to hi When S a ra h B ernh a rdt p la y s a difficult rOle S he fre quently will sp ea k to no one fro fo ur o clock in the a fter noon unti l a fter the p erfor a nce Fro the ho ur of fo ur B oo th it is rep o rted woul d not S he liv es her cha ra c ter . m . m m m mm m m m m mm . , , , , ‘ . ’ . m , . m m m ’ . . , , 1 06 TH E ART m nyon A OF PUB LIC S PE KIN mb G n the a cts Of his — S ha kesp erea n rol es for he wa s Ma cb eth th en not B ooth his b el oved Fl orenc e cond e n ed to D a n te exil ed fro dea th lived in c a ves h a lf sta rved ; th en D a nte wrote out his h ea rt in The D ivin e Co edy B unya n entered “ in to the spirit of his Pilg ri s Progress so thoroughly tha t he fell down on the fl oor of B edford j a il a nd wep t for joy Turn er who lived in a ga rret a ro se b efore da yb rea k a nd iles to see the sun ri se on the wa lk ed over the hill s nin e ocea n tha t he ight ca tch the S p iri t of its wonderful b ea uty Wendell Phil lip s sentences were ful l of silent ” lightning b ec ause he bore in his hea rt the Sorrow of fi v e illion sl a ves Th ere is on ly one wa y to g et feeling in to yo ur sp ea kin g ust a nd wh a tever el se yo u fo rg et fo rg et not this : You p ersona te actua lly E NTE R IN TO the c h a ra c ter yo u i — r the c a u se y o u a dvoc a te the c a se yo u a gu e enter in to it so d eepl y th a t it c l o thes yo u en th ra ll s yo u p o ssesses yo u ea ning of the wo rd wh o ll y Then yo u a re in the tru e in sy pa thy wi th your sub j ect for its feeling is yo ur feeling yo u feel wi th it a nd th erefo re y o ur enthusia s is bo th g enuin e a nd con ta gio u s The Ca rp en ter who n ever an sp a k e uttered words born out of a sp o k e a s — p a ssion of love for hu a nity he ha d entered in to hu a nity a nd thu s b ec a e Ma n B ut we ust not loo k up on the foregoing words a s a fa cil e prescrip tion for decocting a feeling which ay then b e l a dl ed out to a co pl a c en t a udi ence in q ua n ti ti es to o en t G enuine feelin g in a sp eech suit the n eed of the is bon e a nd b l ood of the sp eec h i tself a nd not so ething p er it a e to p k s ea to hi etwee m m , , , m , , m . . ’ . m , , m , “ ’ . m . m , m , , m ’ , m . , , , m , “ , , m m , m . m m m mm . m . m 1 08 THE ART m OF PUB LIC S PE AKING m o in u n i l l m n in h i ch c l gio u l m n in inc iv lm n l of lf p v ion info m ho l p on li y of p opl o ul d g ly influ nc p opl by mh i unfo md ho ugh m u h v h g un n lyz b l bond of ym p y ih h m mof md h mlv pp Wh n p g of omRul of p n i ign d hu d m omR opic dd p p d b y ch ong h g o up m omb i lli n p k v l of mxp i nc d l y p oli ic l c m p ign omof h i mk bl kno l dg g of d ho d m ub j c oh clo h d in o c iv the a sses, the as re i s e e the la w tellect se a nd ers rea t t ts s a th a ssa a ss for to s a w ers resses s s t; e Ul ster e to b e a a nd t t s r e ter, is a ra e ta e in the w s And h e who w . utter Act g t e r a a a ar r e e w e were t as S . e ose the t t is t e a nd r er e e e e ad e r the ra sp st the t wr ters rese the the e to O A . era ers es ul e e ea a a se the H ers, se a e one a re ea t e en a a re ers e ar e re t we It . e r e a nd e e t rea t a nd n dr e r st e t is t . H a ress e e e t e as the the e e e at t en the e an a t a It is . reser - a wt the e were st t e t e a e e e fl st a ttra t e phra ses B ut a cl erk wi tho ut a grea t dea l of educa tion a nd exp eri enc e a ro se a nd to l d how he sp en t his boyh ood day s in Ul ster how his o ther while hol ding hi on her lap ha d p ic tured to hi Ul ster s deeds of va l or He sp ok e of a pic ture in his uncle s ho e th a t showed the en of a rching on to Vic to ry Ulster conqu ering a tyra n t a nd His voic e quiv ered a nd wi th a ha nd p oin ting upwa rd he declared tha t if the en of Ulster went to wa r they woul d — not go a l on e a g rea t God wo ul d go wi th th e It The sp eech thrill ed a nd el ec trifi ed the a udienc e thri ll s yet a s we rec a ll it The hig h so un ding phra ses the histo ric a l knowl edg e the phil o sophic a l trea t en t of the o th er sp ea k ers l a rg ely fa i l ed to a ro u se a ny deep in terest whi l e the g enuin e convic tion a nd f eeling of the odest clerk sp ea king on a sub j ec t tha t lay deep in his . , m m , , ’ , m m ’ . m m . m m . . - . , m , , m , , FEELING T A AND E N HU S I S M 1 09 hea rt not only electrified his a udience but won their persona l sy p a thy for the ca use he a dvoca ted As Web ster sa id it IS of no use to try to p retend to It c a nnot b e done su ccessfully sy p athy or f eeling s “ Nature is forever p utting a p re iu on reali ty Wha t is fa lse is soon detec ted a s such The thoughts a nd feeling s oul d the sp eech in the study ust b e th a t crea te a nd born a ga in when the sp eech is delivered fro the p la tfor D o not let y o ur words sa y one thing a nd y o ur voice a nd There is no roo here for ha lf h ea rted a tti tu d e a no ther noncha la nt ethods of delivery S inc erity is the very soul of eloquence Ca rlyle wa s right : No Mira b ea u Na r n r n o l o n B u o e ll o n d q u do ny hi ng s w a o t e C a a e t e t a p but is first of a ll in right ea rn est a bout it ; wha t I ca ll a an I S houl d sa y sinc eri ty a grea t deep genuine sinc ere en in a ny wa y sinc eri ty is the first c ha ra c teri stic of a ll heroic Not the sinc eri ty tha t c a lls i tself S inc ere ; a h no a tter in de ed ; a sha ll o w b ra gg a rt tha t is a very p oor conscious sinceri ty oftenest self concei t a inly The — grea t a n s sinceri ty is of the kind he c a nnot S p ea k oi is not con scio u s of m , . m , mm . m . . m . m m m . , m . , . m m . , - , , , , m . m , , , m . m , , m - , , . ’ . QUES TIONS AND EXERCI S ES ng to convinc e the woul d b e sp eaker tha t he ought to p ut f eeling in to his sp eeches ; often it is qui te to do it The a vera g e sp ea k er is a no th er th ing for hi a fra id to let h i self go a nd con tinu a lly supp resses his When you p ut enough feeling in to your e o tion s sp eech es th ey will so und overdon e to yo u unl ess yo u a re They will sound too strong if a n exp eri enc ed sp ea k er It is m one thi - m m . , . , . , THE ART OF PUB LIC S PE I IO AKING m yo u a re not used to enla rging for pla tfor or sta ge for the d elin ea tion of the e o tion s ust b e enl a rg ed for pub lic delivery 1 S tu dy the fo ll owing sp eech going b a c k in yo u r i a gina tion to the ti e a nd ci rcu sta nces tha t bro ught it forth Ma ke it not a e orized historica l doc u ent but f eel the e o tions tha t ga ve it birth The speech is only fec t ; live over in yo ur own h ea rt the ca uses tha t p ro a n ef duced it a nd try to d el iver it a t white h ea t It is not p o ssib l e for yo u to p ut too uch rea l feel ing into it th o ugh of co urse it wo ul d be q uite ea sy to ra n t a nd fil l it wi th fa l se e o tion Th i s sp eech a cco rding to Th o a s Jef ferson sta rted the b a ll of the Revo lution rolling Men were th en will ing to go out a nd die for l ib erty m m , . m m m mm . ” , m . m , . m m . . , m , , . . PA TRI CK HE NRY S S PEE CH ’ F ORE THE VIRGINIA CONVE NTION OF DE LE GATE S M P id nt it is n tu l t n t indulg in th illusions of hop e W y g in t p inful truth p t t shu t u a nd l ist n t th song of th t si n till h t n fo s us t b sts Is this th p rt of wi s n ng g d in g t nd rdu ous lib ty ? Ar w disp os d t b of th nu b r of tho st u ggl f h n t th thing s n d h ving n t wh h ving y s n ly conc n u t p o l s lv tion ? F which y p rt will ing t kno w ngui h of sp i it it y cost I wh t v it th whol t u th ; t know th w o st nd t p ovid f t h n d t t h ic h f g u id d I h v b ut n l w b ; y p y h t e of x i nc k no of no w of j u dging of is th l r I w y p p futu b ut by th p t And j udging by th p a st I wi h t know h s b n in th condu ct of th B itish Ministry f r wh t th j u tify tho s hop w ith which g ntl n s t th l st t n y ol c th lv s nd th Hous ? Is it h v b en p l s d t il with which u p tition h s b n l t ly tha t in si diou s BE r res . e e a re a . e o o, a a e m e o e e a e a e e , a o r e as ea r m m m ea rs , ra e , o s m m m m s a s r rea a o a se e , a , o e a re ee . e r o , ea or a , or . a a e a e. e e e m e o s , se e r e o m o r e es e s a a o ea r a a a e e e o e m e a e a r ra . o ea e a a e a e ee s a m e e e re a s , e , e o es a e r o re a o s r e e er r e a se e ea r e e , a re e e e er a e a er e so m e m o o a a or e ra o e e r a , a e e e a e ee a e re THE ART OF PU B LIC S PE 112 fight ; I it, rep ea t sir , m u fig we st ht ! An AKING a p p ea m lt s , a nd o ar to of Ho ts is ll tha t is l ft us ! Th y t ll us si th t w r un bl t cop e with s w ak fo id bl n dv s y B ut wh n sh ll w b st ong ? Will it b th n xt w k th n xt y ? Will it b wh n w tot lly dis r d a nd wh n B riti h gu d ha ll b st tion d in v y hous ? S h ll w g th st ngth by i solution nd in ction ? S h ll w cqui th ns f ff ctual sist nc by lying up in ly on u b ck nd hugging th delu iv p h nto of h op until ou n i s h v b ound us h nd nd foot ? S ir n t w w a k if w a k p op us of thos ns which th G d of N tu h th p l c d in u p ow illions of Th e d in th holy c u of Lib ty nd in such a country p op l a s th t which w invincibl b y ny fo c which ou p os ss n y n send g inst us B sid i w sh ll n t fight ur b ttl s l on Th is j ust Pow who p sid s ov r th d s tini of n tions nd wh will i up f i nds t fight u b ttl s f us Th b ttl S ir is n t t th st ong l on ; it is to th vigil nt th ctiv th b v B id s i w h v no l ction If w w b s nough t d si it it i n w t l t t ti e f o th cont st Th is no t t b ut in ub is ion nd y Our ch ins fo g d Th i cl nking y b h d sl v n d l t it co e! is in vit b l ; on th p l in s of B o ston Th w xt nu t th a t I p t it S i l t it co ! It is in v in si t n y ry P c p c ! b ut th is no p e c ! t r G ntl th Th w is c tu lly b gu n ! Th n xt g l th t sw p s f o ! Ou no th will b ring to u cl sh of sounding s th lr dy in th fi l d ! Why st nd w h e idl ? Wh t b th n n wish? Wh t woul d th y h v ? Is lif s is it th t g ntl de r r p c s sw t s t b p u ch s d t the p ic of ch ins — y ? Fo b id it Al ighty Pow s I know n t wha t a nd S l v cou s oth s y t k ; b ut s f r e give e lib erty give d th ! the G od s m e r e a e e e a a e er a m ee e e e a ea e, a r e e a or e . a m er a ere e e . e m c a e e ar e a e a r re re a re a a a o , ea a m r e e er er ea e m ee m , a , a e e e e m a e a r e o , r s a e e o a e o or m m m e e e r a e r er a ea r a ee m m er m m m m a e e r a e ar a e s re e o m m a a a e e . o re a e ere a r a o e ” a e e o ea e, r, , e e over in your i a gina tion a ll the sole nity a nd The etery so rrow th a t L inco l n f el t a t the Getty sb urg c e feeling in thi s sp eech is very deep but it is quieter a nd ore The purp o se of Henry s subdu ed th a n the p rec eding one 2 . Live e a e a e e a e a a a r e e s e e o oo o , e r e e e s ar e s r, o e o a , r o e r , , ea a r e . ea ea e re e a r e a e e a er re rea r ea r , m e, r e . e re e m m a es , S r , es e a a s e er r o . e a re re e e e o e er r e a re mm r, e e a e ra se . , o ere a o er e o a ea se ra e . . e re e a er e a r o a e e e e , e, s e a e, a a o r e e . a e a , e r , m o rre a re , ere . ar ea a a a a es se o e re e a a e ca e e e e s, a e m a e m m a s er e e a ea r a a a e re a e r , a e re o m o e e r e o e e e re e e or , a e, e e a e , a s a er a r e a e r, , e a a , . , m ’ . FEELIN G T AND E N H US IA S M I I3 m ddress wa s to g et a ction ; Lincoln s sp eech wa s ea nt only to dedica te the la st restin g pla c e of th o se who ha d a c ted Rea d it over a nd over (see p ag e 50 ) until it b urns in yo ur it it a nd rep ea t it for e o tiona l ex Then co soul ’ a . m m . n I O r s es p m . B eecher eech on Linco ln p a g e 76 ; Thurston s p 3 A Pl ea for Cub a page 50 ; a nd the fol sp eech on lowing selection a re reco ended for pra ctise in develop . ’ ’ s s , m m , , living f m mm bring t its lf ll th esou ces of i gin tion a ll th insp ir tion s of f lin g ll th t is influ ntia l in body in p o tu in th whol ni te d n in voic in y in g stu is in strict na l ogy with th div in thought nd th divin nt ; nd the i no i con t uction o utte ly unt ue r ng tha t o to y i n rtificial thing whi ch a nd f t l tha n this d ls with b ubl s nd trifl f th s k of a kin g bubbl s of f f s t t r l l u n i n c on c u i u nc f o t di s S f f s p n t th nob l st p ur th t it is th con c tion of th whol — h i s n n s th c dd l f du c tion nd in t h i h os s w p i ion of h i f ll o w n by ll t h t t h i s in l ning by t s r all p is in f ling by all th t is in thou ght by ll th t th th t th is in ll of th nt ho through th ch nn ls of t ste th — of b u t y HE NRY WARD B E E CHE R nd A oroe m e e, e e, re ra o o , e a ea r e e , a se a e a se a r r , e a e o ere e ar r a ea r , a , a m e a ee e o e e e ere e . , e ar a a a a e re s a a a a s r or , e a m m m m m e m m m re e a a e re , e a r a er e ere a e e ca e ere es, se ra a a m ra e a s a e e , e s e a a s e r a , s : or e e a ea re re , a e o ee e a a ea s a e , a tha t e a . . ar r Wh t in yo u r o p inion e t h e e l a t iv v lu of a e a s e 4 tho ugh t a nd f eeling in a sp eech ? h r s e se w t e t e ? o u l d di p n i i h C w e 5 Wha t kinds of selections or occa sions require uch 6 feeling a nd enthusia s ? Which require little? n r e s e t s f o I nv n l i t of u b j c e t a s t sp eech es sa ying 7 o st roo for pure tho ught a nd which which woul d give . m . . . 8 . Prep are m m m m d liv inu a nd e er a ten - , te p ch deno uncing s ee THE ART 1 14 mgin i ( A OF PU B LIC S PE KIN G m y) unfeeling plea of a n a ttorney ; he ay be ei th er the co un sel for the def en se or the p ro sec u ting a y b e a ssu ed to b e ei th er a tto rn ey a nd the a cc u sed g ui lty or innocent a t yo ur op tion re I rta n t tha n the tech nic a l p rin f o p o eeling I s 9 Why ? cip les exp o u nd ed in ch a p ters III to V II ? An a lyz e the secret of so e effec tive sp eech or 10 To wh a t is the su cc ess due? sp ea k er Give a n exa ple fro yo ur own ob serva tion of the 11 fec t of feel ing a nd en thu sia s on listeners ef M e ori z e Ca rlyl e s a nd E erson s re a rks on en 12 the a ar m m mm , . , . m . m m m m m m . . ’ . thusia s 13 ’ m . D eliver Pa trick Henry . . Thurston ddress pa ge 1 1 0 a nd wi th o u t S h ow of f eeling or ’ s a , , p eech p a ge 50 Wha t is the resul t? en thu si a s Rep ea t with a ll the feeling th ese sel ec tions de 14 Wha t is the resul t? a nd Wh a t step s do yo u in tend to ta k e to develop the I5 p ower of enthusia s a nd feelin g in sp ea king ? Wri te a nd deliver a fi v e inute sp eech ridiculing 16 u ses bo b a st p o p o sity a nd over a sp ea k er who I ita te hi en thu si a s m ’ s s , , . m , . . m . m m m mm m - . , . . 116 on A THE ART OF PUB L IC S PE KIN G ha ir trigger Yo ur fluency will b e in direct ra tio to two i p orta nt condi tion s : yo ur knowl edg e of wh a t yo u a re going to sa y a nd your b eing a cc u sto ed to telling wh a t yo u know to a n a u dienc e This gives us the second — grea t el e ent of fl uency to prep a ra tion ust b e a dd ed pra ctise ; of which ore pres the ease th a t a ri ses fro the m . m m m , m " . m Knowledge is Essentia l m o flu n p k h n p oli ic l p ob l m nd nci of im of m o l upp o d h o v h flu n in p ki g on bi d li of M Joh n v gl d o ugh m gh Mr p k s on r s te e e es the t t a e a nd q u estion s It is to b e s se we er t a t he wo ul d not ra s n the r fe s ea e t the Fl orida b e so r B urr s i t b e a t his b est E er a es on this l ast sub j ec t yet entirely lo st in talking a bo ut inter na tiona l law D o not exp ect to sp eak fluently on a subj ec t Ctesiph on bo a sted th a t yo u know li ttl e or no thing a bo u t th a t he co ul d sp ea k a ll da y (a S in in i tself) on a ny sub j ec t He wa s b a nished by the th a t a n a u di enc e wo ul d sugg est S p a rta n s B ut p rep a ra tion go es b eyond the g etting of the fa c ts in the ca se yo u a re to present : it includ es a lso the a bility to think a nd a rra ng e yo ur th o ug h ts a f ull a nd p reci se vocab ul ary a n ea sy a nn er of sp eech a nd brea thin g of self con scio usness a nd the severa l o ther a b senc e cha ra c teri stic s of effi cient delivery tha t have deserved sp eci a l a tten tion in o th er p a rts of thi s boo k ra th er th a n in this ch a p ter a y b e ei th er g en era l or sp ecifi c ; u su a lly it Prep a ra tion A life ti e of rea ding of co p a nion ship S h o ul d b e bo th . B ry a n is st a e t s ea er w , he s ea , . , . e , . , . . . . m , , , - , . m - . m , m FLUE NCY THROU GH ARA TION PRE P I I7 m m m mm mm m m m m m m m m m m with stirring tho ughts, of wrestlin g with the prob le s of — life this constitutes a genera l p rep a ra tion of in esti a ble — — Out of a well stored ind a nd richer still a worth — — r r b oad exp e i enc e a nd b est of a ll a wa r ly sy pa thetic hea rt the sp ea ker will ha ve to dra w uch a teria l tha t no i edia te study could provi de Genera l p rep a ra tion consists of a ll tha t a a n ha s p ut into hi self a ll tha t heredi ty a nd environ ent ha ve instilled into hi a nd — tha t o ther rich so urc e of prep a redn ess for sp eech the fri endship of wi se co p a nions When S chiller returned ho e a fter a vi sit wi th Goethe a friend re arked : I a a z ed b y the p rog ress S chill er ca n a a k e wi thin a S ingl e It wa s the p rogressive influ enc e of a new fortnight fri endship Prop er friendship s for one of the b est ea ns for the fo r a tion of idea s a nd idea l s for they en a b l e one to p ra c ti se in giving exp ression to tho ught The sp ea ker who woul d sp ea k fluen tly b efo re a n a u dienc e S houl d l ea rn to sp ea k flu en tly a nd en terta iningly wi th a fri end Cl arify your idea s by putting the in words ; the ta lker ga in s as uch fro his conversa tion a s the li stener You so e ti es b egin to converse on a sub j ec t thinking yo u h a ve very little to say but one idea gives birth to a no ther a nd you a re surprised to lea rn tha t the ore y ou give the ore you ha ve to give Thi s give a nd ta ke of friendl y conversa tion d ev el op s en ta l i ty a nd fluenc y in exp ression Long fellow said : A single conversa tion a cro ss the tab l e with a wise a n is b etter tha n ten yea rs stu d y of book s a nd Hol es whi sic a lly yet none the less truth q y decl a re d tha t ha lf the ti e he ta lk ed to find out wha t he th o ught B ut th a t ethod ust not b e ap plied on the pla tfor ! - . , , m m , . , , m m . . . m , . m m m . m m m , m m . - , - . , m m m m m m . ’ , m . 1 18 THE ART OF PUB LIC S PE . After a ll thi s m AKIN G m m ich ent of life by stora ge ust co e the sp eci a l p rep a ra tion for the p a rtic ula r sp eec h Thi s is of so defini te a sort tha t it wa rra n ts sep a ra te cha p ter trea t en t l a ter enr , . m . P ra ctise m prepara tion ust a lso be of a no ther sort tha n the — ga thering organizing a nd S ha ping of a teria l s it ust include pra ctise which lik e enta l prepara tion ust b e both genera l a nd sp ecia l D o not f eel sur p ri sed or disco ura g ed if p ra c tise on the principl es of delivery herein la id down see s to reta rd your fluency For a ti e this will b e inevi ta b le Whil e yo u are working for prop er infl ection for insta nce in fl ection will b e d e a n ding your first th o ugh ts a nd the fl ow of yo ur sp eech for the ti e b eing wi ll b e seconda ry This wa rning h owever is stric tly for the c l o set for yo ur pra c tise a t h o e D o not c a rry a ny tho ughts of inflection Th ere yo u ust think onl y of wi th yo u to the pl a tfor your sub j ec t Th ere is a n a b solute telepa thy b etween the I f yo ur th ought go es to yo ur a u dienc e a nd the sp ea k er g esture their tho ught will too I f yo ur interest go es to the q ua li ty of yo ur voic e th ey wil l b e reg a rding tha t in stea d of wh a t yo ur voic e is u ttering You h a ve do ub tl ess b een a djured to fo rg et ev ery th ing uch or This a dvic e sa y s ei ther too but yo ur sub j ec t yo u The tru th is tha t whil e on the pl a tfor too li ttl e ust not forget a grea t a ny thing s tha t a re not in yo ur Yo u r a tten tion ust not think of the sub j ec t b ut yo u ust con scio usly go only to yo ur essag e b ut sub B ut , , m m , , , m m . m m . m . , , m , . , m , , . , , , m m . . . . , , . m m . m m . , m m m m , . , THE ART OF PU B LIC S PE AKIN 1 20 m m G m pra ctise the econo y of yo ur well studi ed e pha sis a ll will subcon scio u sly co e to yo ur a id on the pl a tfor Th en the h a bi ts yo u h a ve for ed will b e ea rning yo u a splendid dividend The fluency of your sp eech will b e a t the sp eed of fl ow yo ur p ra c ti se ha s a de ha bitua l B ut this ea n s wo rk Wha t good ha bit do es not? No phil o soph er s ston e tha t will a ct a s a sub stitute for la bo rio us pra c tise ha s ever b een fo und I f it were it wo ul d b e thrown — a wa y b eca u se it wo ul d ki ll our g rea test j oy the d elight of a c quisition I f pub lic sp ea king ea ns to yo u a fuller life yo u will know no grea ter happ in ess tha n a well The ti e yo u h a ve sp en t in g a th ering S po k en sp eech idea s a nd in priva te pra c tise of sp ea king yo u wil l find ply rewa rded a , - m . m . . m m , . ’ . m , - . m , . m , . QUE S TIONS AND EX ERCI S ES Wha t a dva nta g es ha s the fluen t sp ea ker over the h esita ting talker? 2 Wh a t influenc es wi thin a nd wi tho ut the a n hi self wo rk a g a in st flu ency ? h r e f r n r l c t f o d a i l y p a p e s o t o p ic o a a d S e e t e 3 dress a nd a k e a three inute a ddress on it D o yo ur words co e freely a nd yo ur sen tenc es fl ow out rhyth ic a lly ? Pra c ti se on the sa e topic u n til th ey do S el ec t so e sub j ec t wi th which yo u a re fa ili a r 4 p ora neo usly a nd test yo u r flu ency by sp ea king ex te n e a d k of n i n giv e n b l o w fo l T o n h t t s a e e t se e e 5 l owing the a dvice given on p a g es 1 1 8 1 1 9 con struc t a sh o rt sp eech b egin ning wi th the l a st w o rd in the sen tenc e I . . , . m m , m m m m m m m m m m m - . . . . . , - , . FLUE NCY THROU GH ARATION PRE P m r er or 121 cono ic wo ld nu o u s w o k f p c The S ocia li t P rty i st H was cru h d nd b ok n n wh n h l ft p i son bit tion War ust ul ti t ly giv w y t wo ld wid nd o qual di tribution of The la bo unions d t wea l th th t l bor c Ma chinery s e c ha s rea te a e r 6 a rea es nti se a r o re a e ea . r e . ra e ar - . s e the . mn of Mr B rya n s into y our own words Princ e of Honestly ’ ts e Pea c e, . e e a m m e Put the . r m e e r a re a a e a a new e s a m m s a d . on p a ge 44 8 cri ticise y our own effort T a k a n of fo ll o ing q u o ion a n d a k e a e t h t a t s e w 7 y fi v e in ute sp eech on it witho ut p a u sing to p rep a re The fir st efforts a y b e v ery l a e b ut if y o u wa nt sp eed on a typ ewri ter a record for a hu ndred y a rd da sh or f a ci li ty in sp eaking y ou ust pra c tise practise PRACTIS E . , m . . - m m m , m , , li v Be e - , m o fi m n in liv There e . es re a , th tha e, . , in honest doub t lf th c ds —TE NNYS ON I n M , ha ree e . m m only nobl good ind m o n co on im l fi n om n bl ood — Y di nc l nd nc n m n Vi ob m oun in in u — A b com on innoc nc l , Ho we ’ ’ Tis K e hea rts And ’ it b e , it er Tis An d S p sta r e s th tha ets , r N S ON , s e ha t the r a . L a dy Cla ra Vere de Vere t to the e its ta hue re az . ew . f H ope C MPB ELL , Plea sures His est ic a nd e e o ra ea e e , re e e m era e rr , e s a e e . Villa g e eser ar a sse , . hea th , igno nc of w l th —G OL DS MITH Th D ted B wa of desp t st p ! Th d k t d Liv till to o ow will h v p d wy —COWPE R N dle An d his b s, p a ni est r hes , . . TE NN e oria e, tha re a to to b e a re e es see mm e es a ee a ay , . ss . m Ala r . THE ART OF PU B LIC S PE 1 22 My count y i the w s r m — o l d and r AKIN G igion is t do good rel y , o A1 NE Rig ht T d it y h lp soci ety x t nd B ut lu s th p i t nd co rrup t th f i nd It is s r i in n tion s id B u t b ib s n t nd th l nd s b t y d ra 1 e a re ra e e a r m m P e e e ra e , a es a se e , a a a e, a a e r e : , ’ a e . , s ’ f Ma n s o , . ’ e ra —POPE Mora l E ssa ys . , O G od a wa y , the m—o d nm y in i m ou i b in A A O m i g c gd i uni m n c oll m m of mf m c in of m o — Y o ld f l of num b of ng mu o d y king T V f m o l d y d nd u on y — tha t r en S h ul It SH s ra ha r I a the I a the an e how a te , t the e s r , s ul y . HE NL E The w I a is r s re we S If your ra s a re ul so a E thi er all sh ul b e ha pp a s E NS ON A Child s Ga rden ’ , re a r ep e , it the p S E v ry dv nt g e a a a e ha s its ta x . I l nt ea r o be mnu . Verses wr a re e . s, s o I nv ictus , TE VE NS ON cont nt - Ma k e l a te , y a p ta stea . sh a ster ths to r thell o t the stra w th p e the e RE , KE S PE a tters not How p ut . , . ong . E ssa ys . . E ME RS ON , E ssa ys . p ch on a ny of the following g enera l subj ec ts but yo u will find tha t yo ur idea s will co e ore rea dily if yo u na rrow yo ur sub j ec t by ta king For in sta nc e in stea d of trying so e sp ecific p ha se of it “ La w in g en era l ta ke the prop o si tion to sp ea k on The Poor M a n Ca nno t Afford to Pro sec ute ; S h o w how odern speed L ei sure stea d of dwelling on ore l ei sure I n this wa y yo u ay expa nd is c rea ting thi s sub j ec t li st ind efini tely M y 8 . mm m a two - i te s ee , , . , m , i . . 1 one . m m CH A P T ER XII TH E V OI C E Oh , The m ng in voic m o c of m i i — there is inn s o ethi tha t st re e sses er y sp r ' e tha t rea ches t! L oNGFELL ow, Christus . m m dra a tic critic of The London Ti es once decla red L ea ving the tha t a c ting is nin e ten th s voic e wo rk essa g e a sid e the sa e a y ju stly b e sa id of pub l i c A rich co rrec tly u sed voic e is the grea test sp eaking phy sica l fa c tor of p ersua siven ess a nd p ower often over topp ing the effec ts of rea son B ut a good voic e well ha ndl ed is not on ly a n effec tive p o ssession for the professiona l sp ea k er it is a a rk of p er son a l c ul ture a s well a nd ev en a di stinc t co erci a l Gla dstone hi self the p o ssessor of a deep usi asset ca l voic e ha s sa id : Nin ety en in every hundred in the crowded profession s wi ll p rob a b ly n ever ri se a bove edi ocrity b ec a u se the tra ining of the voic e is en tirely n egl ec ted p orta nc e These a re word s worth a nd con sid ered of no i p ondering Th ere a re th ree funda en ta l requi si tes for a good voic e : The m - , mm . “ - . , , . , , , m , . , m , m m m m m , ‘ . m m I . . E ase m of the M etrop olita n Op era Co p a ny sa ys th a t the secret of good voic e is rel a x a tion ; a nd this is true for rel a x a tion is the b a si s of ea se The air wa ves th a t p ro duc e voice result in a differen t kind of ton e when striking S ignor B onci , . THE m VOICE 1 25 ga inst rela x ed uscles tha n when striking constricted uscles Try thi s for y ourself Contra ct the uscles of your fa ce a nd thr oa t a s y ou do in ha te a nd fla e out I ” ha te you ! Now rela x a s y ou do when thinking g entle der thoughts a nd say I love y ou How differen t ten the voic e so und s I n pra ctising voice exercises a nd in spea king n ever force your tones Ea se ust b e y o ur wa tchword The voic e is a delica te instru ent a nd y o u ust not ha ndl e it — n D r a d t s t a k e ong on y our voice g o let e with h a L et the y ok e of sp eech b e ea sy a nd D on t wo rk it go its b ur den ligh t stra in during sp e ech Your thr o a t sho ul d b e free fro uscul a r contra ction therefore it is nec essa ry to a void The thr o a t u st a ct a s a sort of chi n ey or funn el for the voice henc e a ny unn a tur a l constriction will not onl y har its tones but injure its hea l th en ta l stra in a re co on sour ces Nervou sn ess a nd of outh a nd throa t constriction so a k e the b a ttle for p oise a nd self confi dence for which we p lea ded in the op ening cha p ter B y si p ly willing to B ut how ca n I rela x ? y o u a sk y our shoul der H ol d your a r out stra ight fro rel a x — Pra c ti se re Now wi thdra w a ll p ower a nd let it fa ll laxa tion of the uscles of the throa t b y l etting your n eck Ro ll the up p er p a rt of yo ur body a nd h ea d f a ll fo rwa rd Let yo ur a ro und wi th the wa i st li ne a c ting a s a p ivo t hea d fa ll a nd roll a ro und a s y ou shift the torso to different — p ositions D o not force y o ur hea d a ro und si ply rela x your neck and let g rav ity p ull it a ro und a s yo ur body oves m a m m . . , , , , . . m m . m m , , ’ . , m m . ’ . . m m m . m , . m , m m . , m m m - . m . m . m m . . . . , . m m . 1 26 THE ART or PUBLIC S PE AKIN G Again , let your hea d fa ll forwa rd on yo ur b rea st ; rai se yo ur hea d , letting your jaw ha ng Relax until yo ur jaw feels h ea vy a s tho ugh it were a weight hung to your fa c e Re e b er you ust rel a x the ja w to ob ta in co a nd of it It u st b e free a nd fl exib l e for the o ul din g of ton e a nd to let the ton e p a ss out unob stru c ted The lip s a l so ust b e a de flexib l e to aid in the oul d ing of clea r a nd b ea utif ul tones For flexibility of lip s — rep ea t the syll a b l es o ine In saying o b ring the lip s up to rese b l e the shap e of the l etter 0 In rep ea ting b a ck a s yo u do in a grin Rep ea t this ex e dra w th e ercise ra p i dl y giv ing the lip s a s uch exercise a s p o ssib l e Try the fo ll owing ex erci se in the sa e a nn er : . mm m m m m m m m m m m , m , . lo a s . , . m . mm m . x ci se ha s b een astered the fo ll owing foun d ex c ellent for flexibili ty of lip s : be m e er Me o riz e these so m . , will m , , Af ter thi s , . , . ha t yo u t indica ted (not the ra p i dl y th e s ounds p ea t ca n re , m ) ressions p ex . m ctivi ty of brea thing ust be c entered not in — ust iddl e of the body yo u the thr o a t b ut in the b rea th e fro the diaphra g No te the way yo u b rea the All the a , m m m . , m K G THE ART on P UB LIC S PE A IN 1 28 lk If yo u a re bo thered with nasal tones caused by growths or swelling s in the na sa l pa ssag es a slight pain less op era tion will re ove the ob struction This is quite i porta nt a side fro voice for the g enera l hea lth will be uch lowered if the lungs are continually starved for air The fin a l funda en ta l requisite for good voice is ta . m m m m m , , , . , . F or w a r d es s n 3 ' . m voice tha t is pitched b a ck in the throa t is dark so b re a nd u n a ttra c tiv e The ton e u st b e p itch ed forward b ut do not force it forwa rd You will reca ll tha t our first principl e wa s ea se Think the tone forwa rd a nd out Be lieve it is going forwa rd a nd a ll ow it to fl ow ea si ly You ca n tell wh eth er yo u a re pl a cing yo ur ton e fo rwa rd or not by inha ling a d eep b rea th a nd singing a h with the o uth wid e o p en trying to f eel the li ttl e delica te so u nd wa v es outh just a bove the front strike the bony a rc h of the The sen sa tion is so sligh t tha t yo u wi ll p rob a b ly teeth not b e a b l e to d etec t it a t onc e b ut p ersev ere in yo u r p rae tise alwa y s th inking the ton e fo rwa rd a nd yo u wi ll b e rewa rd ed by f eel ing yo u r voic e strike the roof of yo ur outh A correc t forwa rd pla cing of the tone will do a wa y wi th the da rk th ro a ty ton es th a t a re so u npl ea sa n t inefli cient a nd ha r ful to the thro a t Cl o se the lip s hu ing ng i or a n Think the tone forwa rd D o yo u feel it strik e the lip s? Hol d the p a l of yo ur ha nd in fron t of yo ur fa c e a nd sa y vigoro usly crash da sh whirl buzz Ca nyo u feel the for wa rd ton es strik e a g a in st yo ur h a nd ? Pra c tise u nti l yo u m A . , , , . . . ; . , m m , . , , , m - . m m m m , , , , . , , , , m , . . . TH E ca n mm b Re . e r, e wa rd is to put it H ow the only forward VOICE 1 29 way to g et y our voice for . to D evelop the Carryi ng P ower the Voice f o necessa ry to sp ea k loudly in order to b e hea rd It is necessa ry only to sp ea k correc tly a t a dista nc e E dith Wy nne M a tthison s v oi ce will ca rry in a whisp er A p ap er ru stling on the sta g e thro ugho ut a l a rg e thea ter of a la rge a uditoriu ca n b e hea rd distinc tly in the further o st sea t in the ga llery I f y ou will onl y use y our voice correctly you will not ha ve uch difliculty in b eing heard Of co urse it is a lwa y s w ell to a ddress yo ur sp eech to y o ur furthest a udi tors ; if they g et it tho se nearer will have no troubl e but a side fro this obvious suggestion y ou ust ob serve these laws of voic e production : Re e b er to a pp ly the princip l es of ea se op enn ess a nd — forwardn ess they a re the pri e fa ctors in ena b ling y our voic e to b e heard a t a dista nc e D o not ga z e a t the floor a s y ou ta lk Thi s ha bit not only gives the sp ea ker a n a a teurish ap p eara nce but if the hea d is hung forwa rd the voic e will b e directed towa rds the gro und instea d of flo a ting out over the a udi enc e To streng then it V oice is a seri es of a ir vib ra tion s two things a re nec essa ry : ore a ir or brea th a nd ore v ib ra tion B rea th is the very b a si s of voice As a b ull et wi th little powder b ehind it will not ha ve forc e a nd ca rrying p ower so the voic e tha t ha s l ittl e b rea th b ehind it wi ll b e wea k — Not only will deep b rea thing b rea thing fro the dia It is not . . ’ m m . . , m , mm m m . , , m , . m . . m . , m . . , m . 1 30 m THE ART OF PUBLIC S PE AKIN G — r supp o rt b ut it wi ll giv e t r h e a e t e giv voic b h a e t e p g it a stronger reson a nc e by i p rov ing the gen era l h ea lth Usua lly ill h ea l th ea n s a wea k voice whil e a b u nda n t physica l vita lity is S hown thro ugh a strong v ibra nt voice Th erefore a ny thing th a t i p roves the g en era l vi ta li ty is a n ex c ellen t voic e streng th en er p rovid ed yo u use the voic e p rop erly Authorities difi er on o st of the rul es of hy l ree : Vi ta li ty a nd l ong evi ty n t t e a l a on p oin h y g o e i t n e b u e g Pra c ti se this un til it a re inc rea sed by d eep b rea thing b eco es second na ture Wh enever yo u a re sp ea k ing a nn er th a t the in ta k e in d eep b rea ths but in su c h a ha la tion s will b e silent D o not try to sp ea k too l ong wi th o u t ren ewing yo ur b rea th Na ture ca res for this pretty well unconsciously in conversa tion a nd S he wil l do the sa e for yo u in pla tfo r onitions sp ea king if yo u do not in terf ere wi th her p re A c erta in very su cc essful sp ea ker devel op ed voic e c a rry ing p ower by running a cro ss country pra c tising his The vigoro u s ex ercise forc ed hi sp eech es a s he w en t A h a rd to ta k e d eep b rea ths a nd d evel op ed lung p ower fought b a sk etb a ll or tennis ga e is a n effi cient wa y of pra c tising deep b rea thin g When these ethods a re not convenient we reco end the following : Pl a c e y o ur ha nd s a t yo ur sid es on the wa i st l in e B y trying to enco p a ss y o ur wa i st wi th yo ur fing ers b s fo rc e a ll the a ir out of the lung s a nd thu Ta k e a deep b rea th Re e b er a ll the a c tivi ty is to iddle of the body ; do not ra i se the b e c en tered in the As the b rea th is ta k en yo ur b a nds will b e sh oul ders forc ed out m m , , . , m , . m ~ , . m . m . , , . m . , m . m m m m . , m , m . . . . m . , mm . , . m , , m THE I 32 ART OF Purity PU B LIC f o mm S PE AKING Voice qua lity is so eti es destroyed by wa sting the brea th Carefully control the b rea th usrng only as uch a s is n ecessa ry for the p rodu c tion of ton e Utiliz e all tha t you g ive out Fa ilure to do this results In a b rea thy tone Ta ke in b rea th lik e a p ro dig a l ; in sp ea king give i t out iser lik e a This ‘ . , m . . m , . m p Never Voice S uggestions forc e yo ur voice when hoa rse D o not drink col d wa ter wh en sp ea king The su dden S h ock to the h ea ted o rg a n s of sp eec h wi ll injure the voic e — Avoid p itching yo ur voic e too high it wi ll a k e it ra sp y This is a co on faul t When you find yo ur voice in too high a ra nge l ower it D O not wa it until yo u r h to try this Pra c ti se it in yo ur da ily pl a fo e t o t e t t g conversa tion Rep ea t the a lpha b et b eginning A on the lowest sca le p o ssib le a nd going up a no te on ea ch suc A wide ra ng e ceeding l etter for the d evel op en t of ra ng e a king n u ero u s cha ng es of will give yo u fa ci li ty in pi tch D o not for the h a bi t of l i stening to yo ur voic e when You will n eed yo ur b ra in to th in k of wha t yo u sp ea king — reserv e yo ur ob serv a tion for p riva te p ra c ti se a re sa ying t to a tte . . m m m . m . . , . . . , m m m . , m . . . QUES TIONS AND EX ERCI S ES m Wha t a re the pri e requi sites for good voice ? 2 Tell why ea ch one is n ec essa ry for go od voic e du ction r . . . r p o Give 3 ditions . o s mx VOICE cises for develop e e er mn of e t 1 33 h ese con t . i r a r Wh y s ng e of voic d s i a b l e? e e 4 r T ll h o w a ng of voic c ul t iv a t e d e e e a b e 5 y How uch daily p ra cti se do you con sider n ecessary 6 for theprop er develop ent of yo ur voice? r n H o w ca es on a nc a n c r ing p o er b e r d e d a w e 7 y m . m . . . m . v elOp ed ? 8 . 9 . Wha t are your voic e fa ults? How a re you trying to correc t the m ? CHA PTER XIII CH A RM V OI CE m m ch rful t p j oin d with innoc nc will ke knowl dge d lightful nd wit good n tu d a tt a c tiv —J OS E PH ADDIS ON Th A r er e ee e e, e e e , e a a a - re u b ea ty . e , Ta ttler . id tha t the tone of b ea uty is sa dn ess but he ca use to effect not con was eviden tly thinking fro tra riwise for sa dn ess is ra rely a p rodu c er of b ea u ty th a t is p ec uli a rly the p rovinc e of j oy The ex qui si te b ea u ty of a su n set is not exh ilara ting but el a nch o l y th a t is not fa r fro d elight tend s to a so rt of The ha un ting b ea uty of d eep q ui et u sic h ol d s ore tha n The l ovely ino r c a d enc es of bird a ting e of sa dn ess o st depressing song a t twi ligh t a re a l The reason we a re a ffec ted to sa dn ess by c erta in fo r s of pla cid b ea uty is twofol d : ove ent is sti ula ting a nd j oy producing while quietu de l ea ds to reflection a nd re fl ection in turn often b ring s out the ton e of regretful l onging for tha t which is pa st ; secondly qui et b ea uty produ ces a va gue a spira tion for the rela tively una tta in r e t n o t h e f r do e o i ul ndo u fo ab le s t s t a t e t e t e s e t y n ec essary to a k e the di ly desired sta te or ob j ect o urs We ust distinguish for these reasons b etween the Tru e j oy is a sa dn ess of b ea u ty a nd the j oy of b ea u ty deep inner thing a nd ta k es in uch ore tha n the idea of bounding sa nguine spiri ts for it includ es a certain I n thi s chap ter however a c tive con ten tedn ess of h ea rt Poe m sa , , , . m m m , . m m m . m mm . m - , , , m , m m m m . , , mm . , , , , . , , 1 K G THE ART OF PU B LIC S PEA IN 6 3 ctress Ma ry Anderson a sked the p o et Long fellow wha t she co ul d do to i prove her voic e He re plied Rea d a lou d da ily j oyo us lyric p o etry The j oyo u s ton es a re the b right ton es Devel op th e by exercise Pra c tise yo ur voic e exercises in a n a ttitude of j oy Under the infl uence of plea sure the body expa nds the ton e p assa g es o p en the a ction of h ea rt a nd lu ng s is a ry con dition s for good ton e a cc el era ted a nd a ll the p ri a re esta b l i sh ed More song s flo a t out fro the b roken windows of the negro ca bins in the S o uth tha n fro the p a la ti a l h o es on Fifth Avenue Henry Wa rd B eecher sa id the hap piest days of his life were not when he ha d b eco e a n interna tiona l cha ra c ter but when he wa s a n unk nown inister out in La wrenc evi ll e Ohio sweep g his own church a nd working a s a ca rp enter to help p ay the groc er Happiness is la rgely a n a ttitude of ind of vi ew ing life fro the right a ng le The op ti i stic a ttitude ca n be cul tiva ted a nd it wi ll exp ress i tself in voic e char o tto in A tel ephone co p a ny recen tly pl a c a rded th is It The V oic e wi th the S il e Win s th eir boo th s : do es Try it Rea ding j oyo us p ro se or lyric p o etry will h elp p ut The foll owing sel ec s il e a nd j oy of so ul in to yo u r voic e tion s a re ex c ell en t for p ra c tise RE ME MBERtha t when yo u first p ra c tise th ese classics yo u a re to give sol e a ttention to two thing s : a j oyo us a nd b righ t ton es of voic e a tti tu d e of h ea rt a nd body Af ter these end s h a v e b een a tta in ed to yo ur sa ti sfa c tion ca refully review the principles of pub lic speaking laid The m a , , , m . . . . , m m , , . m m m . m , , , , . m , m m m m m m , . m . . . m . , , . . , . . , VOICE ARM CH m 1 37 down in the preceding chap ters and p ut the into pra ctise I t would be a s you rea d th ese p a ssa g es a g a in a nd a ga in better to m m it ea ch co selection mm to e . ory . S ELE CTIONS FOR PRACTI S E FROM MIL TON S m Ha ste thee Ny p h , , L ALLE GRO “ ’ ’ b ing with th a nd r ee J st nd youthful Jollity Q uip s nd C nk nd w nton Wil s Nods nd B ck nd w thed S il s h ng on H b h k S u ch An d l ov t liv in di p l l k d rid S p o rt th t wrinkl d C And L ught hol ding bo th his id s e a , , a ra a a e m e s C ee , e S ee e a re m s i ' e , a nd , es, e er a , e ’ e a Co e rea e o m a s, a e as s a e go tr p it a s y e ht a ta st toe ; On the lig f n ic And in thy right h nd l d wi th th ount in ny p h w t Lib ty Th And if I giv th hono du Mi th d i t of thy c w nd liv wi th th T liv with h In un p oved p l su s f e m m mm a a , e , r a , ea s ee r e, re , e re ea l k er r er, a re ee ee e e o ee , ree flight And inging t rtl th dull Night F o hi w tch tow r in th ki Till th d pp l d D wn doth is ; in p it of o ow Th n t co And t y window bid good o ow Through th w tb i th vin Or th twi st d gl ntin ; Whil th cock with liv ly din S c tt s th r of d kn s thin And t th t ck th b n doo S toutly struts his d s b fo ; To hea r the m s a a e a er o e , e e S r a S e e his e e e s gin e - a o e s a m m e be ar , s r . - e a , rr r er , o r ee e m s rr e es , e e, e e e e rea e s a ar , or a m e e es ar e , - re r, , 1 38 A THE ART OF PUB LIC S PE KIN m G Oft listenin g how the houn ds a n d horn ly ou the lu b ring Morn id of o ho hill F o th Th ough th high w ood choing shrill ti w lking n t unse n So w l on hill ocks green B y h dg Right g in t th ea st n g t th g t S un b g in s his sta t Wh Rob d in fl s nd b light Th c l o u ds in tho u nd liv i s dight Whil th p l ow n n t h nd th furro w d l nd Whi tl s And th ilk id S inging blith ow wh ts hi scyth And th And v y h p h d t ll s his t l th h wtho n in th d l Und m mm Cheer r e s r r m s se e e s e e e e e e re m a o , s e a e er m e a e, m e a a e, er sa e e s o er e e ea r a e er S er e a , er e e, e e s er a , a a e e , er e a ’ , , m mm m e e re a e , s, e - a ar e e ro a , e, a e, e r a e e . THE S EA op n ea Th b lu th f sh th v f ee ; Without k without b o und It ru nn th th gions round ; th s wid ocks th ski s It p l y wi th th cl o u d s it c dl d c tu li s O lik on th I on th I I wo ul d v I wh b With th b lu bov nd th b lu b el ow An d sil nc wh o I go If nd wa k th d to sh oul d co p Wh t tt ? I sh ll rid nd le p The the se a , e m ar a s a ’ m m ra e e er m e m m re e e , e, e a e e m , ere s e e r . e a r er a s e a a e e e ee . l ov t id On th fi c fo ing bu ting tid v y d w v d owns th oon Wh And whi tl l oft it t p t tun And t lls h w go th th wo l d b l ow And why th outhw t wind doth bl ow ! ho I n v w s on th d ull t I e , Oh ! e ere e m m how I er e , er s a a o a s er a m e es e , e, e r a m e, r e es e e rs , e e e s e o r e es a e , . e sea er e ’ e a , e re rea e a e r m ’ , ’ , a e re e l ov s , e e sea , a a e e e a a s , e ea r e r re e e, the sea , m e S , re , , THE ART 1 40 A OF PU B LIC S PE KIN Wil d is thy lay G l ou d in th downy cloud F L ov giv s it n gy ; l v ga v it b irth on thy d wy wing Wh rt th o u j o u n ying ? Wh Thy l y is in h v n ; thy l ov is on a th a nd , e ar e e , , er e ere , o e r e e . e ere a ea a e e e r . f ll nd foun t in sh n oor nd ount in gr n d st lds th d y ; O th th t h Ov th cl o u dl t di inb ow s ri Ov th Mu ic l ch rub so r singing a w y ! Th n wh n the gl o a ing co s L w in th h th b l oo s S w t will thy w l co a n d b d of l ov b e ! E bl of h p p in ss B l st is thy d w ll ing p l c Oh t a b id in th d s t wi th th ' —JAME S HOGG O er O er ’ ’ ’ er m a e e re e er s e , e , o e e a er era e , e a , , a , ea a , er e a e e e , , e e o a ee ’ e , , e mm ee ee e e ra a e a rea er m m m m m m m m a e , - a e e er . ee . I n j oyo us conversa tion th ere is a n ela stic tou ch a ca te stroke up on the centra l idea s g enera lly following a p a u se This el a stic to u ch a dd s viva city to the voic e If yo u try rep ea tedly it ca n b e sen sed by feeling the tong ue The en ti re a b senc e of el a stic to u ch in strik e the teeth the voic e ca n b e Ob served in the thic k tong ue of the in toxica ted an Try to ta lk wi th the tongu e lying still in the bo tto of the o uth and yo u will Ob ta in l arg ely the sa e effec t V iva city of u ttera nc e is g a in ed by u sing the tongu e to strike off the e ph a tic id ea wi th a de cisiv e el a stic to u ch D eliv er the foll owing wi th d eci sive strok es on the pha tic idea s D eliver it in a Viva cio us a nner e noting the elastic tou ch a c tion of the tongue A flexib l e , , , . . , . m m m m . . m . , m , m . - . , , ARM v oICE CH ponsive tong ue is res a b solutely FROM NAPOLEON S Wha t ntia l esse good voice to ADDRE S S TO THE DI REC ’ RE TURN TORY ON HI S 1 41 FROM EGYP T v you don wi th th t brill i nt Fr nc which I l ft you ? I l ft you t p c nd I find you t w I l f t you victorious nd I find you d f t d I l ft you th illion of n d I find onl y p oli tion nd p ov rty Wh t h v you Ita ly don with th hund d thou nd F nch n y co p nions in gl ory ? Th y d d! This t t of a fl i s c nno t last long ; in l s th n th y a s it woul d p lung us into d s ha e e a e , , ea e, s a re e a re e es e a e . m mm m sa re ree e a r r e . Pra c tise the s e a , s a e a a a . e ea e . e e a e ar a e ea e a m a a a e potis a a e m following selec tion for the develop ent of ela stic touch ; say it in a j oyous spirit using the ex er cise to develop voic e char in all the wa y s S ugg ested in thi s ch a p ter , m , . THE B ROOK I co mf om un of coo mk udd n ll kl m ong f ha r e I a And S p a r ts e a s t sa e y, the e out a a nd n er he , bick down a v ll y B y thi ty hill s I hu y down Or slip b tw n th idg s ; B y tw nty tho p s littl town And h lf hund d b idg s Till l st by Philip s f Ifl w T j oin th b i ing iv ; nd F n n y co y go B u t I go on for v I ch tt ov tony w ys In littl S h p nd t b l s To er r rr e a , e r e e a , r re a . , ee r e e m m m mm m mm ’ a o or e a e e ar r r e a er er s e o ar er a s a er e e a a . a . , re e , , m , A TH E AR T 1 42 I OF PU B LIC S PE KIN bub b l int ddying b ys I b bb l on th p bb l s e o e a e a e , e e . mny cu v m n f mny fi ld f llo mny f i y fo l nd Wi ill o d mo With a a By An d a a a y b a ks I a nd a w, e r e th w w w ee a nd - a ll w . ch tt s I fl w T j oin th b i ing riv ; n F nd n y co y go B u t I go on fo v I wind b ou t n d in nd ut With h s il ing b l o sso And h nd th lu ty t out And h nd th g yling I ch ret , set re a a r a m m mm m mm a tter , e r, a a o or e o r e a er e a e re a er o ere a r m yfl k m Ab An d ov ra a ll a the ra w the en k . r e a nd re er , en er fl ow a nd , go on fo v a ay . m r ee r or e - , e - ers a m m mm m m m m um u und m oon m b m b ly il d n S lip , m er a ze e s e ra s a e a . lid I gl oo I gl nce ing w ll ows ; A ong y ki k th n tt d unb d nc Ag in t ndy h ll ow y , I s e, a , s s e a e e r r In ra s e s a I rea l by l wns nd g sy p l ots l cov s I l id by h ov th w t fo g t nots h p p y l ov Th t g o w f S I e r ay I ste a I - e e m long m j oin b im ing iv m m com mmgo d B ut I I a er er , , ilv y w t b gol d n g v l a s To For a , the e , ra ere a And here a nd there a fo a e a s I tra vel Up on a , s e re a mny , a e re a , . a e re a With a m a , G a a ea s sa , a e s. a n d sta rs er w er esses , , THE ART OF PUB LIC S PE 1 44 city fro AKING listen to the b uzz sa w voic es of the chorus girl s a ttra c tion so e b url esqu e The expl a na tion is — b uzz saw lives E erson said : When a a n si p c lives with God his voic e S ha ll b e a s sweet a s the ur ur of mthe b rook or the rustl e of the corn It is i p o ssib l e to think selfi sh th o ugh ts a nd h a v e ei th er a n a ttra c tive p ersona li ty a lovely cha ra cter or a char ing voice I f yo u wa nt to p o ssess voice cha r cul tiva te a deep sincere pa thy for a nkind Love wi ll shine out thro ugh your sy r r a r n t oc l i i t l f in yo u on c of ey es a nd ? se t es e se e O p the sweetn ess of the c a n a ry s song fro a y b e his freedo ta in ted th o ug h ts Yo ur ch ara c ter b ea utifi es or a rs yo ur voic e As a a n think eth in his hea rt so is his voice mm m , a nd - m - . m mm m . - . m m , , m m m . , , . m ’ mm m . m . . . AND EXERCI S E S QUE S TI ONS m( ) j oy ( ) b u y li of od l d j M k Wi h m inu ul ogy of Joyful M liv i hou of no v yo u c mk up fu ly con id d qu li i go voic c m d liv y ll b i fly in yo u o d h mn m pl oy d d v l o p ch m ing voic m 1 . 2 . D efin e a r 3 4 te l e - er 5 te - ha r In the to t e e a . to oy . tes . Ha tha t es an . a re e to a e ? r own r e t The e a er e ea s re a te r t the use a ll its c ; the w ree it w t ere e e t s Te . a b ; a ll st e a De . (a ) ch a r w r s w e ar ea s ay be . of voic e on cha ra c ter r on voic e r t e h i c u c of c a a c f f D ss t h e e t s e 7 of a ny sp eak er or singer An a lyz e the voic e cha r 8 yo u choo se e n e n l y z d f c of a giv n voic A a t h e e e t s e y 9 M a k e a S h ort hu o ro u s sp eech i ita ting certa in 10 voice defects p ointing out rea sons 6 D i sc u ss the effec t at . . m . . . . m m . . , . . 11 . Co VOICE i m m ARM CH 1 45 following sta nza a nd interpret sugg ested or exp ressed by the p o et t the phase of ea ch . inf nt wh n it g e on light o nt wh n it dr in s th b r A chil d th th H o t in sight A d vot wh n so gu t An A b with f t ng A s il o wh n th p ri h st u ck in fight A i r filling his o t ho d d ch t F l a p tu ; b u t n t u ch t u j oy r p ing As th y wh w tch wh t th y l ov whil l p ing B Y RON D n An a e e ee e mm e e e r e s ee as o ’ s o er a a a , es or a , , ar r ea st , e r s re o er m ze e se ee , s e a s ra m r a a rs e ra a az s e e es e a re , ea e e . , o CH A PT ER XIV m In a n sp ea n dl ss E xt nds f o And e P RE CI S I ON A ND D I S TIN CTN E S S e r e mid k the are S e G od s m od id to s , , p f o . HE S IOD , the a , e sylla bles D i stin c t a re — HOME R at s p rocesses 77 , , Ilia d (C . n un e b ut a nd l m rea ay a sylla ble or a a rticula tion, accentua tion, f uttera nce o with regard to . , s, distinct . ar r r s D a ys a nd ch n d f fi l d of w o ds e s Of sp ee e Words m p onunci ion y nonym ou I n p opula r usa ge the ter a nd a rticul a tion cia tion pronuncia tion includes three th erefo re b e d efin ed a s the r o u g OF U TTE RA N C E mm precise uttera nc e is one of the o st i p orta nt consid era tion s of pub lic sp eech How p rep o ster a king so u nd s of inarticula te ous it is to h ea r a sp ea k er under the con ten ted delusion tha t he is ea rn estn ess ' Tel ling ? Telling tell ing so eth ing to his a u di enc e unica ting a nd how ca n he a c tua lly co ea n s co a king ev ery w o rd di sti nc t? unica te wi tho u t ei ther physica l S l ov enly p ron uncia tion resul ts fro d efor ity or habit A sur g eon or a surgeon d entist a y correct a defor ity , but yo ur own will working by self ob serva tion a nd resolution in drill will b rea k a ha bit All d ep end s up on whether yo u think it wo rth whil e fro D ef ec tive sp eech is so widesprea d th a t freedo on to h ear pub lic it is the ex c ep tion It is p a infully co a nd m m m m m m m . m m , m m m . , . , mm . . m m 1 48 THE ART OF PUB LIC S PE AKING Articula tion m ing j oining of l m n y m lling t k u o und of p ch m ic ul ly h d illion o d h go m k up ngli voc b ul y mk gin ng lly im pl f m f f f m on ic ion p infully lu d by mny ublic p k g fo u igno nc of l m n l o und f ilu di c im in b n o und n ly lik lov nly l zy of voc l og n o p id ill n y on ill m of himlf i ll kno ndl ch of h df c m vo l o und o v xing o u c of o p ci lly h h hong fo und Wh o h d uc o in i inim i bl v by Oliv W nd ll o lm Artic ul a tion is the fo r s ee s s the t ir a te a rt sh E our is ni The rea t a the e e s r a s rea s ea r s; a nd ts we ea r s er ers a re S ea ch o so a the to a e be e a with orty our - e the who is ha e e etwee a te use a to ra s r , rre s r: to A . a a re e how w h the s a re s w a e is ea w w at st a a ster t ea ese . The es a r t s tter u tter correctly, a nd other , ul a t a rt e; r to . s; t a , lea rn to s a s as ta r e la ngua g e our s e e b ut the w a y to to the p ta e se e e why a w ar one in a n a pp a s - e: ro the of a - s enta ry sounds ele see a rea cha nge ea sy It . a nd dip t ere H e e err rs, ha s . off hit r e s a re s err rs a s a re e st th ta s not erse e es : m m m n n cond n b y ond th ch f h op c l lip th t p k f o p f O p ; He f o he f i b od di c t xil T h c l owni h voic e th t u tt e d f Od; L Ot co t w h c ll hi t n t hi An d t hi b O t b li vin g it a b O t ic city bo t Sh p d on d on u cl L ea r i g T h e a re ess r e e ess s er es ar e n r a e a e rea ea r o Ca c a s a s c a a ss m a or r a a ’ a r oOt m a . as s p ed h er a o ot ‘ a r a 6 st in s tea d a nd sta c ll or s a b rid g e , T ea h er , e r e e ers r s o a a r a m m o m e, o B u t k it h er b r ws TO h ea r s a o s sa id a t e a o s eers Wh o s s e e s e , of ng m ry 6 st , o ot f . foregoing exa ples a re a ll onosylla b les b ut ba d a rtic ul a tion is freq uen tly the resul t of j oi ning so u nd s tha t The , DIS TINCTNE S S AND PRE CIS ION OF U 1 49 m x p le no one finds it diffic ult to sa y bea uty but a ny p ersist in pronouncing duty a s tho ugh it were sp ell ed ei ther dooly or july It is not only fro unta ught sp ea kers tha t we hear such for colu n a nd pritty S l ovenly a rtic ul a tion s a s colyu for pr etty b ut even grea t o ra to rs occ a sion a lly ofi end qui te orta ls a s u nb lu shing ly a s l ess no ted Nea rly a ll such a re erro rs of c a rel essness not of p ure f c a rel essn ess b ec a u se the ea r n ever tri es ig nora nCH It ust b e ex a sp era ting to hea r wha t the lip s a rticul a te to a fo reig n er to fi nd tha t the ele enta l so und on gives hi no hint for the p ronu nci a tio n of bough cough rough an thorough a nd through a nd we ca n well fo rgiv e even a of culture who occa siona lly lo ses his wa y a i dst the in trica cies of E n gl i sh a rtic ul a tio n b ut there ca n b e no ex cuse for the S lovenly uttera nce of the S i p l e vowel soun ds which fo r a t o n c e the life a nd the b ea u ty of our l a ngu a g e He who is too l a zy to sp ea k distinc tly sho ul d hol d his tongu e The con son a n t so u nds occa sion serio u s tro ub le only for tho se who do not l ook wi th c a re a t the sp elling of w o rd s a bo u t to b e p ro no unc e d No thing b ut c a rel essn ess ca n a lwus or sadisfy a cco un t for sa ying J a cop B a btist sev e do b elong together TTE RANCE not m For . , m e a , . m m , m , . , m m . m , m , , , m , m , m . . m m glo obi c cl gym g v of h m ing n mof um p y vy F nch m i d i mn u dd d l um . , He tha t ha th ya ws , to ya w , let hi . , a w , y is the ren the dering which a n An p h a er an a e fa ili ar scrip ture He tha t ha th ea rs to ea r let hi hea r the a e hr D a Af ter hea r S ir H pronounced a re a n who w she to wr te to the e inent English a th s a resse the etter : S er m , . m , Frida v i . , I THE ART OF PU B L IC S PE O S AKING Accentua tion Acc en tu a tion is the ing of the prop er sylla b les in wor ds This it is tha t is p opula rly c a lled pronuncia For in sta nc e we p rop erly sa y tha t a wo rd is tion is pronounc ed when it Is a ccented in ite instea d of in vite tho ugh it is rea lly a n offen se a g a in st on ly one fo r of — pronuncia tion a cc en tua tion It is the wo rk of a lif eti e to l ea rn the a cc en ts of a l a rg e voca b ula ry a nd to k eep pa c e wi th cha nging usa ge ; b ut rt ea r the stu dy of w o rd o rigin s a nd the dic tion a ry a n a le h abit will prove to b e ighty help ers in a ta sk tha t ca n never b e fina lly co pl eted stress m m . , . m — ’ ’ - , m . m m , , - , . Enuncia tion Co rrec t m nuncia tion is the co pl ete uttera nc e of a ll the so und s of a syll a b l e or a w o rd Wrong a rticula tion gives the wrong so und to the vowel or vowel s of a word or or u ni tes two so u nd s i p rOp a syll a b l e a s doo for dew ; erl y a s hully for wholly Wro ng enuncia tion is the inco plete uttera nc e of a syll a b l e or a wo rd the so u nd o itted or a dd ed b eing usua lly consona nta l To say needcessity in stea d of necessity is a wrong a rtic ula tion ; to p rop er enuncia tion The one a r sa y doin for doing is i — — ticula tes th a t is j oin ts two so und s tha t S h o ul d not be j oin ed a nd thus gives the word a p o si tively wrong so und ; the o ther f a i l s to to u ch a ll the so und s in the wo rd a nd in tha t pa rticula r way a l so so und s the wo rd incorrec tly My tex a y b e fo un in the fif a nd S ix verses of the e . m , m m , . , . m . , , , . ’ m ’ ’ ’ THE ART OF PUB LIC S PE I 52 AKING m m c ip t a nd no te every so und tha t ay p o ssib ly be is pronounc ed Consul t the diction a ry a nd ake a ssura nce do ub ly sure I f the a rra nge ent of words is unfa vor a b l e to c l ea r en u ncia tion cha nge either words or o rd er let s direc tion s a nd do not rest u n ti l yo u ca n fo ll o w Ha to the pl a yers s r m . . m m , , ’ . AND EXERCI S ES QUE S TIONS p ea ting the following pa rticula r a ttention to the con sona n ts 1 Pra c tise . re ra pidly pa ying , . oolish Fl vius flu hing f v ri hly fi c ly found f ult with Fl o s f rivo l ity M ry i ic y a k s u ch ischi f tchl s h s ll S t d on hining h l h ll s Y u youngst yi ld d your youthful yul tid y nings y st d y F ra a ’ ’ a s m in e s a s e r S a e S e er e , a e e s sea S e e e . . e e e - ea r . S o u nd the l . e mm m m m ers er 2 . s o e 1” a ea e s , quenc e : B lu b l c k b l ink in ea ch of the following wo rds , p ea ted re se e a e rs b l ock d B l ck B l ondin s y e ’ a e es . k r k yo u l o a bl u e s ? b s a a o o S 3 y y y Co p a re the it so und in few a nd in new S a y ea ch 4 a l o u d a nd d ecid e wh ic h is co rrec t N00 York New Ya wk m Do . . . , or , , , New York? r h r s t r c f ul h d di c ion of h i c h p a t o t e e t s a t e e e e 5 in rea ding the following fro Ha let After the in ter vi ew with the gho st oi his fa ther Ha let tell s his fri ends Ho ra tio a nd Ma rc ellu s tha t he in tend s to a ct a pa rt : . Pa y , mm m . , m H ora tio H a let . . ‘S chool a nd night but this is wondrous st nge ! fo s st ng giv it w l co 0 d a y a nd And the re Colleg e S p ea ker , re a M itche ll m ra , a . ra er e e e . T T DIS INC NE S S AND PRE CISI ON OF U o ing in m n d mof in you com There Tha B ut th re a re t rea a re v n nd p hil o op hy hea s r e TTE RANCE Hora tio ea rth , a s , . m m m m e; I 53 nv cy h lp you odd so I b y lf A I p ch nc h ft h ll think t T p ut n ntic di p o ition n Th t you t u c h ti ing n v sh ll n u b With d thu thi h d h k doubtful p h O by p ono uncing of o W ll w ll w know A W could n if w would ight O If w li t t p k Th b n if th bigu ous giving ut t not O uch Th t you know ught of thi n t t do nd S g c cy t you o t n d h lp you Here a s b efo re How stra nge or , s er ’ e a er , so e , ere a er er S a s a a s e ar s s a , er S e e , m m s r e r s a o S ” ea ra , S wea r s “ “ or ea a s , ere o , a e, ere , e s o s r m e a e, a o , e: a - e m m - er e a er e ra se , or , a a e, e e , , , s , or s r r o ’ , ee e s see c se ea r m m m m a o o er e o ee , e , —Act . I S cene V m m on o p onu ci io ing ic h f ul y ic ul ion o g y i com l un ci ion c c mk co c ion i ici ch y o u m v d ic di pl y d f ul mof m xpl in f l ing p ci m ind f om c ul iv ing f c v b l 6 Ma k e . wh sa a nd e the Cr t 7 . a s these e . ay t p h err rs a ete a rt t n r at at en of , In . at n, wr n ao ea h a se . sp ee ts a a se sha us er ha ay e hea r wh h . how the a se n a ny se E 8 re rre of co due to a re centua tion , a l i st a . t r to b e too see e at r e e p t er a uttera nc e r v r p r ci ion i l i k w i f a ul t T O b ing o u t e e s s e se a O 9 Be oder a ny syll a b l e u nduly is to c a ric a tu re the w ord a te in rea ding th e fo ll o wing : . m - . . . MAXIMILIAN ROB ES PIERRE THE LAS T S PE E CH OF m n i of th woul d g ov l t y f The e r e es e a m e c ll ty nt ! W I uch th y houl d go g th wi th go l d I S houl d Rep ublic e et . I S m DE a e r e ra e m ere s , e TH E ART OF PU B LIC S PE 54 1 mim m uni y AKING m y ould g uc king v v nq i d f om Rb i oul d l nd m i guil y u o oul d cov n n b n m m y nny m u — v ool nm i of y nny i do i nd om b im o li y W y n m mo co f c ion do b l ong o u lv W g a nt th ful W r e ere . noun cing w be ha I s h , the o e sp err e , a t e for the t s ? p a th te y p r te t e e e the a nd , T o wha t I s de r st the es ha t t Y the re ra ! ‘ ra te rt ; pp T . t ? e fa r wh ther , rt a t a e be , t r ra to w u she a nd t es e the a the e e twee T o the t r? we ha w But the . e s , a nd r s t a e i cri t is ra es ! r se r ha t f ction inc th b ginn ing of th R volution h c u h d nd — nnihil t d ny d t ct d t ito ? Y u th p op l u — — r t h t t f c ion f ction t which I d vot d p incip l nd g in t which ll th cound li of th d y i b nd d ! Th confi tion of th R p u b l ic h b n y Ob j ct ; nd I know th t th R p ublic n b t bli h d only on th t n l b is Of o lity Ag inst g in t tho wh hol d nd kind d p incip l th l gu is fo d My lif ? Oh ! y lif I b ndon wi th o u t g t! I h v n th p t ; nd I fo s th fu tu Wh t f i nd of this count y woul d wi h t urviv — h i o n n co d no l ong t h h t wh n h coul d t w ul no l ong d f nd innoc nc g in t opp ion ? Wh fo houl d I continu in n o d of things wh intrigu t n lly t u th ; wh j ustic i ock d ; wh p sions t iu p h ov ost b j c t f s th o t b u d ov id th s c d th int sts of hu nity ? In witn ing th ultitud Of vic which nt of th R volution h s oll d in tu bid co union th to ti s f d th t with its civic vi tu I conf s th t I h v so ull i d in th y of p o t ity by th i p u n igh I h oul d b lv s into h d th u t th b h d of u np incip l d n wh inc f i nds of hu nity ; nd I j oic s oci tion wi th th con p i to g in t y count y h v n w by th i th t th ckl g t c d d p th lin of d c tion b tw n th nd ll t u n s lv Q u tion histo y nd l n h w ll th d f nd s of lib ty in ll ti d by c lu n y B ut th ir h v b n ov wh l di d l o Th good nd th b d di pp l ik f o t du c y diff nt conditions 0 F nch n ! O rth ; b ut in v th tin g s wi th th i co u n y n yo u n i d o l t ! L t n t r y doct in d g d you ouls nd n rv t you virtu s ! No ! s t ! C t n u no n l l i i n n t h i s D t ! tt h C p f o th to b th t otto g v n by cril giou h nds fl a s , a a a m e e a e so es a re e a m m e r e r a es, a re mm re e e er m m s r r e e e ere , or rre s e s oo a s e ss ra re es a es s e, e r e a m ers ra m r e rs a a , a s m a ce e r e ra e a e o es re e , s r se e e e e o e r , e ee e ar a e re a a a ea re e a ea r re r e e a e e e a e m r e , o a e m e a “ , e e ra e ea r a e r a es ” s ee sa r e m a e r a e m e e re . , e . , e er a m sa a e a o a e er er e e e a ere ea e, , a as ere er r r er r s e e e er e o , e e re e re - s er m m m m es , r a e er e e . a . e e e e e ee e r s a m e m o o s e r e e re ee r e e ea a ra e s, a e e ra a re ee ere s a es e e e S e se s e s r a a , s e a e , , re ss e ss a a e e e e s , e es , r or ea r e as e s er ere a e e see a e m m m m m mm m m m m m m m r r e a r e e . e r s er v e e o a se s r a m a e s e, e e er a a a m e m a a ee s r a e e er e re e e s e a . e, ea e a e m m e as e es a a . m e e e , s r a s e ca o o re e as , rs a e s e e ra a a ra re e a a a as e e a s a e , ze s a , CHA PT ER XV TRU TH TH E When White fiel d a cte d A B OU T G E S TU RE m old blind n dv ncing by S l ow st p s to w d the dg Of th p cip ic Lo d Ch t fi l d ta t d nd c i d up G ood G d h i gon ! NATHAN S HE PPARD B f n A udi n ar e r e a e : an e re e o e , a e, s a a r es er , e ore a s e r e e e ce . mm lly a S i ple a tter tha t requires Ob serva tion a nd co on sense ra ther tha n a book of rules Ges It ture is a n o u twa rd exp ression of a n inw a rd condi tion — is erely a n eff ec t the eff ec t of a o tiona l en ta l or a n e i pulse struggling for expression thro ugh p hy sic a l a venues You u st not how ev er b egin a t the wrong end : if yo u a re tro ub l ed by yo u r g estures or a l a c k of g estures a ttend It will not in the l ea st h elp to the c a u se not the effec t ec h a nic a l a tters to ta c k on to yo u r d el ivery a few ove en ts I f the tree in yo ur fron t ya rd is not growing to sui t y o u f ertil i z e a nd wa ter the soi l a nd let the tree h a ve su n shin e Obvio usly it wi ll not help yo ur tree to n a i l on a I f yo ur ci stern is dry wa i t un til it rain s ; few b ra nch es Why plunge a pu p in to a dry hole ? or bo re a well The sp ea k er who se th o ughts a nd e o tion s a re well ing like a oun ta in sp ring will not ha ve uch wi thin hi erely a q u estion of a k e g estures ; it will b e tro ub l e to prop erly direc ting the If his en thusia s for his subj ect is not su ch a s to give hi a n a tura l i pul se for dra a tic wi th a l ong a c tion it wi ll a v a i l no thing to f urni sh hi li st of rul es He a y ta ck on so e ove en ts but they Gesture is m m m m rea . m m m . . , , , , m mm m . , . , . m m m m m m m m m m m m m mm m m , . . . , . , TRU TH AB OUT GE S TURE THE 1 57 m look like the wilted bra nches na iled to a tree to si u la te life Gestures ust b e born not bui lt A woo den ay a use the children but it ta kes a live one to ho rse go s o ewhere It is not only i p o ssib l e to la y down defini te rul es on this sub j ec t b ut it wo ul d b e silly to try for every thi ng dep end s on the sp eech the occa sion the p erso na li ty a n d feeling s of the sp ea ker a nd the a ttitude of the a u dience ultip lyi ng seven It is ea sy eno ugh to fo reca st the result of b y six but it is i p ossible to tell a ny a n wha t kind of gestures he will b e i p elled to use when he wi shes to We ay tell hi tha t a ny sho w his ea rne stness sp eak ers c l o se the ha n d wi th the e xc ep tio n of the fo re fing er a nd p ointing tha t finger stra ight a t the a udi ence pour out their thoughts like a volley ; or tha t o thers sta p h s o r h M r B r a i s t a t y a n of t n l e s a s hi s one foo t for e ; p p up wa rd ha nd s tog ether for grea t fo rc e ho l din g on e p a l in a n ea sy a nner ; or tha t Gla dstone woul d so eti es i te en t a nd s a k e a ru sh a t the cl erk s ta b l e in Pa rli a it with his ha nd S O fo rc efully tha t D i sra eli onc e b roug ht down the house by gri ly co ngra tula ting hi self tha t such sel f a nd the honora b l e a b a rri er stoo d b etween hi gentle a n ore a y we tell the All these thi ng s a nd a bookful sp ea k er b ut we c a nno t know whether he ca n use these gestures or not a ny ore tha n we ca n deci de whether he could wea r Mr B ry a n s clo thes The b est tha t ca n b e do ne on this sub j ec t is to offer a few p ra c tica l sugg estio ns fec tive a nd let p erson a l good ta ste deci d e a s to where ef dra a tic a c tion ends a nd ex tra va ga nt o tion b egins will mm m m . . . , , m , , , , m m m m m m m , , . . , m , m m m m mm m m m . , ’ m m ’ m mm . , , m , , ’ . . , m m . 1 58 THE ART OF PU B LIC S PE Any Gesture Tha t Merely AKIN G Ca lls Attention to I tself I s B ad purp o se of a g esture is to carry yo ur tho ugh t a nd feeling into the ind s a nd hearts of your hea rers ; thi s it do es by e pha si zing yo ur essa g e by in terp reting it b y exp ressing it in a c tion by stri king its ton e in eith er a physic ally descrip tive a suggestive or a typic a l gesture e b ered a ll the ti e tha t gesture includes a nd let it b e re ove ent fro fa cia l expression a nd the a ll phy sic a l ove ents of ha nd to ssing of the h ea d to the exp ressive A S hifting of the p o se a y b e a a nd foo t o st effective gesture Wha t is true of gesture is true of a ll life I f the p eopl e on the street turn a round a nd wa tch yo ur wa lk yo ur wa lk — is ore i p orta nt tha n you a re c ha nge it I f the a t ten tion of yo ur a udienc e is c a ll ed to y o ur g estures th ey a re — not convincing b eca use they a ppear to b fi wha t they — ha ve a do ub tful right to b e in rea lity studied Ha ve you ever seen a sp ea k er use su ch g ro tesq u e g estic ul a tion s tha t you were fa scina ted by their frenzy of oddi ty but coul d not fo ll o w his th o ug h t? D O not s o th er id ea s wi th gy na stics the high pul S a vona rol a wo ul d ru sh down fro i r r n t a ong h cong g a t ion in t h d u o o a t F l o e nc e d t e e e a p c a rry the fi re of convic tion to his hea rers ; B illy S unday ca rp et in dra a tizing one of sl id es to b a se on the pl a tfo r his b a seb a ll i llu stra tion s Yet in bo th in sta nc es the es — h it sa g e ha S so eh ow stood out bigg er tha n t e g esture is chiefly in c a l a ftertho ugh t th a t en h a ve re e b ered of dra a tic expression Wh en S ir Henry Irv ing the for ” “ o us ex it a s S hyl ock the la st thing the a udi a d e his fa m The m m , , , mm m mm m mm m m , , , . . . mm , . , , . m m m m m , ‘ m . m m m m m m . m . m m mm 1 60 he THE ART md a e! A OF PU B LIC S PE KIN but they will ” sa y, “ — He is right I b eli eve In tha t G I ll vo te for that ’ . Gestures S hould B e B orn f o the mu eas re . m Mo ent b est a ctors a nd pub lic sp ea k ers ra rely know in a d va nc e wha t gestures they a re going to a k e They a ke one g esture on c erta in wo rd s tonigh t a nd non e a t a ll to — orrow night a t the sa e p oint their va rious oods a nd interpreta tion s govern their gestures It is a ll a a tter — n of i pulse a d in tellig ent feeling wi th the don t over look tha t word intelligent Na ture do es not a lwa ys p ro e kind of su n sets or sno w fl a k es a nd the ove v id e the sa o st a s uch a s the crea en ts of a good sp ea k er va ry a l tio ns of na ture Now a ll thi s is not to sa y tha t yo u u st not ta k e so e I f tha t were ea nt why this th o ugh t for yo ur g estures chap ter? When the serg ea nt despa i ri ngly b esought the rec ruit in the a wkwa rd sq ua d to step out a nd l oo k a t hi — a nd wo rthy of p erson a l sel f he g a v e spl endid a dvic e Pa rtic ul a rly whil e yo u a re in the l ea rning a pplic a tion da y s of pub lic S p ea king yo u ust lea rn to critici se yo ur — Reca ll the see wh ere th ey were use own g estu res l ess crud e a wkwa rd wha t not a nd do b etter n ex t ti e Th ere is a va st d ea l of differenc e b etween b eing con scio u s of self a nd b eing self conscio u s It wi ll req uire yo ur nic e di scri ina tion in ord er to c ul tiv a te sp on ta n eo u s g estures a nd yet give due a tten tion While yo u dep end up on the o ent it is to p ra c ti se vi ta l to re e b er tha t only a dra a tic g enius ca n ef fectiv ely a cco pli sh su ch f ea ts a s we ha ve rel a ted of m The m m m m m m m m m m m m m m m . , . ’ m . , . , , m m . . , , - . mm m . , , . m m m mm TRU TH AB OUT GE S TURE TH E 1 61 Whi tefield S a vona rola a nd others ; a nd doub tless the first ti e they were used they ca e in a b urst of spon ta neous f eeli ng yet Whi tefi el d d ecl a red tha t not un ti l he had deliv ered a ser on forty ti es wa s its delivery perfected Wha t sp onta n eity initia tes let p ra c tise co r l t e E ff e e e ec tiv e sp ea k er a nd ev ery vivid a c to r ha s v y p ob served considered a nd p ra ctised gesture until his dra a tic a c tions a re a sub conscious p ossession just l ik e his a bili ty to p ro nounc e co rrec tly wi tho ut esp eci a lly con centra ting his tho ught Ev ery a b l e p l a tfor a n has p o ssessed hi self of a do z en wa y s in which he ight de t es t r n ic in g u e a giv e n o t io n in f c n f r e a t h ea s o t e p ; y such exp ression a re en dl ess a nd thi s is p reci sely why it is bo th useless a nd ha r ful to ake a cha rt of g estures a nd enfo rc e the a s the i dea l s of wha t a y b e used to exp ress Pra c tise descrip tiv e sugg estiv e a nd thi s or tha t f eel ing typic a l ove ents until they co e a s na tura lly a s a good a rticula tion ; a nd ra rely foreca st the gestures you will use a t a given o en t : lea ve so ething to tha t o ent m , m m , m , , m . “ . m , - , m . m m m , mm m m - m mm mm . m m mm , , m . Avoid Roast b eef Monotony in Gesture xc ellent dish but it would b e terrible a tter how effec tive one a s a n ex clu sive diet No gesture is do not overwork it Put va riety in yo ur a c tions Mono tony will destroy a ll b ea uty a nd p ower a k es one effec tive g esture The pu p ha ndl e a nd on hot da ys tha t one is very eloquent but it ha s its li ita tions is an e . , . m m m , . m . , , . 1 62 THE ART OF PUB LIC S PE Any m Move ent AKING tha t is not S ignifi ca nt, Wea kens forget tha t Restlessness is not exp ression A grea t a ny useless ove ents will only take the a ttention wha t yo u a re sa ying of the a u di enc e fro A wid ely no ted a n introduced the sp ea ker Of the evening one S u nda y l a tely to a New York a u di enc e The on ly th ing re e b ered a bo ut tha t introduc tory sp eech is tha t the sp ea k er pl a y ed n ervo u sly wi th the cov ering of the ta b l e a s he ta lk ed We n a tura lly wa tch oving ob j ec ts A j a ni tor putting down a window ca n ta k e the a ttention of Mr Roo sevel t B y a king a few ove the hea rers fro en ts a t one sid e of the sta g e a c ho ru s gi rl a y dra w the interest of the sp ec ta tors fro a big sc en e b etween the l ea d s Wh en our forefa thers lived in c a ves they ha d to f r r ov O b j c t s o ov e e n t s a n t d a ng e wa tch e e e W g ha ve not yet overco e the ha bit Advertisers ha ve ta ken oving electric light signs a dv a nta g e of it wi tn ess the in a ny city A shrewd sp ea ker wi ll resp ec t this la w a nd conserve the a ttention of his a udi enc e b y eli ina ting a ll unn ecessa ry ove en ts mm m m m mm Do not . . . . m m . m m . . m mm mm m m m . m m ' . . , . - m . mm . m Gesture S hould either be S i ulta neous with or m lco m in yo u P recede the — Words n ot Follow The M a cb eth L a dy your h a nd your tongue Reverse this order a nd yo u g et co edy S a y There he go es p oin ting a t hi a fter yo u ha ve finish ed y our wo rds a nd see if the result is not co ic a l m m , sa ys ° B ea r w e . . , , , . e r eye, m 1 64 THE ART OF P U B LIC S PE dra y wagon Of the so ul Thro ug h a nd f eel ing s ' b a ck of a . . AKING m The eye ha s b een c a ll ed the w dow it sh ines the l igh t of our th o ugh ts ” . MhG Do Not Use Too esture uc m of f c in big c i of lif do go o ug h m n y c ion W n yo u clo f i nd yo u do o up you h nd lk bo u o u g i f m o l i k ly b ood in y d il nc mk m ud on Riv do uch O on — As a tter a thr a a not thr You a a re s w re The H t the t, er s he . r e to r ses a sit a nd es not sest r s a nd a we e ta not ty a r dry e n - dies r e e r e s ise r e e . e . its wa y ha lf S O lo ud a s the little creek up in B ronx Pa rk th a t a b ul l frog co ul d l ea p a c ro ss The — r r r r b a king dog neve tea s you tro users a t l ea st they say he do esn t D o not f ea r the a n who wa v es his a r s a nd a n who co sh o u ts his a ng er b ut the es up q ui etly wi th ing a nd fa c e b urning a y k nock yo u down F uss ey es fla is not fo rc e Ob serve th ese p r crp les in n a ture a n d p rac in yo ur d elivery tise th e The wri ter of thi s chap ter onc e ob serv ed a n in stru c to r drilling a cla ss in g esture Th ey ha d co e to the pa ssa ge fro Henry VIII in which the hu b led Ca rdina l sa ys : F a rewell a l ong fa rewell to a ll y grea tness It is A a n u ttering one of the p a th etic p a ssa g es of l i tera tu re en t wo ul d b e c ru sh ed a nd the l a st thing on su ch a sen ti a k e fla boya nt ove ea rth he wo ul d do wo ul d b e to Yet thi s c la ss ha d a n el ocu tiona ry a nua l b e en ts fore the tha t ga ve a n a pprop ria te g esture for every oc ca sion fro p aying the g as bill to d ea th— b ed fa rewells S o they were in stru c ted to throw th eir a r s out a t full leng th on ea ch sid e a nd say : Farewell a l ong fa rewell to the it sea Is not m . m m m m m ’ . m m , . m , m m m m m m m m . m . . . , m . m m . , m , . TRU TH AB OU T GE S TURE THE mg m m 1 65 h t ssib ly b e t r i n u c h g u g p o ess a e s e S y used in a n a fter dinn er sp eech a t the convention of a the Atl a ntic tel ep hon e co p a ny who se lines ex tended fro ove to the Pa cific b ut to think of Wolsey s using tha t en t wo ul d sugg est tha t his fa te wa s ju st to a ll rea t . m m - ’ , m . P osture phy sica l a ttitude to b e tak en b efore the a udience rea lly is inclu d ed in g esture Just wha t tha t a ttitude sh o ul d b e d ep end s not on rul es b ut on the sp iri t of the sp eech a nd the occ a sion S ena tor L a Follette stood for three ho urs wi th his weigh t thrown on his forwa rd foo t a s he l ea ne d out ov er the foo tlights ra n his fing ers thro ugh his ha ir a nd fl a ed out a d enu nci a tion of the trusts It B ut i a gin e a sp ea ker ta king tha t wa s very effec tive kind of p o sition to discourse on the d evelop ent of roa d If y o u ha ve a fiery a ggressive es a king a chin ery sa g e a nd wi ll let y o urself go n a ture wi ll n a tura lly p ull your weight to your forwa rd foo t A a n in a hot p oli tica l a rg u en t or a street b ra wl n ever ha s to stop to think up on a y so which foo t he sh o ul d throw his weight You e ti es pl a c e y o ur weight ou y our b a ck foo t if yo u ha ve a — restful a nd c a l essa g e but don t worry a bou t it : just sta nd lik e a a n who g enui nely feels wha t he is D o not sta n d wi th y o ur h eel s cl o se tog ether l ik e sa ying a so l di er or a b u tl er N0 ore sho uld you sta nd with the wid e a pa rt l ik e a tra flic p o lic e a n Use si p l e good a nners a nd co on sense Here a word of c a ution is n eeded We ha ve a dvised y o u to a ll ow y o ur g estures a nd p o stures to b e sp onta n eo u s The . , , . , m , m . m m . m . , , m , m m . . mm m . . m m m m m m ’ m , m . . . m m 1 66 ART OF PUB LI C S PE TH E not b eforeha nd but do not go to the ex tre e of ig no ring the i p o rta nc e of a cquiring a stery of yo ur p hysic a l ove ents A uscula r ha nd ove ent is fa r ore lik ely to b e a d e fl ex ib l e by free en t in g esture tha n a stiff pudgy a n eff ec tiv e in stru b unch Of fingers I f y our sho ul ders a re l ithe a nd ca rried well whi l e yo ur chest do es not retrea t fro a ssoci a tion wi th yo ur chin the cha nc es of u sing good exte p o ra neo us g estures a re S O uch the b etter Lea rn to keep the ba ck of your neck tou ching your colla r hol d y o ur ch est high ea sure a nd k eep down yo ur wa i st S o a tten tion to streng th p oi se flexibil ity a nd gra c e of body a re the fo unda tions of good gesture for they a re a nd wi tho u t vi ta l i ty no sp ea k er ex p ression s of vi ta li ty of p ower When a n a wkwa rd gia nt ca n en ter the kingdo lik e Ab ra ha Lincoln ro se to the sub li est heights of ora tory he did so b eca use of the grea tness of his soul his v ery rugg edn ess of spiri t a nd a rtl ess h on esty Were prop erly exp ressed in his gna rly body The fi re of cha ra c essa g e swep t his h ea rers b e ter of ea rn estn ess a nd of fore hi when the tepid words of a n insinc ere Ap oll o wo ul d ha v e l ef t no effec t B ut b e sure yo u a re a second Lincol n b efo re yo u desp i se the h a ndic a p of physic a l a wkwa rdn ess “ Ty Cobb ha s confid ed to the pub l ic tha t wh en he is in a b a tting slu p he ev en sta nd s b efore a irror ba t in ha nd to ob serve the swing a nd follow thro ugh of his b a tting for I f yo u wo ul d learn to sta nd well be fore a n a udienc e look a t yo urself in a irror but not Pra c tise wa lking a nd sta nding b efo re the too of ten a nd wooden ly p rep a red AKING m m m m mm m mm m m m m m m , . , , , . , , . , , . , , , , m , m , m m , m . “ . . . m m , . , . m m w , 1 68 ART OF PU B LIC S PE THE AKING m m on the tree r esp ond to the slightest b reeze The uscles of your fa ce the light of your ey es should resp ond to the E erson sa y s : E very slig htest ch a ng e of f eel ing an e r r s up io in s o e w a I n h I l n eet is t a t th a t I a r e y y of hi Illitera te I ta lia ns a ke gestures so wonderful ight ha ve sa t a t a nd b ea u tiful th a t B oo th or B arrett Op en yo ur eyes E erson th ei r f eet a nd b een in stru c ted “ We a re i ersed in b ea uty but our eyes sa y s a g a in : To ss this book to one side ; go have no clea r vi sion out a nd wa tch one ch i l d pl ea d wi th a no th er for a bi te of D o yo u a ppl e ; see a street b ra wl ; ob serv e l if e in a c tion wa n t to know how to exp ress vic tory ? Wa tch the v ic to rs h a nds go high on elec tion night D o you wa n t to plea d p o si te p ho tograph of a ll the plea ders a c a u se ? M a k e a co in da ily life yo u consta ntly see B eg borrow a nd stea l the b est yo u ca n g et B UT DON T GI VE I T OUT AS THEF T Assi il a te it u ntil it b eco es a p a rt of yo u th en let the ex p ression co e out . m m m , , m m . m . “ . m m m . m . , . . ’ m . . . m , ’ , m QUE S TIONS m , m . AND EX ERCI S ES Fro wha t so urc e do yo u intend to study g esture ? Wha t is the first requi si te of good g estures? Why ? 2 i t o la y down steel c l a d rul es Wh y i s t i p o s s ib l e 3 for g estu ring ? r r D c ib a g ra c f ul g s t u e t h a t yo u h v a e s e e e a e Ob 4 () serv ed ; (b) a fo rc ef ul one ; (c) a n ex tra va g a n t one ; (d) a n in a pp rop ri a te one f o r h t h a t g e s u r s do yo u u s e e p a s i ? Wh y e s ? W 5 How ca n g ra c e of ove en t b e a cqui red ? 6 re wh a t wo ul d yo u do ? t a t t Wh n in do u b bo u g u e a es 7 . . m - . . . . . mm m THE TRUTH AB OU T GE S TURE 69 What a ccording to your ob serva tions b efore a irror a re y our fa ul ts in gesturing ? H o w d o o u t n rr in co c h ; e d t o e t t e ? y 9 Wha t a re so e of the gestures if a ny tha t you 10 ight use in delivering Thurston s sp eech page 50 ; Gra dy s sp eech p age 3 6? B e sp ecific D escrib e so e pa rticul a rly app rop ri a te g esture tha t I1 you ha ve ob served Why wa s it app rop ri a te? ove ents in na ture tha t 12 Cite a t lea st thr ee ight well b e i ita ted in g esture Wha t woul d you ga ther fro the exp ressions : 13 descriptiv e g esture suggestiv e g esture a nd typica l g esture ? 14 S el ec t a ny el e enta l e otion su ch a s fea r a nd i n d a t lea st fi v e different situ try b y p ic turing in y o ur ight c a ll forth this e o tion to exp ress its a tions tha t — r r including p o sture ove ent sev e a l p ha ses b y g estu e a nd f a ci a l exp ression D o the sa e thing for su ch o ther e o tion s a s yo u 15 a y sel ec t a ny so urc e only b eing 16 S el ect three p a ssa g es fro oriz e sure tha t they a re sui ta b l e for p ub lic d eliv ery e ea ch a nd then d evi se g estures suita b l e for ea ch S a y why 17 Critici se the g estures in a ny sp eech y o u ha ve hea rd rec ently Pra c ti se fl exib le ove ent of the ha nd Wha t 18 ex erci ses did y o u fi n d u seful ? 19 Ca reful ly ob serv e so e a ni a l ; then d evi se sev era l typ ic a l g estures 20 Wri te a bri ef dia logue b etween any two a ni a ls ; rea d it a l ou d a nd invent exp ressiv e g es tures m 8 , . m , m m . , , ’ , ’ m , . . mm m m m m m m m . m . . . , . , , , , mm m , , m . m . m . . , , mm . , , . . mm m m . . . . m . . . K G ART OF PUB LIC S PE A IN THE 70 1 21 D eliver, with . a ppropria te gestures the , quo ta tion ha t hea ds this chap ter Rea d a lo ud the following incident using dra 22 gestures : t . . , mic at Wh n V olt i w p p ing young ct ss t p p ea r in on of hi t g di h ti d h h nd t h sid with p ck th d t nd ncy t o w d xub t ch c k h nt g ticul tion in o d obility h co nc d thi con dition of co p ul o y Und nd f h s o ti h bo h lf l l y enough ; t i d w y by h f ling sh bu t b ut t l t co p l t l y c bond nd flung up h Al d t h up p o d h n gl ct of his in t u ction h b g n t p ol ogi t th p o t ; ilingly u d h how v ; th g tu w th n d ir h — bl b c u it w s i p ibl RE D WAY Th A t A t s er es , e ra r rea ss . o e er ar e e S a rr e o a a a re e er , a rre Render the a e following ca ee e a o a s, er suita . e rs s se m e e e a ’ e , e o as re . with e ze es e a e S er ar . er e es erse a e re ss re rea m m m e ra i s e es e e ar s, s se e a 23 e s r e e, re a s a er e s a er e e , m e er e or s s a er a s r ea r e , a as ar re m m m mm m m m s a e e o er o re as a re e c or s r . b l e g estures : m m c ing Whit fi l d udd nl y ssu d n utic l i nd nn th t w i r i tibl with hi nd wo d W ll y boy w h v cl sky b ok forth in th king fi n h dw y ov s ooth b fo light a nd nd w h ll oon l o s ight Of l nd B ut wh t ns b n d th t d k cl ou d ri in g thi su dd n l o w ing Of th h v n f o b n th th w t n ho i on ? H k ! D on t you h dis tho fl h of lightning ? Th t nt thu nd ? D on t yo u to g th ing ! E v ry n t hi duty ! Th ir is d k i — — g t gon th hip i on h b s s Ou th t p t nd ! Wh t n xt ? At this nu b of s il o in th cong g tic d sc ri p tion l p d tion u tt ly w p t w y by th dr to th ir f t n d c i d Th l ng b t l—t k t th l ongb o t ! —NATHAN S HE PPARD B f n Audi n One da y whil e m , a r a a a r e a re a m e se a e S r m m a e e e e ea e m s es a er , e ee r s a r e a as a re : “ e as m o oa ea r , m ea ar s a ea r es ere e a e S m , er e , o e e ore a ea re e e a ar s rs a a . re a e ’ e a e a a s o e a a se a a er a a e e 3 a , ar se e ” . s, a e m m ” e ea e e s, a a e er a se e er ra m m r z e s er e r es s e s ’ a r , a e er s a s ea e s e e re “ s: er e a s a e , er r e reeze , a s p re a h ea a e m a e ” ce . 1 THE AR T OF PU BL IC S PE 2 7 o thers wh ere m AKING do I ca n a tte p t A bol d S pirit conquers Others flinch a nd a trying task cha ll eng es plu ck ca n . , , This mhod . lly deserves short S hrift in a boo k on pub lic sp ea king for delu de yo urself a s yo u ay public Yet there a re so a ny who rea ding is not pub l ic sp ea k i ng gr a sp this b roken reed for support tha t w e ust here dis ” — c uss the rea d sp eech a p ologetic i sno er a s it is — Certa in ly th ere a re occ a sion s a ong th e the Op en ing of Congress the presenta tion of a sore question b efore or a hi sto ric a l co o ra tion a d elib era tiv e bod y e not a l on e to the a y see ora tor but to a ll wh en it tho se in terested th a t the c hi ef thing is to exp ress c erta in — th o ughts in p reci se l a ng ua g e in la ng u a g e th a t ust not isunderstood or isquo ted At such ti es b e ei th er ora tory is unhapp ily elbowed to a b a ck b ench the a nu nly with dra wn fro the ca p a cio us inner sc rip t is so l e p ock et of the new frock co a t a nd every one settles hi self resign ed ly wi th on ly a feeb l e flick er of h op e th a t the c a lled sp eech a y not b e a s long a s it is thick The so— wo rd s a y b e go l den b ut the h ea rers ey es a re p ron e to b e l ea d en a nd in a bo u t one insta nce out of a hundred do es the p erp etra tor rea lly deliver a n i pressive a ddress — His ex c use is his a p ol ogy he is not to b e b la ed a s a rul e for so e one d ec reed th a t it wo ul d b e da ng ero u s to ooring s a nd ta k e his a udience cut l oo se f ro a n u sc rip t wi th hi on a rea lly del ig h tful sa i l One g rea t tro ub l e on such g rea t occasions is tha t the — — for su ch he is ha s b een cho sen not b eca use essa yi st et rea , , m m m mm m m m mm , . . , , m m , m m m m . , , m , m m m m m . ’ , m ‘ , , m mm m m , m . . T ME HOD S OF V Y DE LI E R 1 73 of his sp eaking a bili ty but b eca use his gra ndfa ther fought in a c erta in b a ttle or his constituents sent hi to Congress e lin e of endea vor o ther tha n sp ea king or his gif ts in so ha ve disting ui shed hi his a bil ity to p l a y go lf As well choo se a surgeon fro To b e Sure it a lwa y s interests a n a u di enc e to see a grea t inence they a re li kely to listen to a n ; b ec a u se of his e his words wi th resp ec t p erhap s wi th in terest ev en when droned fro a a nuscrip t B ut how uch ore effective su ch a d elivera nc e wo ul d b e if the p a p ers were c a st a si de ! on a s in the p ulp it Nowhere is the rea d a ddress so co —the p ulp it tha t in these da y s l ea st of a ll ca n a fford to invite a ha ndicap D oub tless a ny clergy en prefer — fini sh to fervor let the choo se : they a re ra rely en who a sses to a cc ep ta nc e of thei r essa g e Wha t swa y the they g a in in p reci sion a nd el eg a nc e of la ng ua g e they l o se In fo rc e There a re just fo ur o tives tha t ca n ove a a n to rea d his a dd ress or ser on : L a z ess is the co 1 onest Eno ugh sa id Even Hea ven ca nno t a k e a l a zy a n eflicient 2 A e ory so defec tive tha t he rea lly ca nno t sp ea k Ala s he is not sp ea king when he is wi tho ut rea ding — rea ding a is p a inful a nd not to hi so his dil e sel f a l on e B ut no a n ha s a right to a ssu e tha t his e ory is u tterly b a d until he ha s b uckl ed down to ory cul e ture a nd fa i l ed A wea k e ory is Oftener a n excuse tha n a rea son A a o r g n u in l c k of i do o n r i e e t e t t h a e w te the 3 — h r r sp eech T e e a e su ch in sta nc es but they do not occ u r m m m , . m , m . m , mm , . - , . m mm m m m m m m , m . m m m m m m m m m mm m m m m m mm mm — mm m m . . . . . . . , . . . . . , 1 THE ART OF PUB LIC S PE 74 AKING m m v y week ! The disp osition of your ti e a llows ore fl exibility tha n yo u rea li ze Mo tive 3 too often ha rn esses up wi th Mo tive 1 A convic tion tha t the sp eech is too i p orta n t to 4 ri sk forsa king the a n u sc rip t B ut if it is vi ta l tha t every wo rd sho ul d b e so p reci se the styl e S O p o li shed a nd the th o ugh ts so l ogic a l tha t the p reacher u st wri te the ser on p orta nt eno ugh to wa rra nt en tire is not the essa g e i fo rt in p erf ec ting its d elivery ? It is a n in sul t to ex tra ef a cong reg a tion a nd di sresp ec tful to Al ighty God to h u t t r e a sing of a ph essa g e a bove the essa g e i tself p To rea ch the h ea rts of the hea rers the ser on ust b e — d elivered it is only ha lf delivered when the sp ea ker ca nno t utter it wi th origina l fi re a nd forc e when he erely rep ea ts w o rd s tha t were conc eiv ed ho urs or week s b efo re a nd henc e a re l i k e cha pa gn e tha t ha s l o st its fizz The rea ding p re a ch er s ey es a re ti ed do wn to his a n u sc rip t ; he c a n no t giv e the a u di enc e the b en efi t of his exp ression How l ong wo ul d a p la y fill a thea ter if the a c to rs hel d th eir cue boo k s in ha nd a nd rea d th eir p a rts? I a gin e Pa trick — — Henry rea ding his fa o us sp eech ; Peter the Her i t a nu sc rip t in ha nd exho rting the c ru sa d ers ; Na p o l eon con sta ntly looking a t his pa p ers a ddressing the a r y a t the Py ra id s ; or J esu s rea ding the S er on on the M o un t ! These sp ea k ers were so full of th eir sub j ec ts their g en era l p rep a ra tion ha d b een so richly a dequa te tha t there wa s no nec essi ty for a a nu scrip t ei th er to refer to or to serve as a n o u twa rd a nd vi sib l e S ign of their prepa redness No even t wa s ever so dignifi ed tha t it required a n a rti i n t s s s a p c h k ing a ll a e a y by c i l a tt e t a t s e a C e p fi e er . . m . m . . , m , , , m m m , m m mm m m . ‘ , m m ’ . . m m - m m m , , , m m , , m , , . [ m m . 1 76 THE ART OF PU B LIC S PE AKING m m m mm m m m m m mm mm m m mm m mm x ples The wonderful effects a chieved by fa ous a ctors were of course a cco plish ed thro ugh the d elivery of e ori zed lines The i nex p eri enc ed sp ea k er ust b e wa rned b efo re a tte p ting thi s ethod of d elivery t ha t it is difficult a nd trying It req uires uch skill to a ke it efficien t The e orized lines of the young sp ea ker will usua lly sound li k e e ori zed words a nd rep el If y o u wa nt to hear a n exa ple li sten to a d ep a rt ent sto re d e onstra tor rep ea t her e ori zed lingo a bout the n ewest furniture p oli sh or b rea kfa st food It requires tra ining to ake a e orized sp eech so und fresh a nd sp on ta n eo u s a nd u n l ess you h a ve a fi ne n a tiv e o ry e in ea ch insta nc e the finished produc t necessita tes uch l a bo r S h oul d you forget a pa rt of yo ur sp eech or iss a few wo rd s yo u a re l i a b l e to b e S O confused th a t l ik e Ma rk Twa in s g uide in Ro e yo u will b e co p ell ed to rep ea t yo u r l in es fro the b eginning On the o th er h a nd yo u ay b e so ta k en up wi th trying to rec a ll yo ur wri tten wo rd s tha t yo u wi ll not a b a ndon yo urself to the S piri t of your a ddress a nd so fa il to deliver it wi th th a t sp on ta n ei ty which is S O vi ta l to fo rc eful de livery B ut do not let th ese difliculties frigh ten yo u I f co itting see s b est to yo u give it a fa ithful tria l D o not b e deterred by its p i tfa ll s but by resolute p ra cti se a void th e One of the b est wa ys to ri se sup erior to these difliculties is to do a s D r Wa lla c e Ra dcliffe O ften do es : co it a king p ra c tic a lly a ll the wi th o ut wri ting the sp eech i h u s d e g e a . , , . ~ . . m . , , . , mm m m m , , . , ’ m m m , , , . , m . m m m . , . . , . . , m m m T V Y DE LI E R ME HOD S OF m 1 77 — paper a ind a nd prepa ra tion enta lly without putting p en to la borious but effective way of cultiva ting both ory e You will fin d it ex c ell ent p ra c tise bo th for e ory a nd delivery to co it the sp eci en speeches fo und in this volu e a nd decla i the with a ll a ttention to the p rin Willi a Ell ery Cha r ing cip les we ha ve p ut b efore y o u hi self a distingui shed sp ea ker y ea rs a g o ha d this to sa y of p ra ctise in decla a tion : “ Is there not a n a use ent ha ving a n a flinity wi th ight b e u sefull y introdu ced a ong us? the dra a which I ean Recita tion A work of genius recited b y a a n of fi ne ta ste enthusia s a nd p owers of elocution is a very pure a nd high gra tifica tion Were this a rt c ultiva ted b ers now i n sensib le to the o st a nd enco ura g ed grea t nu b ea utiful co p o sitions ight b e wa ked up to their exc el lence a nd power mm m mm , . m m m mm [ m m , , m , . m , m mm m m m m m m m m m m N p f m m mod of liv y d o p op p ob b ly l o b b ginn p king f om no id l d liv y l im in , , , . , , , , , . , , , . ea king S The thir is r a , a nd a s the tes is not r the otes ro ul a r st est one ea e for the er , eth de e er b ut we ea rn S . er , ea sw to ha llow wa ter b efore going out b ey ond the rop es M a ke a definite p la n for y our discour se (for a ful ler discussion see Cha pter XVIII) a nd set down the p oints ewha t in the f a shion of a l a wy er s b ri ef or a p rea ch er s so outline Here is a sa p le of very S i ple notes : S . m m . ’ m ’ , A TT E NT I ON INTRODU CTION Attention indisp ensa b l e to the p erfor grea t work Anecdote mnc . . . a e of a ny 1 8 7 THE ART OF PUB LIC S PE D E FI NED 1 2 ILLU S TRATE D AKING “ m mcom on ob v ion ly l F om liv of g m Rob AND Fro . ser the r . . at . Ca r rea t es e en ert 1 . 2 . RE LATION To OTHE R ME NTAL Reason I agina tion M e ory Will Anecdote m m 1 . 2 . Lee . . . . . ATTE NTION . POWERS . . . IV E MAY CU LTIVATE D BE I nvoluntary a tten tion V o lu nta ry a tten tion . CONCLU S ION The . E xa . m l e s p . . con sequences of ina ttention a nd of ntion a tte . b riefs woul d b e so precise a s this one for wi th exp eri enc e a sp ea k er l ea rn s to use l i ttl e tric k s to a ttra c t — his eye he a y undersco re a c a tch wo rd h ea vil y dra w enc l o se the key wo rd a red circ l e a ro u nd a p ivo ta l idea of a n a necdo te in a wa vy lined box a nd so on indefi nitely These p oin ts a re wo rth re e b ering for no th ing so elu des the swif t gl a ncing eye of the sp ea k er a s the or ev en a reg ul a r p en scrip t sa en ess of typ ewri ting S o unin ten tion a l a thing a s a b l o t on the p a ge a y h elp — yo u to re e b er a big p oint in y o ur b ri ef p erhaps by a ssocia tion of idea s An in exp eri enc ed sp ea k er wo ul d p rob a b l y req uire fuller no tes tha n the sp eci en given Yet tha t wa y li es d a nger for the co pl ete a nu script is but a short re ove Few , m - , - , - mm , . m , - m - , mm . . , m m m . m 1 80 THE ART OF PU B LI C S PE AKING yo urself will feel their resp onse a s yo u rea d the efl eCts of yo ur wa r sp on ta n eo u s wo rd s wri tten on their co untena nces S en tenc es wri tten out in the stu d y a re li a b l e to b e dea d Wh en a nd co l d when resu rrec te d b efo re the au dienc e yo u crea te a s yo u sp ea k y ou conserve a ll the na tive fi re of yo ur tho ught You ca n enla rge on one point Or o it ood of the a udienc e a no ther ju st a s the occ a sion or the It is not p o ssib l e for ev ery sp ea ker to use a nd ay de o st diflicult of all ethods of d elivery a nd this the lea st of a ll ca n it b e used succ essfully wi tho ut uch pra c ti se but it is the idea l towa rd s which a ll shoul d strive One da ng er in thi s ethod is tha t y o u ay b e led a sid e fro your sub j ec t into by p a ths To a void this p eri l fir ly stick to y o ur enta l o utline Pra c tise sp ea king fro a e orized b rief unti l y o u g a in control J oin a — deb a ting soci ety ta lk ta lk TALK a nd a lways fax te ze Y ou ay a k e a foo l of yo u rsel f onc r twic e r i e o o p but is th a t too grea t a p ric e to p a y for su cc ess? No tes lik e c rutches a re on ly a S ign of wea kn ess Re b er tha t the p ower of your sp eech dep ends to so e e Gen ex ten t Up on the vi ew yo ur a u dienc e h o l d s of yo u ore p owerful tha n era l Gra n t s w o rd s a s p resid en t were I f yo u wo uld a pp ea r in his word s a s a Misso uri fa r er Ma ke no tes on yo ur the l igh t of a n a u th o ri ty b e one b ra in instea d of on p ap er m , , . . m m m , . , m m , m m m . m m m mm mm m , m . - . , . m . " , , , . mm , . , , m m ’ m . . . , . m o fic by m ny g A di a J oint M ethods of Delivery m ion of the second ethod has b een a dop ted rea t sp ea k ers p a rtic ul a rly l ec turers who a re at , T ME H OD S OF mll d uc mm oy co V Y DE LI E R 1 81 k on a wide va ri ety of subj ects da y a fter day ; s h sp ea k ers often co i t their a ddresses to r but k eep their e a nu scrip ts in fl exib l e boo k fo r b efore the turning severa l p a ges a t a ti e They feel — b ut it is sa fer for ha vi ng a S heet a ncho r to windwa rd a n a ncho r neverthel ess a nd hin ders ra p i d free sa i ling tho ugh it dra g n ev er so lightly Other sp ea k ers throw out a still lighter a ncho r by keep ing b efore the a ra ther full o utline of their wri tten i tted sp eech a nd co i t a few i p orta nt p arts Others a ga in wri te a nd co — of the a ddress the introduc tion the conclusion so e — vi ta l a rgu ent so e p a t illustra tion a nd dep end on the hou r for the l a ng ua g e of the rest This etho d is well a da p ted to sp ea ki ng ei ther wi th or wi tho ut no tes a n u sc rip t the o st i p orta nt S o e sp ea k ers rea d fro pa rts Of their sp eeches a nd utter the rest ex te p ora ne pe e m m to sp ea m m m m , . - , , , , . m m m . m m m m m , m mm m , . m m m ously m , m . Thus, wha t w e ha ve . ca lled j oint ethods of delivery uch p erso n a l va ria tio n You ust d ecide a re op en to r y o ursel f which is b est for y o u fO for the occa sion for — y our subj ec t for y our a udien c e for these four fa c tors a ll ha v e thei r i ndivi du a l c l a i s Wha tever for y ou choo se do not b e so wea kly indif — ferent a s to p refer the ea sy wa y choo se the best wa y wha tever it co st y o u in ti e a nd effo rt And of this b e a ssure d : o nly the p ra ctised sp ea ker ca n hop e to ga in both co nci seness of a rgu en t a nd co n vic tion in a nn er f n h s o a a n r a o l i l g u g e d o w e in delivery finish of style p p a nd fi re in u ttera nc e m m . , , m , m . , m m , . m , . , 1 82 THE ART OF PUB LIC S PE AKING QUE S TIONS AND EXERCI S ES Which in your ju dg ent is the o st suita b le for 1 of delivery for yo u ? Why ? Wha t ob j ec tion s ca n yo u offer to (a ) e o ri zin g 2 the en ti re sp eech ; (b) rea ding fro a n u sc ri p t ; (c) u sing notes ; (d) S pea king fro ori z ed outline or notes ; e n h of j oin h od a t e t e t s e () y r i Wh a t s t h t o co nd in d l iv r i ng p c h e e e e e a s e e 3 in a ny of the fo regoing ethods? Ca n yo u sugg est a ny co bina tio n of ethod s tha t 4 yo u ha ve fo und eflica cious? r r Wh a t e t h od s a cco ding t o yo u ob serva tion do 5 o st successful sp ea kers use? the l i st on p a ge 1 2 3 n a rro w 6 S el ec t so e topic fro the th e e so a s to a k e it sp ecific (see p a g e a nd deliver a short a ddress utilizing the fo ur ethods en tioned in fo ur differen t d el iveri es of the sp eech S el ec t one of the j oin t eth ods a nd a pply it to the 7 delivery of the sa e a ddress 8 Which ethod do you prefer a nd why? i h A F r o t h e l s t of s u b j e c t s in t e pp e ndi x s e l e c t a 9 inute a ddress wi th o ut no tes th e e a nd d eliver a fi v e ca reful prepa ra tion wi tho ut putting yo ur a ke but th o ugh ts on p a p er NOTE : It is ea rn estly h op ed th a t in stru c to rs wi ll not p a ss thi s sta g e of the wo rk wi th o u t req uiring of th eir uch pra c tise in the delivery of o rigina l sp eeches stu d en ts in the a nner tha t see s a fter so e exp eri ent to be b est sui ted to the student s gifts Students who are stu dying a l on e sh o uld b e eq ua lly ex a c ting in d e a nd up on m . m m mm m m mmm m m m m m m . , . . m . m . m m , , m m , m m , m , . m m m m m . . , . . - m , . m m m , m ’ . m m , , CHA P T ER XVII TH OU G H T A N D Pr ovid nc e SO e m ig i And ht l s is a lw ys on a o P OW E R RE S E RV E the S id of th l st rv —NAPOL E ON B ONAPARTE e by d in ing A Y e c m e ep est al p wers eep , how oft , th s tha t B RR C ORNW est - a s a re re se e , . fe d , g ntl st b ! ALL Th S e e m e e ea in Ca l . Wha t wo uld ha pp en if you sho uld overdraw yo ur b a n k a cco u n t? AS a rul e the ch eck wo ul d b e p ro tested ; b ut if yo u were on fri endly ter s wi th the b a nk yo ur c heck ight b e honored a nd yo u would b e c a lled up on to a k e good the overdra ft Na ture ha s no such fa vo ri tes th erefo re ex tend s no — r c edits S he is a s rel entless a s a ga soline ta nk wh en the a i l I i r l h s s a u se d t e a c h in e s t o p s t s a s ec kl ess for g a sp ea k er to ri sk going b efo re a n a u di enc e wi th o u t h a ving so o torist to essa y a ething in reserv e a s it is for the l ong j o urn ey in the wil ds witho ut eno ugh g a solin e in sight B ut in wha t do es a sp ea k er s reserv e p o wer con si st? I n a well founded relia nc e on his gen era l a nd p articula r g ra sp of his sub j ec t ; in the qua lity of b eing a lert a nd — reso urc ef ul in tho ught p a rtic ul a rly in the a bi l i ty to thin k whi l e on his feet ; a nd in tha t sel f p o ssession whic h a k es one the c a p ta i n of a ll his own fo rc es bodi ly a nd en ta l The first of th ese el e ents a dequ a te p rep a ra tion a nd m m ‘ , , m . , m . m m . ’ - m m - , . m , , TH OU GHT la st se , - lia nce P OWE R 1 85 discussed ful ly in the cha p ters on S elf Confi dence a nd Fluenc y so they Will b e to uched only inci d enta lly here ; b esid es the n ex t cha p ter ethod s of p rep a ra tion for p ub l ic Will ta k e up S p ecific Therefo re the c entra l the e of this cha p ter is sp ea ki ng — the second of the el e en ts of reserve p ower Tho ught the lf RE S E RVE AND re , w ere - , m m . The my m i d lk , m . M enta l S torehouse my l m der ay b e a serious — a ll wi ll d ep en d on the a va i l a b l e reso urc es a tter or not If there is no foo d in the cup bo a rd the housewife do es not nervously ra ttle the e p ty di shes ; she telepho nes the grocer If y ou ha ve no idea s do not ra ttl e y o ur e p ty ers a nd a hs b ut get so e id ea s a nd don t sp ea k u n til y o u do m An t p e n , pt e an e ar , . m m . m , t e g i the m , ’ , . This, howev er, is b eing wha t the old New Engla nd ” ho u sek eep er u sed to c a ll fo reha nded The rea l solu tion of the prob le of wha t to do with a n e p ty hea d is n ever to let it b eco e e p ty In the a rtesia n wells of D a ko ta the wa ter ru shes to the surfa c e a nd l ea p s a sco re of feet a bov e the g ro und The secret of thi s ex ub era n t fl ow is of course the grea t supp ly b el ow crowding to g et out Wha t is the use of stopp ing to p ri e a enta l p u p when y o u ca n fill y o ur l if e wi th the reso urc es for a n a rtesia n well ? It is not eno ugh to ha ve erely eno ugh ; you ust ha ve ore tha n en ough Then the p ressure of your a ss of thought a nd feeling will a inta in y our fl ow of sp eech a nd give y ou the co nfidence a nd p oise tha t d eno te reserve p ower To b e a wa y fro ho e with only not m mm . m . . , m m m . . mm m m m . m m 1 86 THE ART OF PU B LIC S PE . AKING m xact return fa re lea ves a grea t dea l to circ u sta nces ! Reserve p ower is a gn etic It do es not con sist in o r iving t h id e a t h a t u a e h o l ng s o h i ng I n r e di e t e g y serve b ut ra th er in the sugg estion th a t the a u di enc e is g etting the crea of yo ur ob serva tion r ea ding exp eri To h a ve reserv e p ower th erefo re enc e f eel ing th o ugh t yo u ust ha ve eno ugh i lk of a terial on ha nd to supply suffici en t c rea B ut how S ha ll we g et the ilk ? There a re two Wa ys — i the one s first h a nd fro the cow ; the o ther is second — ha nd fro the ilk a n the e m - m . m , m , , , m m m m m m mm . , , , . ' ‘ - . mg p k h m The S eeing Eye m ho usa nd en who ca n s ea t ere is on ly one who ca n think ; for a th o usa nd To en who ca n think th ere is on ly one who ca n see ilk fro yo ur own cow see a nd to thi nk is to g et yo ur When the one a n in a illion who ca n see co es a long Cra nfo rd we c a ll hi Ma ster Old Mr Ho lb roo k of a sk ed his g u est wh a t co l o r a sh b u d s were in M a rch ; she confessed she did not k now to which the ol d g entle a n — I kn ew you didn t No ore did I a n ol d a n swered : — e es a nd tell s fool tha t I a a n co till thi s yo ung B l a c k a s a sh b u ds in Ma rch An d I v e l ived a ll y l ife in the co untry More sha e for e not to know B la ck ; th ey are j et b l a ck a da “ referred to by Mr H o l b roo k wa s This yo u ng an Tennyson I do not b elieve tha t I Henry Wa rd B eech er sa id : So e sa ha s e sa id : For a t , m m , m m m m m m m m m m mm m , ’ . ’ . ’ - . . - , . . . , m m m - ‘ . , , . . . . 1 88 ART OF TH E m ov m n PUB L IC S PE AKING lives B eecher stood for hours b efore the window of a j ewel ry sto re thinking out a n a l ogi es b etween j ewels a nd the so uls of en Go ugh sawin a S i ngle drop of wa ter eno ugh truth wherewi th to quench the thirst of fi v e tho u sa nd so ul s Tho rea u sa t so still in the sha dowy w ood s tha t bird s a nd in sec ts c a e a nd op en ed up th ei r E erson ob serv ed the so ul of a secret l iv es to his eye a n so l o ng tha t a t l eng th he co ul d sa y I c a nno t hea r Preyer for three wh a t y o u sa y for seeing wha t yO u a re yea rs stu di ed the life of his b a b e a nd so b ec a e a n a u tho ri ty up on the chi l d ind Ob serva tion ! M o st en a re b l in d There a re a tho u sa n d ti es a s a ny hidd en tru ths a nd u ndi scov ered fa c ts a bo u t us to da y a s h a ve — a d e di scov erers fa o us fa c ts wa iting for so e one to y stery B ut so long a s p lu ck out the hea rt of their en go a bo u t the sea rch wi th ey es tha t see not so l ong wi ll these h idd en p ea rl s lie in th eir shell s Not a n o ra to r b ut who co ul d ore eff ec tively p oint a nd fea ther his T0 0 S ha f ts were he to sea rch n a tu re ra ther tha n l ib ra ri es few ca n see ser on s in sto nes a nd book s in the run ning b rook s b eca use they a re S O used to seeing erely ser on s in book s a nd only stones in running b rook s S ir Philip L oo k in thy hea rt a nd wri te S id ney ha d a sa y ing M a ssillo n exp l a in ed his a stu te kno wl edg e of the hu a n hea rt b y sa ying I l ea rn ed it b y stu dy i ng y self ; B y ron an sa y s of Jo hn L ock e tha t a ll his k no wl edg e of the hu understa nding wa s d erived fro studying his own ind ultifor n a ture is a ll a bou t u s origina lity o ugh t S inc e to e e ’ s . m . _ m . m m . ‘ , m m ’ , . m . . m m m m m m - m ‘ ’ . , m m . . m m ‘ ’ ’ , . m m m m ‘ , ’ ‘ , ‘ m m not to 1 be H ow to so ra re m ’ . , ”1 . a ttr a ct a n d H old an A u dien ce, J B erg E s en wein . . THOU GH T VE POWE R RE S E R AND 1 89 Mind The Thinking m l i mic i f c f c y ou c c in conclu ion ub c h u f omno y ou v fi ul Mul i ly i f c b y no v mny im occu c ci o uc p n c im y o u v c d ivi oug oc you fo m v y k o n ob l m i mic lg b ic u c xc ll l g n ic m m m m w mok n ki g o k nking k by gy i ki g qui im i c bo d i fo mion cl d y on m bl Thinking is doi ng this tra t t is tr th S t res p se e s d r w pr a the at n er hy the B ut ener n r sp a e of dend d sa Th . at t a s th t n e , th h e thin ent e n r e , a nd t ea rhea d e e re a ness e . he ca l a ra r Tha t is . a st y Thi d s ta t n a e e a n d , p Be . ha p r e p en ta is w r e p e a rr en e a nd a et ha . nite de e a esses - re s re ha ht p r of a r s a re s a nd , In . e e n e a nd t a nd this es Add . s ha ther t ts a erta a a nd a a w th et h ther a S ee how . in tha t cul a b le e t th rea r th tp . ar a nd t to tha t a enta es r a isera a . e littl e surfa c e scra tching few p eop l e rea lly think a t a ll only one in a thousa nd a ccording to the p undit a lrea dy quo ted S O long a s the p resent sy ste of educa tion p re va ils a nd children a re ta ught through the ea r ra ther tha n thr o ugh the eye so l ong a s they a re exp ec ted to re e b er tho ughts of o thers ra ther tha n think for the selves thi s — proportion will continue one a n in a illion will b e a b l e to see a nd one in a tho u sa nd to think in d ha s b een there is B ut however tho ught l ess a pro ise Of b etter thing s so soon a s the ind detects its The first step is to stop own l a ck of th o ught p ower a gic of the the ind to use reg a rding tho ught a s — B y ron s exp ression a nd see it a s tho ugh t truly is a - , m , . mm m m , m m , m , . m m m f m - , - , . ’ , weighing each other learned f o idea s a nd a placing Ponder thi s . hink to t o the definition efliciently . in , rela tionshi a nd see if yo u p s to ha ve K G ART OF PU B LI C S PE A IN THE 1 90 m — Habi tua l thinking is just th a t a ha bi t Ha bit co es of doing a thing repea tedly The l ower ha bits a re a c quired ea sily the higher ones require deep er grooves if th ey a re to p ersi st S O we find tha t the th o ugh t ha bit co es only wi th resolute pra cti se ; yet no effort wi ll yi eld richer dividends Persi st in pra ctise a nd whereas yo u h a ve b een a b le to think o nl y a n inch deep in to a su b j ec t yo u will soon find th a t yo u ca n p en etra te it a foo t Perha p s this h o ely eta ph o r wi ll su gg est how to b egin the pra c tise of consecutive thinking by which we ber of sepa ra te thought— links into a ea n welding a nu Ta k e one l ink a t a ti e see th a t ea ch cha in tha t will hold na tura lly b elong s wi th the on es y o u li nk to it a nd re e issing link ea ns no cha in b er tha t a S ingl e Thinking is the o st fa scina ting a nd exhil a ra ting of a ll en ta l e x erci ses Onc e rea li ze tha t yo ur op inion on a sub j ec t do es not rep resen t the c h oic e yo u h a ve a de b etween wh a t D r Cereb ru ha s wri tten a nd Professor ha s sa id b ut is the resul t of y o ur own ea r Cereb ellu nestly a pplied b ra in en ergy a nd yo u will g a in a confid enc e in yo ur a bility to sp ea k on tha t subj ec t tha t no thing will b e a b l e to sh a k e Yo ur th o ugh t wi ll h a ve given yo u bo th p ower a nd reserve p ower S o eon e ha s conden sed the rel a tion of th o ugh t to knowledg e in th ese pung ent ho ely lines : . . , m - . . , - , mm m . m , m . m m m mm , m , . m . m m . , - - , . m . m , ink ink m m ink kno m m m m kno ink m kno kno on t giv D on t giv B u t giv th An d I h v D ’ e e ’ e e e a the e e e an the an the who th an who th who an s who he th s w s he th ws he he s, ws , s, ws! " u ART OF THE 1 92 ming m ic l l bo P U B LIC S PE AKING m ough p ip ins ; w s th nd to y in th b nch c ixin g fl vo f th o ng in n b ough ixin g th juic of th p in p p l in noth ; w oth king ch inf nt co n e dy b hol d th t g in t th l ong wint oll ing it in w ths oft a nd w r s ound with g nts i p rvious t w ool bl nk t w p p ing it in nd fin lly lip p ng th inf nt co n into le p ing b g th K n th E ki o g v D lik th o t f l th t th G ks w r n t f w ong At l ng th w co ch t h d d y d in it ni ting it p ot cting in thinking d So with it g in t d t u ction dying wh n th t d y how u th t ch d op of w t is h th f l ctric F L yd n j s fo c uffici nt t ch g d iv n ngin f o Liv p ool t L ondon S o S i Will i Tho son will ch w u p l g i on p ik s t ll u h w hyd og n g child ol will ch w ff th nd of tick Of c ndy Thus ch n w book op n u p o n w nd hith to un xp l o d l of n tu Thu book fulfill f u th l g nd of th ll thing di t nt n d th t ho w d it o wn w ond ou gl Th ou gh books u w o l d b co s ll things hidd n b u d f o th bow Of G od b uty ; th un s p k f o ky s b ubbl on th of His th l ight of Hi wi do ; th fo M s B owning w o ds N chil d n b Th Po w c ll d f th l s wh h G d n d his oth ; no youth n b c ll d f i ndl s wh h G d nd th co p nion hip of good books lso dv nt g u in th t th y xhibit th unity of B ook t h t t h t og o l id i y of c con in u i y of o y t h t t h n d p i l d u s b ck l ong th p thw y Of l w of lib ty r Auth o ligion nd t u down in f ont of th g t n in whos r l b in th p incip l h d it i A th di cov d us f o outh of th Nil b ck t th h dw t s of Ny n S O th books xhibit g t id s nd in titutions s th y ov f v wid ning nd d p ning lik o Nil f ding w d ny civili tions F r ll th fo s of t d y go b ck t for of y t d y Ma n rt go b ck t Ath ns nd so nd J u tini n M n s" Th b s M n l ws go b c k t B l ckston p s nd p l ows go b c k t th s v g sc tc hing th g ou nd with his fo k d stic k dr wn by th wil d b ull oc k Th h oes of the p p he a a e o s r e ra ea s s e ’ a a er a r m r e s e re . er e s a e a a e r e r re es r m es m a a r e sea o , e a a ar ca e ca e er a o re e a s m m r a . s a e s e a e e a a a e s r a e e e s ’ o s e s a a ea r as o s e s . as o ’ r er er o m er e s m m r e e . or , a ar m e or e e r a r . ar or e , r r ea s a s s a a S a e e s o a ere e e e a ar , ree e e a e o a m m r a e m a e s . s er s e e m r a s a er . er e e e e e e . , r o a r ree a as e e re e r e e o a ss s r a ea ar a rs a rea a . a e ra s a a r a e m m a e a e ea e ree o o s a ee e r e e e o s m m m s r es i ee or e ea ar , s s a ea a e r a e s e es r s a a ar s e a r m m s e e a ra er s a se e a m m a ra a , es es er , e s, ra e e a m es e as ree e a a m ra , e thr up sa p a s . s a a e s re ss , r rs re m e e se e , e er e re e rea e er ’ a . e ea e a e s er . a , e a o o , m e , es s a a e a e m o e a o a s e a e o a a . e ra . or ee a - za , e e e a a e e s r a m a r re ’ a a er ea m e s ea . o a e re s r er , rea s e m a e e o a a e s ee s a a r a e a o . s e a . a rea za a s r se a e e r e m m m ar e e, a e a s r e a e ra a a s e a ar ea , ra a r er ’ THOU GHT m V P OWE R AND RE S E R E 1 93 m lib ty ch fo w d in olid colu n Lincoln g p th W hington c iv d hi w p on t th h nd of W hington nd C o w ll h nd of H t Pu it n l ock Th g pd n n d S von ol h nd with Luth Th u nb ok n p oc ion b ing u t l ngth t Hi whos on on th Mount w th v y ch t Of lib ty It p ut S und divin p ll t p c iv th t w u ll co wo k t n nd y t with th g ingl th d in th w p nd An d w h n book h v woof of civil i tion l tdu t u nd wn g l t d ll th p och t G d who p ovid nc is th gul f t of hi to y th t ch go on t tim ul t u t t n w nd g chi v m nt Al on m n i n unl ight d c ndl Th m ind n d ombook t kindl it f culti B y on b g n t w it h u d t giv h lf n hou t B fo d ing omf vo it p g Th thought of o g t w it n v f il d t kindl B y on into c tiv gl ow v n tch light th kindling u p on th g t bu ning In th lu inou m ood B y on m ind did it b t wo k Th t u book ti m ul t th m ind no win n v quick n th bl ood It i ding th t b ing u t u b t nd ou e ch f cul ty t it m o t vigo ou lif ar er r m as a a s a s ar a e a m r e er as m s e rea e e, a o a e e re s e m e er e s re a e s a ssa er s s e s s e a e e ca a rea e ra r es , e m a e s e r rea e e . s s ea as e r r e . o rea e se . es a r , e r a e r o a e a r er o e s e es e r e e a s a a s s ar s se o o ers r o s e, e s a re a e ers s . e , e o o a re s . s s a e m er re a o ea r ’ o se . r o e e e e as r a s s re a a r er e s e e s a ea e s e s s a e s r e r e r e a e e se , e s a es s r o o s s e e s a r s a s e e a m a ee a r e . e m r a . e . ar e rea e r a a e . er e o a re a e s rea e e , za a e ss e e e a r er a s o r re e s ra s . m as . er a e s a er a , e . o a . m m mm We recognize thi s a s p ure c rea a nd if it see s a t first to ha ve its seco nd a ry so ur c e in the friendly i lk a n let us not fo rg et tha t the the e is The Uses of B oo k s a nd Rea ding D r Hilli s bo th sees a nd thinks It is fa shion a b l e just now to dec ry the va lue of rea ding We rea d we a re told to a void the n ecessity of thinking for o urselves B ook s a re for the en ta lly l a zy Though this is only a ha l f truth the el e en t of tru th it conta ins is l a rg e eno ugh to a ke us p a u se Put y o ur sel f thro ugh a good o l d Presb y teri a n so ul sea rching self ex a ina tion a nd if rea ding fro — tho ugh t l a ziness is one of y o ur sins confess it No one ca n shrive you of it b ut y oursel f D o p ena nc e for it b y u sing y o ur own b ra ins , m . , “ . . . , , . - m m m m . , m - , , . . - - . , THE 1 94 ART OF PUB LIC S PE AKIN G nsgression tha t dwa rfs the growth of tho ught At first the p en a nc e will a nd d estroy s en ta l freedo — b e trying b ut a t the l a st yo u wi ll b e gl a d in it Rea ding S houl d enterta in give infor a tion or sti ula te Here h owev er W e a re c hi efly concern ed wi th th o ught ula tion of tho ught i nfo r a tion a nd sti Wh a t sha ll I rea d for info r a tion ? The a pl e p a g e of k nowl edge a s Grey tells us is ric h a nd th ese a re o u rs for the p ric e wi th the sp oi l s of ti e of a thea tre ticket You ay co a nd S ocra tes a nd Marc us Aurelius to sit b eside yo u a nd di sco urse of their choic est hear Linco ln a t G ettysb urg a nd Pericl es a t Ath en s stor the B a stil e with Hugo a nd wa nderthro ugh You a y ex pl o re dark est Afric a Pa ra dise wi th D a n te wi th S ta n l ey p en etra te the hu a n h ea rt wi th S h a k es p ea re cha t with Ca rlyl e abo ut h ero es a nd delve wi th ysteri es of fa ith The the Ap o stl e Pa ul in to the g en era l k nowledge a nd the inspiring idea s tha t en ha ve co ll ec ted thro ugh a ges of toil a nd exp eri en t The S a g e of Chel sea wa s a re yo urs for the a sk ing righ t : The tru e u niversi ty of th ese da ys is a coll ec tion of books To a ster uch el se a ster a w o rth wh i l e boo k is to b esides ; few of us h owever a ke p erfec t conquest of a volu e wi th out first owning it physic a lly To rea d a borro wed boo k a y be a j oy but to a ssign your own boo k — b e th ey few or a pl a c e of its own on yo ur own sh el v es — a ny to l ov e the boo k a nd f eel of its wo rn cover to a rgin s thu b it over sl owly p a g e by p a g e to p enci l its in a gree ent or in pro test to s ile or thri ll with its for it is a m m tra . m , m m . m , , m m . , , m m m . m , , , , , m . m m m “ , . , , , . m m . m m m m . m m m - , , m m . , m , m , , , 1 96 THE A ART OF PU B LIC S PE KIN m G ding tha t a kes you use yo ur oWn brains S uch rea ding ust b e a live with fresh p oints of Vi ew p a cked wi th specia l knowl edg e a nd dea l wi th sub rest t D c t t a e o n o of V i l in confin yo u d ng e s t r r e a e i to j wh a t you a lrea dy k now yo u wi ll a gree with Opp o si tion The o ther ro a d wa kes one up a y b e the b etter b ut yo u will n ever k now it unless you give it the onc e over D O not do a ll yo ur thinking a nd investiga ting in fron t of given Q E erely a sse b ling rea sons to fill in b etween y o ur theore a nd wha t y o u wa nt to p rove will h r r e t l i w e e A yo no pp o a ch ea ch sub j ec t wi th a n Op en g — ind a nd onc e sure tha t y o u ha ve tho ught it out thor — o ughly a nd h o nestly have the co ura ge to a bide by the d eci sion of yo ur own tho ught B ut don t b ra g a bout it a f terwa rd NO boo k on pub lic sp ea king wi ll en a b l e yo u to di sco urse on the ta riff if yo u know no thing a bo ut the ta riff Know ing ore a bo ut it tha n the o ther a n will b e yo ur only hop e for a king the o ther a n listen to y o u en di sc u ssing a gov ern en ta l p o l icy Ta k e a g ro up of Tha t wi ll of which so e one sa y s : It is socia listic co end the p olicy to Mr A who b elieves in socia l is b ut cond e n it to M r B who do es not It a y b e tha t n either ha d considered the p olicy b eyond no ticing tha t its The cha nc es a re furth er surf a c e co l o r w a s soci a l i stic ore tha t nei ther M r A nor Mr B ha s a d efinite idea of wha t socia li s rea lly is for a s Rob ert Lo ui s S teven son M a n lives not by b rea d a lone but chiefly by c a tch sa y s If yo u a re of this gro up of en a nd ha ve ob wo rds en t p o l icy a nd investig a te d serv ed thi s p ro p o sed gov ern Above k a ll, see m rea . , , . m . ’ . , . . m m m m . . ’ . . m m m m m m m m . . m . . m . m . . m , , . - . m , . . . . , “ , . , m m , , m , TH OU GH T VE RE S E R AND P OWE R 1 97 ought a bout it wha t you ha ve to say c a nno t fa il to co a nd their resp ec t a nd app rOv a l for y ou wi ll ha ve shown the tha t y o u p o ssess a gra sp of y o ur subj ect to a dop t a n exc eedi ngly exp ressive b it of sl a n g a nd then s o e m m m m a nd it, rr - th , , . AND EXERCI S ES QUE S TIONS Rob ert Ho udin ined his son to give one swift gla nc e a t a S h op window in p a ssing a nd b e a b le to rep ort b er of its contents Try this a cc ura tely a surp ri sing n u feren t windo ws a nd rep ort the resul t es on dif severa l ti 2 Wha t efi ect do es reserve p ower ha ve on a n a udi 1 . tra m m 3 . Wha t . ' . the a re b est mo eth ds for a cqui ring ve reser p ower ? h i r n W a t s t h d a ng of t oo u c h r di g? a e e e 4 n r r h A a lyz e s o s c h t a t y o u h a v e a d o h e a r d e e e e p 5 uch rea l infor a tion there is in it Co a nd no tic e how p a re it wi th D r Hilli s s sp eech on B ra ve L i ttl e B elgiu a g e p 3 94 6 Write out a three inute sp eech on a ny subj ec t y ou choo se How uch infor a tion a nd wha t new i deas does it conta in ? Co p a re y our sp eech wi th the ex tra c t “ on pa ge 1 9 1 fro D r Hillis s The Uses of B ooks a nd Rea ding Ha ve y o u ever rea d a book on the pra c ti se of 7 thinking ? I f so giv e y o ur i p ression s of its va lu e NOTE : There a re a n u b er of excell ent book s on the sub j ec t of tho ught a nd the The a na g e en t of tho ught following a re reco ended a s b eing especia lly helpful : m m m m . . m m . ’ , . m m m m m - . . , , ’ ‘ . . . , m m m m m m . . 1 98 Thinking ART OF PU B LIC S PE THE a nd L ea rning to Th ink , AKING Na tha n C S cha effer ; . Ta lk s to S tu dents m m on the Art of S tudy Cra er ; As All en a M a n Th in k eth en ta l ph ilo so phy (or D efin e (a ) l ogic ; (b) en ta l 8 sci enc e) ; (c) p syc h o l og y ; (d) a b stra c t , . , . m . TH E ART OF PU B L IC S PE AKING m i p orta nt thing here is tha t yo u S ho ul d set a ll yo u r fa c ul ti es to ta k e in the th ing s a bo u t you wi th the p a rticular ob j ect of correla ting the a nd storing the for You ust hea r with the sp ea k er s use i n pub l ic sp eech ea r see wi th the sp ea k er s eye a nd ch oo se boo ks a nd co p a nions a nd S ights a nd so und s with the sp ea ker s purp o se in view At the sa e ti e b e rea dy to rec eive unp la nned for k nowl edg e One of the fa scin a ting el e en ts in yo ur life a s a pub lic sp ea k er will b e the Con sciou s growth in r h x r r o t c s u l d i l y p i nc ing I f o u y w t a a a a e e e s b r e e e es p y a re a l ert yo u wi ll b e con sta n tly di scov eri ng f a c ts i llu s tra tions a nd id ea s wi th o u t ha ving set ou t in sea rch of Th ese a ll a y b e turn ed to a cco u n t on the pl a t the for ; even the lea den events of hu dru da ily life ay b e el ted in to b ull ets for fu tu re b a ttl es Now the m m . m m ’ ’ ‘ , , mm . ’ m , . . , m m m m , . m mm - . m f yo u Ih v li l im ind m u b o b d by o h m m Conserva tion B ut, sa y, Ti o e SO a e tt in Prepa ra tion t e e — prepa ra tion for y Web ster n ever let a n Opp ortunity pa ss to ga ther a teria l f or his When he wa s a boy working in a saw ill he sp eeches sel f a t so rea d out of a boo k in one h a nd a nd b u si ed hi e I n yo uth Pa trick Henry ech a nic a l ta sk wi th the o th er e ro a ed the fi el d s a nd wood s in so l i tu d e for d a y s a t a ti uncon scio u sly g a thering a teria l a nd i pressions for his la ter servic e a s a sp ea k er D r Russell H Conwell the a n who the l a te Ch a rl es A D a n a sa id ha d a dd ressed ore h ea rers tha n a ny a n u sed to o ri ze long e pa ssag es fro Mil ton tending the boi ling syrup p a n s in the silen t New Engla nd woods a t night The st be a s r t e er m m . m m m . m , . m . . . , m m m m m m a tters . D a niel m , , mm ' ‘ . T S U B JE C o n m lo y m A ATION AND PREP R 20 1 rg e a Web ster of to da y for di c s h a p ina ttention to duty a nd doub tless he would b e justified ed o nl y a n i dl e cha p ev en in tho se a nd Pa trick H enry see a i ns : tho se who ta k e ea sy goi n g da y s ; b ut the tru th re in p ower a nd ha v e the p urp o se to use it effi ci en tly wi ll e da y win to the p l a c e i n which tha t sto red up p o w er so will revolve g rea t wheel s of influ en c e Nap ol eon sa id tha t qua rter hours deci de the destinies of na tions How a ny qua rter hours do we let drift b y e; a i l essly ! Rob ert L o ui s S tev enso n co nserv ed a ll his ti — e c a p i ta l for his w ork for c ap i ta l ev ery exp erienc e b ec a the resul ts of l a bor sto red up to a ssi st a y b e defin ed a s He co ntinu a lly tri ed to p ut into future p roduction suita b l e l a ngu a g e the sc en es a nd a c tio ns tha t were in ev i E erso n sa y s : To o rrow will b e denc e a bout hi lik e toda y Life wa stes i tself whilst we a re p rep a ri ng to live Why wa it for a ore conveni ent sea son for this bro a d g enera l prepa ra tion ? The fifteen inutes tha t we sp end on the ca r could b e p rofitab ly turn ed into sp eech cap ita l o dern sp eeches a nd b y Procure a cheap edi tio n of cutting out a few p ag es ea ch da y a nd rea ding the during inu te here a nd there no te how soon y o u ca n the id le a k e y o urself f a i lia r wi th the world s b est sp eeches If yo u do not W ish to utila te your book ta k e it wi th — you ost of the ep och aking books a re now prin ted in s a ll volu es The da ily wa st e of na tura l g a s in the fi elds is equ a l to ten tho usa nd ton s of co a l Okla ho ajg Only a bo ut three p er c ent of the p ower of the co a l tha t furna ce ever diffu ses itself fro en ters thez yo ur electric der e wo ul d er , m , m - m - . m m m m . m . mm m . . m . m m m m , - . m , , m m m m m , m m ’ . , - . ’ . m THE ART OF PU B LIC S PE 20 2 AKING — b ulb as light f the o ther ninety seven p er cent is wasted Yet th ese wa stes a re no l a rger nor ore to b e l a ented th a n the tre endo us wa ste of ti e whi c h if co nserved wo uld increa se the sp ea k er s p o wers to th eir nth d egree a king th ree ea rs of co rn g ro w wh ere one S ci entists a re grew b efore ; efficiency engineers a re eli ina ting useless o tions a nd products fro our fa ctories : ca tch the S piri t of o st va lua b le the a g e a nd a pply effi ci ency to the use of the — ti e Wha t do youdo enta lly with a sset yo u p o ssess the ti e yo u sp end in dressing or in sha v ing ? Ta k e so e sub j ec t a nd conc en tra te yo ur en ergi es on it for a week by utilizing just the spa re o ents tha t woul d o therwise b e wa sted You wi ll b e a a z ed a t the result One p a s the B oo k of B oo k s one go l d en ingo t fro sa g e a da y fro ind one fully p o ssessed tho ught of your own e a ster so ight thus b e a dded to the trea sury of your life D o not Fill wa ste yo ur ti e in wa y s tha t profi t yo u no thing inute with S ixty seconds worth of the unfo rgiving dista nc e run a nd on the pl a tfor yo u wi ll b e i ea sura b ly the g a in er L et no wo rd of thi s h owev er see to d ec ry the va lue of recrea tion No thing is ore Vi ta l to a work er tha n — r r B s r rest h i o t h e e e o ing vi i ing s h i k u e t t s S O t a t t e n y tha t yo ur rec rea tion re c rea tes A p a u se in the idst of la bors ga thers streng th for new effort The i sta ke is to p a use too l ong or to fill yo ur pa uses wi th idea s tha t a k e life fla bby - m m m , m , . , , ’ . m m m m m ” m m m - . m , mm m m mm m m m m . m . , - , . . m m m . m m ’ , , . mm . - . . , m . Choosing S ubj ec t o ther . a nd mi l a ter a s a S ubject mndou ly influ nc tre e s e e ea ch TH E ART OF PU B LI C S PE 204 cious AKING m l ction The sub j ec t p op s in to the ind I n the in tellect of the tra in ed think er it con — centra tes b y a p roc ess which we h a v e seen to b e indu c — tion the fa c ts a nd truth s of which he ha s b een rea di ng Thi s is o st of ten a gra dua l proc ess The a nd thin king a y b e b ut v a g u ely conn ec ted a t first b ut sc a ttered id ea s ore a nd ore th ey conc entra te a nd ta k e on a single for until a t l eng th one strong idea see s to gra sp the soul y o ur with irresi stib l e fo rc e a nd to cry a l o u d Ari se I a Henc efo rth unti l y o u tra n s ute e b y the the e! y of y o ur i nwa rd fi re in to vi ta l sp eech y o u sha ll a l che k now no rest ! Ha ppy then is th a t sp ea ker for he ha s found a sub j ec t tha t grip s hi Of co urse ex p eri enc ed sp ea kers use bo th ethod s of E v en a rea ding a nd refl ec tive a n is so eti sel ec tion es co p ell ed to hun t for a the e fro D a n to B eersheb a a teri a l s b eco a nd then the ta sk of g a th ering es a serio u s B ut ev en in su ch a c a se th ere is a sen se in which the one co es b y d evelop ent b eca use no c a reful sel ec tion e wh ich do es not rep resen t sp ea k er settl es up on a th e ”1 a t l ea st so e a tu red tho ug ht ‘ se e s . . m m m m ’ . . m m m mm , , ‘ m m , , , , , m ’ , , , m m mm mm m m . , m . , m mm . m m , . D eciding on the S ubject M a tter m m m Ev en when your the e ha s b een ch o sen for yo u by so eon e el se th ere re a in s t o yo u a con sidera b le fi el d for choic e of sub j ec t The sa e con sidera tion s a tter in fa c t tha t wo ul d govern you in choo sing a th e e ust — guid e in the sel ection of the a teri a l Ask yourself or — eon e el se su ch q u estion s a s these : so t Es w i H w A tt d H ld A di J B m , m , m 1 o m . to ra c an o an u en ce , . mm , . erg en e n . S U B JE C T AND PRE P ARATION 205 Wha t is the p recise na ture of the occa sion ? How la rge a y b e exp ec ted ? Fro wha t wa lk s of lif e a n a udienc e do they co e? Wha t is their prob a b le a ttitude towa rd the the e? Who el se will sp ea k ? D O I sp ea k fir st l a st ? Wha t a re the o ther sp ea kers or where on the p rogra n t a ? h i f h oi g lk bo u t W n u u di t o a a t s t h a t r o t e a e e g Is there a d esk ? Coul d the sub j ec t b e toriu ? or e ha ndled if so ewha t o dified ? Preci sely effec tiv ely uch ti e a I to fill ? how It is eviden t tha t a ny sp eech isfi ts of subj ec t sp ea k er occ a sion a nd p la c e a re due to fa i lure to a sk just su ch p ertin en t q u estio ns Wha t S houl d b e sa id b y who a nd in wha t circu sta nces co n stitu te nin ety p er c ent of a tter who a sk s y o u No effici enc y in p ub lic a ddress refu se to b e a sq u a re p eg in a ro u nd ho l e m m m m ~ m , , m m m m mm m m , m - , m , m . , , m , . , . P r r t i o n o o f p Q uestions o Prop o rtio n in m p eech is a ttained b y a nice a djust en t of ti e How ful ly y ou a y trea t y our subj ect it is not L et ten a lwa y s for y o u to sa y i nutes ea n nei ther — nin e nor ele v en tho ugh b etter ni n e tha n eleven a t a ll You woul dn t stea l a no ore eve n ts a n s w a tch ; sh o ul d y o u stea l the ti e of the su cc eeding sp ea k er or tha t of the a udienc e There is no need to overstep ti e li its if y o u a k e y o ur p rep a ra tion a de qu a te a nd divid e yo ur subj ec t so a s to give ea ch thought its due p rop ortion — of a ttention a nd no ore B lessed is the a n tha t a k eth S ho rt sp eeches for he S ha ll b e invi ted to sp ea k a g a in Ano ther a tter of p ri e i p o rta nc e is wha t p a rt of m m a s m m m m m m . . , ’ ’ . , m m . m m m . , . m mm , THE ART OF P U B LI C S PE 20 6 m AKING m m yo ur a ddress de a nds the o st e pha si s This onc e decided yo u will k now where to pla c e tha t pivo ta l sec tion so a s to give it the g rea test stra tegic v a lu e a nd wha t degree of prepa ra tion ust b e given to tha t c entra l tho ught a y not b e sub so th a t the vi ta l p art erg ed by non M a n y a sp ea k er ha s a wa ken ed to find th a t he essenti a l s inu tes of a ten in u te sp eech in ha s b urn t up eight Tha t is l ik e sp ending eigh ty p er erely g e tti ng up stea c ent of yo ur b uilding on ey on the vestib ule of the ho use The sa e sen se of p rop ortion ust tell yo u to stop — preci sely when y o u are thro ugh a nd it is to b e h op ed th a t yo u will di scover the a rriva l of th a t p eriod b efo re your a u dienc e do es . , . m m m m m m , - m m . m - m . . Ta pping Origina l S ources m a teri a l is to su rest w a y to giv e l if e to sp eech g a ther your fa c ts a t first ha nd Your word s co e wi th I ha v e the weigh t of a u th o ri ty when yo u ca n sa y ined the e p l o y ent rolls of every i ll in this dis ex a trict a nd find tha t thirty two p er c ent of the chi l d ren e plo y ed a re under the l eg a l a g e N0 cita tion of a utho ri ti es ust a dop t the ethod s of th e ca n eq ua l tha t You rep o rter a nd find out the f a c ts u nderlying yo u r a rg u en t or a pp ea l a y p rove l a bo ri o u s b ut it sho ul d To do so not b e i rk so s wi th e for the g rea t w o rl d of fa c t tee in terest a nd over a nd a bove a ll is the sense of p ower tha t origina l investiga tion To see a nd wi ll co e to y o u fro f eel the fa c ts y o u a re discussing will rea c t up on yo u uch ore p owerfully tha n if you were to secure the fa c ts a t seco n d ha nd The - . mm m m - . . m m m . m , , m m , m . . m , m m m m 208 THE ART OE PU B LIC S PE m S upp o se AKING yo u set to work so ewha t in this way to g a ther references on Thinking : First yo u look over yo ur book titl es a nd there is S cha eff er s Thinking a nd Lea rning to Th ink Nea r it is Kra er s Ta lks to — S tu dents on the Art of S tu dy tha t see s lik ely to p ro vide so e a teria l a nd it do es Na tura lly y ou till i nex t of y o ur book on p sychology a nd there is help there If you ha ve a volu e on the hu a n intellec t y ou will ha ve a l rea d y turn ed to it ly yo u re e b er yo ur S u dd en — encyc l op edi a a nd yo u r dic tion a ry of quo ta tions a nd now a teri a l f a irly ra ins up on y o u ; the p rob l e is wh a t I n the encyclop edia y o u turn to every referenc e not to use tha t i nclu d es or to u ches or ev en sugg ests thinking ; e The a nd in the dic tion ary of q u o ta tion s yo u do the sa l a tter volu e y ou find p eculia rly helpful b ec a use it sug g ests severa l volu es to y o u tha t a re on your own S helves — y o u n ever wo uld have tho ught to look in the for refer E v en fic tion will supply help b ut ences on this sub j ec t B e a wa re of esp eci a lly boo k s of essa y s a nd biogra phy yo ur own reso urc es To a ke a g en era l index to yo ur l ib ra ry do es a wa y wi th the n ec essi ty for i nd exing individ u a l vo lu es th a t a re not a l rea dy ind ex ed To b egin wi th k eep a no te boo k by yo u ; or s a ll c a rds a nd p a p er c u tting s in yo u r p ock et a nd on yo u r d esk wi ll serv e a s well The sa e no te book tha t records the i pression s of y o ur own experienc es a nd thoughts wi ll b e en riched by the id ea s of o thers b ut ea n s l a bo r To b e sure thi s no te boo k ha bi t b er tha t ore speeches ha ve b een sp oiled by ha lf re e “ m m ’ , ’ mm . . , m m , . mm m . m . m m ’ m m , . . m . m m . - , m . m - . mm , m - m , T AND PRE P S UB JE C ARATION 20 9 hearted prepara tion tha n by la ck of ta lent La ziness is a nd bo th a re y o ur a n own b ro th er to Over confi dence invetera te ene ies though they pretend to b e soothing friends a teri a l by ind exing every good id ea Con serve your on c ards, thus : . m m - - , , . Soc rall s m S TW 50c m ” . lb m W § 1 M lg / Ow r se 1913 W ca rd illustra ted a bove clip pings a re index ed b y giving the nu b er of the envelop e in which they a re fil ed The envel op es a y b e of a ny siz e desired a nd k ep t in a ny conveni ent recep tab le On the foregoi ng ex a p le Pro gress of S Envelop e 1 6 will rep resen t a clip ping fil ed in Envelop e 1 6 which is of course nu b ered a rbitra rily — The fra ction s refer to book s in your libra ry the nu era tor b ei ng the book nu b er the deno ina to r referring to ref ers to p a g e 2 1 0 of Thus S a fa lla cy the p a g e — volu e 96 in your lib ra ry B y so e a rbitra ry sign sa y — y ou ay even index a reference in a public red ink lib ra ry book If y o u preserve yo ur aga zines i p orta nt articles ay onth a nd yea r An entire volu e on a b e indexed by On the m m , . m . . , m m m , , m - m , . , , , m . m , . . m , . m , m . m m TH E ART OF PU B LIC S PE 210 AKING m m m mm mm m m m m m m m m m ubj ec t a y b e indica ted like the i a ginary book by Forb es If yo u clip the a rticles it is b etter to i ndex a cco rding to the env el o p e sy ste th e Yo ur own wri ting s a nd no tes a y b e fil ed in envel op es wi th the clipp ing s or in a sep a ra te seri es Ano ther good indexing syste co bines the l ib ra ry index wi th the scra p or clipping sy ste b y a king the o utside of the envelope serve the sa e purp o se a s the c ard for the indexing of book s a ga zines clippings a nd the l a tter two c l a sses of a teria l b eing a nusc rip ts a nd a ll fil ed enc l o sed in the env el op es th a t ind e x th e a lph a b etic a lly When yo ur ca rds a ccu ula te so a s to a k e rea dy ref a y subdivid e erenc e diffic ul t u nd er a S ingl e a lp h a b et y o u a rk ed by the ea ch l etter by subo rdi na te g uid e c a rd s vowels A E I O U Thus Anti qui ties woul d b e fi ledgunder i in A b eca u se A b egin s the w ord a nd the es a f ter the vo w el i in the a lph a b et second l etter n co I n the sa e a nner B eecher woul d b e b ut b efo re 0 fi l ed u nder e in B ; a nd Hydrog en wo ul d co e u nder it in H s m , . . . , m , , , ' , , . ’ , , , , , , , , . , m . , , mm , m . Outlining the Address dvi se yo u how to p rep a re the no tes for a n S o e sp ea k ers g et the b est resul ts while wa lking a ddress out a nd ru in a ting j o tting do wn no tes a s th ey p a u se in th eir w a lk Others n ever p ut p en to p ap er un ti l the wh o le The g rea t a j o ri ty how sp eech ha s b een tho ught out ev er w i ll ta k e no tes c l a ssif y thei r no te s w ri te a h a sty first d ra ft a nd then rev ise the sp eech Try ea ch Of these Do or you eth od s a nd c h oo se the one th a t is b est N0 m m one ca n a . , m . . , , m , , , . . THE ART OF PU B LIC S PE 212 om pl ou line very sui ta b le following : the C t ete for The . use on im pl m fo m ho est s pla t the WH Y PROS PERI TY AKING fo r — of outlin n r wever , ot e — is the IS COMI NG m m m m — Wha t pro sp eri ty ea n s The rea l tests of pro sperity — A erica n a gricul tura l p rogress Its b a si s in the soil — New interest in fa r ing E nor o us va lu e of our a gri . . . — c ultu l oc l on de Foreign — co untri es a ffected Effec ts of our new interna l econo y — big b usiness on pro s the regul a tion of b a nking a nd — r r E ff c t s of o u e v i se d a t t i t u d o r d fo r ign t w r i t e e a e e y p — a rin e ercha n t a ry a rk ets inc lu ding our Su — products Reci r p ra efl ect a m tra m m m m i v y im pl o u lin c p b l of con Obvio u ly xp n ion und ch h d by ddi ion of f c g um n inf nc m pl o u lin ng d i h m o g d g um n m . , s th , sidera b le e a ts, ar e Here is e ar a er s s t e er ea s ts, a rra e is a e a the ea es a nd ex a ere t an e es e t a . wt re re ar for t: F OREI GN IMMI GRATION S HOULD 1 RES TRI CTED BE m m FACT As CAU S E : M a ny i igra nts a re pra ctica lly p a up ers (Proofs involving sta ti stics or sta te en ts of a u tho ri ti es ) FACT As EFFE CT : They sooner or la ter fill our houses a nd b eco e pub lic cha rges (Proofs al s— involving sta tistic s or sta te ents of a uthorities ) m m Ad p t d f 1 a e . . m p mm ro Co osition - Rhetor ic , S cott m a nd . . D e nn . yp , . 24 1 . T AND PRE P S U B JE C III ARATION 213 m m m m m m m m FACT AS CAU S E : S o e of the a re cri ina ls (E x a p l es of recent ca ses FACT A S EFFE CT : They reenfo rce the cri in a l IV cla sses (Effects on our civic life ) FACT AS CAU S E : M a ny of the know no thing of V the duti es of free ci ti zen ship E x l e a ( p s) FACT AS E FFE CT : S uch i VI igra nts recruit the wo rst el e en t in our p olitic s (Proofs) A ore highly ordered group ing of top ics a nd sub top ic s is shown in the followi ng : m . . . . . . . m . m . OURS A CHRI S TIAN NATI ON m INT RODU CTION : Why the subj ec t is ti ely In fl uences Op era tive a g a in st thi s co nten tio n to da y CH RI S TIANITY PRE S IDE D OVE R THE EARL Y HIS TORY OF AME RICA Fi rst p ra c tica l discovery b y a Chri stia n ex I l r r r o C s w e o lu b u o ship ed Go d on the new p soi l The Ca va l iers The French Ca tho lic settlers o h The Hugu eno ts The Puri ta ns THE B IRTH OF OUR NATION WA S UNDE R CHRI S TIAN AU S PICE S I Chri stia n cha ra c ter of Wa shing ton 2 Other Chri sti a n p a trio ts 3 The Church in our Revo lutiona ry struggl e Muhl enb erg . . II . . m . . ‘ . ) s k . o . . - l i t . . . . . . . . . K G THE ART OF P U B LIC S PE A IN 2 14 OUR LATE R HIS TORY Y EMPHAS IZE D OUR Exa pl es of dea ling s NATIONAL ATTITUDE wi th fo reign n a tion s S h ow Chri sti a n a gn a Returning the Chin ese I nd e nity ; ni ity fo stering the Red Cro ss ; a ttitude toward B elgi u OU RGOVE RNME NTAL F ORMS AND MANY OF OUR LAws ARE OF A CH RIS TIAN TE MPE R I The use of the B ib l e in public wa y s o a th s etc 2 The B ib l e in our school s r h i s t i a n c h a pl a in s i n i r C s t e t o o u r l a w 3 a king bo dies to our a r y a nd to our na vy r i T h C h i s t i a n a bb a t h s o ffi ci a lly a nd g en e S 4 era lly recog ni z ed h r n r T h C i s i a n f a i l y a d t h h i i n y e t e C s t a s ste 5 of ora lity are a t the b a sis of our l aws THE LIFE OF THE PE OPL E TE S TIFIE S OF THE POWE R OF CHRI S TIANI TY Ch ari ti es edu ca tion h a ve Chri stia n ton e etc OTHE R NATIONS RE GARD U S As A CHRIS TIAN HA S ONL . m m m m m . . . . , m m . . . . , m , , . . m m . m . . . . . , . , PE OPLE V III , m . itude which a y rea sona b ly b e exp ec ted of a ll good ci tizen s towa rd ques tion s to u ch ing the p reserv a tion of our sta nding as a Ch ri sti a n n a tion CONCLU S ION : The a tt . Af ter the m m m m outline ha s b een p erf ec ted co es the ti e to wri te the sp eech if wri te it yo u u st Th en wh a tever you do wri te it a t white h ea t wi th not too uch tho ught of a ny thing b ut the strong a pp ea ling exp ression of yo ur id ea s . , , , , , . 216 ART OF PUB LIC S PE THE m AKING m r n f a a t h nd i o ion on o u b j c of in e s t e terest s g Arra ng e the resul ts of yo ur resea rch in the to the pub lic for of a n o utline or b ri ef r r a pub lic lib ra ry g a th er eno ug h r a t o F o a p iv e 5 rita tive a teri a l on one of the fo ll owing q u estion s a u tho to b uil d a n o utlin e for a tw en ty in u te a ddress Ta ke one d efini te side of the q u estion (a ) The Ho using of i ssi on Fo r of Govern ent the Poo r ; (b) The Co for Ci ties a s a Re ed y for Po li tica l Gra f t ; The (c) Test of Wo a n s S uffra g e in the W est Presen t (d) Trend s of Pub l ic Ta ste in Rea ding ; u nici p l e M a () IS the Thea tre B eco ing ore E leva ted in Art ; (f) ” Ton e ? The E ffec ts of the M a g a zin e on L i tera (g) ” ture ; (h) D o es M odern Life D estroy I dea ls? (i) Is Co p etition the Life of Tra de ? B a seb a ll is too (j) Ab sorbing to b e a Wh o l eso e Na tion a l Ga e ; (k) “ Su er B a seb a ll a nd A a teu r S ta nding ; (l) D o es ” Co ll eg e Tra ini ng Unfi t a Wo a n for D o estic Life ? ( ) D o es Wo a n s Co p etition wi th M a n in B us ess ” D ull the S p iri t of Ch iva l ry ? (n) Are El ec tive S tudies ” S uited to High S chool Co urses? (0 ) D o es the M odern ” Co lleg e Prep a re M en for Pree inent L ea d ership ? (p) “ The Y M C A in Its Rela tion to the La borProb l e ; Pub l ic S p ea k ing a s Tra i ning in Ci ti z en ship (9) 6 Con stru c t the o u tli ne ex a i ni ng it c a reful ly for interest co nvincing cha ra cter prop ortion a nd cli a x of a rra nge ent Thi s ex erci se sh o ul d b e rep ea ted u n til the NOTE stu den t sho w s f a ci l i ty in syn thetic a rra ng e en t D r t h r e l iv e a dd ess if p o ssib l e b efo re a n a u dienc e e 7 a nd fi rst et - m . m m . , . ; ” - m m m m m . m . m ’ mm m m m m m m m m m ‘ ’ m m ’ m . . . m . ' , , m . m - . m , , m . . m , . . T S UB J E C Ma ke 8 . a three - A ATION AND PRE P R hundred word 21 port on m m re the 7 ults res , b est y ou are able to esti a te the T e h i r ll o ng of b n fi of u p iodic l s e t t h e e t s s a e a e g 9 r o ( cu ula tive) index 10 Give a n u b er of quo ta tions sui ta b l e for a orized in off o ents sp ea k er s use tha t yo u ha ve e I n the a nner of the outline on p a g e 2 1 3 a na lyze 11 — the a ddress on p a g es 78 79 The History of L ib erty 12 Give a n o u tlin e a na ly sis fro no tes or e o ry of on to which y ou ha ve listened for this a n a ddress or ser purp ose I3 Cri tici se the a ddress fro a stru c tura l p oi n t of V i ew 14 Invent titles forz a ny fi v e of the the es in Ex er cise 5 15 Cri tici se the ti tl es of a ny fi v e cha p ters of thi s book sugg esting b etter on es 16 Cri tici se the ti tl e of a ny l ec ture or a ddress of which you know as m . . m m mm m m m m . . ’ , . , . , . . m . , mm . , mm . , m . . . . , . . . CH A PT ER XIX I N F L U E N C I N G B Y E X P OS I TION S p ea kn ca n t f undivid d re ot a t a ll , mnd the or o e i re a ny w e, ar for m m m is till you h v so wh t t S p eak ; w d of you S p king b u t si p ly nd with th tru th of yo u p ea king — TH OMAS CARL YLE E ssa y on B i g phy in a r ea e e , r S a e o a . o ra , . co plete discussion of the rhetoric a l struc ture of pub lic sp eeches requi res a full er trea tise tha n ca n b e un derta ken in a wo rk of this n a ture yet in this cha p ter a nd ” in the succ eeding ones on D escrip tion Na rra tion Argu en t a nd Pl ea ding the u nd erlying p rincipl es a re giv en a nd expl a in ed a s fully a s n eed b e for a wo rking knowl edg e a nd a dequa te book referenc es a re given for th o se who w o ul d p erf ec t th e selv es in rheto ric a l a rt A , , m “ , , m , The Na ture In , , the w ord E x s i t i o n o f p o —to xp o se e — of we . lay ba re, to uncover , to show fo und ion idea of “ Exp o si tion It is the c l ea r a nd p reci se setting fo rth of — wh a t the sub j ec t rea lly is it is expl a n a tion Exp o si tion do es not dra w a p ic ture for th a t wo ul d b e descrip tion To tell in ex a c t ter s wha t the a uto ob ile is to n a e its ch a ra c teri stic p a rts a nd expl a in th ei r wo rking s wo ul d b e exp o si tion ; so wo ul d a n expl a n a tion ” of the na ture of fear B ut to crea te a enta l i a ge of obile with its g li stening body gra c e a p a rtic ul a r a u to the true inwa rdness see the at - . . m m . , m m , “ m m , . , , THE ART OF PU B LIC S PE 2 20 AKING op en to exp o sition for exp o sition is en tirely intellec tua l proc ess wi th no e o tiona l ele ent n ot is an m , , The I The i m im o m m . E x o s i i t o n f p orta nce o p of ex p o sition in p ub lic speech is p re r n r t a e s e tt th a c of ing fo cisely the a tter so pl a in ly p i sunderstoo d th a t it c a nno t b e ' m r n a e o t c p m m . m oc of xp o ition is t b co cl r think I know wh n you do n t sk g ntl n p li d up on b ing qu t d t d fin highly co p l x id N w o l g conc p t d fy xp licit d finition ; b ut no ind houl d t k fug b hind such x c p tions f wh d finition f il o th r fo u cc d S o ti w f l confid nt th t w h v p f t t y of n id co s t xp ss it b u t wh n th ti E xp o sition th n i th t t of n b co s h th cl cl und t nding T p k ff ctiv ly you u t b bl t ubj ct cl ly n d co p h n iv ly nd t k you r y ou it u di nc you do To er . re re m m e ee e e ee a , e ss ea r ea r r s 1 ea e a ze o s ea r a e m m ea e s , s a s o e a s, a er e , es e m e a a e e re o e , a S s e e o e e m m ea e . a e e a a e e re a e , e e e e . ea e mm m ee e , a ere or o re e , es . e o e ”2 as e se e e e e e e, ’ e mm m ers a see a e a e a e e . a s er e e o m m s e o e s s r es e s e e ess e , e ar the p r a ste r . pitfa lls on bo th sid es of thi s p a th To ex pla in too l i ttl e wi ll l ea v e yo ur a u di enc e in do ub t a s to wh a t y o u It is u sel ess to a rg u e a q u estion if it is not p er ea n Ha ve fectly cl ea r ju st wh a t is ea nt b y the q u estion yo u n ever co e to a b lind l a ne in conversa tion by fi nd ing tha t y o u were ta lking of one a sp ec t of a a tter whil e yo ur fri end wa s thinking of a no ther ? I f two do not a gree in their d efini tions of a M usicia n it is usel ess to dispute over a c erta in a n s right to c la i the ti tle On the o ther side of the p a th li es the a byss of tedio usly u ch Tha t offend s b eca u se it i presses expl a ining to o the hea rers th a t y o u ei ther do not resp ec t thei r in tellig enc e Th W ki P i i l f Rh t i J F G A t d H ld J B g E wi H w A di There m a re . m . m . m m m , ’ x 2 e o or to ng ttra c r nc an pa o m . m . s o an e or c , u en ce , . . . e n u ng er se n e n. I NFL U E NCIN G B Y E i ng XP OS ITION 22I b low a breeze i n to a torna do Ca reful ly esti a te the p rob a b l e k no wl edg e of y o u r a u di enc e bo th in genera l a nd of the p a rticul a r p oint y o u a re exp la inin g I n trying to si p lif y it is fa ta l to S illify To exp l a in ore tha n is needed for the p urp oses of y our a rgu en t or In y our eff orts to b e a pp ea l is to wa ste e n erg y a ll a ro un d explici t do not p ress ex p o si tion to the e x te n t of dul n ess a y a rrive b efo re the confi nes a re not fa r dista nt a nd y o u you know it m or a re try to . , m m . m . , . m m . So m m e Purposes f E xposition o Fro wha t ha s b een sa i d it ought to b e clea r tha t i ri ly exp o si tio n w ea ves a co rd of un dersta n di n g b e r a p It l a y s further ore a tween y o u a nd y o ur a udi e n c e founda tion of fa c t on which to b uild l a ter sta te en ts I n sci entific a nd p urely ih a nd a pp ea l s en ts a rgu for a tion sp eeches exp o si tion a y exi st by i tself a nd for i tself a s in a l ec ture on biol og y or on p sy cho l og y ; but in the va st a j ori ty of c a ses it is u sed to a cco p a n y s of disco urse a nd p rep a re the w a y for the o ther fo r Cl ea rness p reci sio n a ccura c y unity tru th a nd neces — these ust b e the consta nt sta n da rds b y which y o u sity test the efliciency of y o ur e x p o si tio n s a nd i n deed tha t of every exp l a na tory sta te en t This dic tu S hould b e And let this wri tten on y o ur b ra in in letters o st p l a i n a pp ly not a l on e to the purposes of exp o si tion b ut i n equ a l ea sure to y o ur use of the , m m , . m m , m , m , , m . , , m , m , , m , , , m . , . m , . m M ethods of E xposition m va rio us wa y s a long which a sp ea k er a y proc eed in exp osition a re likely to touch ea ch o ther now a nd then The , TH E ART OF PU B LIC S PE 222 ven m do not eet a nd a ctua lly overla p th ey run S O n ea rly p a ra llel tha t the ro a d s a re so eti es distinc t ra ther in th eo ry tha n in a ny ore pra c tica l resp ec t D efi niti on the p ri a ry exp o si to ry eth od is a sta te 1 its Obvio usly here the grea test care en t of p reci se l i ust b e exerci sed tha t the ter s of definition sho ul d not uch definition ; tha t the la n the selves d e a nd too g uag e shoul d b e concise a nd clea r ; a nd tha t the defini tion u ch The fol sh o ul d n ei th er ex c lu d e nor inc lu d e too l owing is a si ple ex a pl e : a nd e wh en they AKING . m m m , m m m m m m m . , , m m m To ch a ra xp ound ct i tics e er s , is to a nd . fo th th n tu th ignific nc th th b ing of n id g oup of id s —ARL O B ATE S T lk n W iting E ngli h set r e ea r e re , a a ea s or a a e, e r ea . r s . of ten used effectively to plify d efinition a s in this sen tenc e which i edia tely a foll ows the above ci ted d efini tion : m a nd Anti th esi s e s o a , Co ntra st mm , m m a re , , - m x o ition th fo diff s f o D sc ip tion in th t it d ls di ctly with th ning int nt of it ubj c t inst d of with nc its p p E p re e ea ra a Thi s m e re s e er re ea or r e e r s s a e ea ea . m n ti thesis for s a n exp a nsion of the d efinition ight h a ve b een still further ex tended I n a nd a s su ch it fa c t this is a frequen t p ra c tise in pub lic sp eech where the inds of the hea rers Of ten a sk for rei tera tion a nd exp a nded g ra sp a sub j ec t in its severa l en t to h elp th e sta te — Thi s is the v ery hea rt of ex p o si tion to a plify a sp e c ts atter is d efin ed s b y which a a nd c l a rif y a ll the ter m a m m , . , , m m . 10 n the v a riou st p s fd y e o m e fi n ition see a ny coll eg e m a nua l of m . Rhetoric . THE ART OF PUB LIC S PE 2 24 AKING m m m m m m mm m m m m D i scarding is less co on for of pla tfor expla na It con si sts in c lea ring a wa y a ssocia ted idea s so th a t tion a y b e c en tered on the the a tten tion a in th o ug h t to b e di scussed Rea lly it is a n ega tive fa ctor in exp osition o st i p orta nt one for it is f unda enta l to th o ugh a the con sid era tion of a n in trica tely rela ted a tter th a t subo rdin a te a nd S id e q u estion s sh o ul d b e set a sid e ih o rd er a in i ssu e Here is a n ex a pl e of the to b ring out the ethod : . a ' , . , , - m . m m c nnot ll ow ys lf t b l d id f o th onl y issu b for It i n t p tin nt t consid th t this p ri son r is thi ju y h rtb ok n w o n nd th t hi b b s will go th hu b nd of th l w s xt throu gh th wo l d und sh do w of th st W u t fo g t th v n b l p n lty w o k d up on th ir f th f th nd th oth who H v n in p ity took b fo sh l n d of h son s di g c Wh t h v th tt s of h rt of hi f i nd wh t ha v th w h t h v th b l nch d f c s l ong n d h ono bl c t sa y b fo this b r p i on you ? wh n yo u w o n t w igh onl y th dir c t videnc b fo Th n n d o nl y q u tion f r you t d cid on th vid nce is thi n did wi th r v ng ful in t nt co it th u d r wh th nl y l id th t v y i p ti l wi tn s h s sol t his doo I a s a r s . s e e a a r ea r r s er e ’ er e e er r es ra e o e e e e e e m e m e e re e ea a e e , e re a re e m m m e e e r e a e era er a e e re e e o e e ’ s, r e m a a r e e a e e se e a ree r o es a Cl a ssific a tio n s e e s a s a e e e a a a ar ea e a m e . e o m er e a a . es m s e r er a m e a e a m a er e o e e e a re s e o e s ra e ’ e r as e er er a a a e e e ea m e er a a er r e e o a e o e r a . igns a sub j ect to its cla ss B y a n a y b e sa id to a ll o w a b l e e x ten sion of the d efi nition it Cla ssifi ca a ssign it a l so to its o rd er g en u s a nd sp eci es tion is u sef ul in pub l ic sp eech in n a rrowing the i ssu e to a desired pha se It is equa lly va lua bl e for showing a thing in its rela tion to o ther thing s or in correla tion Cla ssifi ca tion is c l o sely a kin to D efini tion a nd D ivi sion m a ss . , , . . . , . u tion of th liqu o t g v o l i u s of ll ti This q the ra e m es ra r e ss e a m ‘ i Wh ra fli c , s rs , es . kes its p l c b sid v b e it cono ic ta a te a er e s e e m e F IN L UE N CIN —nd sig nifi ca nce G BY E 225 qu tion it—wh v m m m m m m who is the re to a XP OS ITI ON es —a nd a te vit l er a n wh bea ing up on i th p olitic l y t — ? th qu tion of th lic n d loon u t quickly will d ny it ttl d th w o l d in it dv nc nt h ttl d th ques b nt f th Op iu ti ns Of con titu tion l gov n of th — h t n d t of f of h l v n t of cono ic tt t fli nd p olitic l x p di ncy b ut qu tion of ight nd w ong it has r ou r e e e se as e es a a s a a e ser c, ra e Ana lysi s er a , e s s e e r e s o a a e e as es e a sse s , as o e rs a r s e o s a s se e e ere o sa e or e s a e se e s m m e e e r a . ubj ec t i n to its essentia l p a rts a y do This it b y va rious p ri n cip les ; for ex a p le a na ly si s a y fo ll o w the o r der of ti e (g eo l ogic era s) order of p la c e (geograp hic fa cts) l ogica l order (a ser on outlin e) order of i n crea sing i n terest or p roc ession to a c li a x (a l ec tur e on 2 o th c en tu ry p o ets) ; a nd so on A cla ssic ex a p l e of a n a ly tic a l exp o si tion is the foll owi ng : m m sep a ra tes a m m s . m , , , m , , m ioo y . ml ion of m do m n u con In p h l s p h the te p a t s G o d , or a re circu ferred to nt an e ith nt fl ct d er e ra te pe u o t v t d up on hi lf Out of which v l inqui i th do i th knowl dg divin p hil o op hy n tu l p hil o op hy nd hu n p hil o op hy hum nity F ll thin g mk d nd t m ct of th p ow of G d th p d wi th thi t ip l ch nc of n tu nd th u of m diff n —LORD B ACON Th A d n nt f L ning er e re se m a r se ree e s e a s e or e e re se . es : s a s a m re , a a r re , a e , m D iv i sion differs ra va , ar ce e o a a e o m . or e e re er e e e s s a re er, a re r es a , se a re e ra or a . a ra e or e , 1 ea r . only fro a n a ly sis in tha t a na ly sis fo l lows the inherent divi sions of a sub j ec t a s illustra ted in the fo regoi n g p a ssa g e whil e divi sion a rbi tra rily sep a ra tes the sub j ec t for co nveni en c e of trea t en t a s in the fo ll ow ing none too logic a l ex a p le : , m , - m m civil hi to y it i of th kind ; n t unfi tly t b d with th th kind of p ictu i g F of p ictu s i g w see o unfi ni h d o p rf ct nd o d f c d S of hi to i w kind o i ls y find thr Q t d i Th W ki P i ip l f Rh t i J F G F or s m p a re or m - , a a re 1 e uo e e . n s , m ree e es , e a r s s s or ng m s r es r s m m re s o r e a re o e ree nc e es o e , s o a es e a re a ee e or c , . . e co o re or . e mm e , s, enung a e . s r a e , THE ART OF PUB LIC S PEAKIN 2 26 G mm ntiquiti s ; f r oria ls e history uh fi i d fi st r ough dr fts of history ; and ntiquiti s r r so na nts of histo ry which ha ve a re hi sto ry d fa c d c sua llyzs p d th ship w c k of ti —LORD B ACON The Ad n ent f L ning " p erfect histories, n she , or the a nd a r a e e ca e ar a e o , o mm m r o e e e e a e e re e m . va , ce o l ea r . b ro a d principle or a genera l tru th d erived fro ex a in a tion of a con sidera b l e nu ber of individ ua l fa c ts Th i s syn th etic exp o si tion is not the sa e a s a rg u en ta tive g enera l i za tion which supp orts a g enera l contention by ci ting insta nces in proof Ob serve how Ho l es b egins wi th one fa c t a nd by a dding a no ther a nd a no th er rea ches a co pl ete whole Thisis one of the o st effec tive devices in the pub lic sp ea k er s rep erto ry holl ow cyl ind cl o d whil th t p ins T k th botto op n nd p our in w t t th h ight of f w inch s N xt cov r th w t with fl t p l t p i ton whi ch fi ts th in t i or of th cyl ind p f ctly ; th n p p ly h t t the w t r nd we sh ll wi tn ss th fo ll o wing p h no n Aft th l p se of o in u t th w t r will b gin t boil nd th st ccu ul ting k oo f it lf by i ing the p iston t th u p p surf c will l ightly A th boil ing continu o nd o st will b fo d nd is th p i ton high nd high till ll th w te is l ft in th cyl ind is boil d w y n d nothing b u t st chin con i ting of cylind p iston w t nd fi N w this ngin in its o t l nt y fo is th t F r a t tu s f doing work by ns e ngin y b d fin d as n p p of h t p p li d t w t ; nd sinc i ing Such w ight s the fo of doing wo k thi p p tu clu sy nd in n p iston i n w s th d finition p ci ly ni nt tho u gh it y b mm m m G eneraliza tion , m sta tes a . , . m m e er , e a m e e a er a a es m s . r e ra a a a e s ea ea - a s a v e e e e o , a o a er r a e a e e se . . ms , e . er re a e e e, a , s ar r p p d m e e a e r. a e r, a re , s ea o . ea a e s, a ra e a a se re e , r e or s a er a , e ra s a e ea e a ra a s a re er , e a , a co 2 m o vi l p inci mof di cou st ta s G m e nu ng Q uote in The Wor king P rin ci les of Rhetor ic J F ’ G C V Hol e q u ote in S eci en s of E x p osition H L a . a ra s Ref erence to Exp eri ence is one of the — ples in exp o si tion a s in every o th er for 1 m a ea er, r a d e er er a a e e o . or e r s e re o e ea s s e e , ea a e e s a s e e, e a , a es , e e m m m m m m m m m m m m m m m m a m m m m m e e e e a , o a . se e - a e or e a e er e e e e o a er e e e S a er e m e a er a , , ’ . a m , . . . . . o nt . . r rse . 2 28 THE ART OF PU B L IC S PE AKING Wha t is it a nd wha t is it not? Wha t is it like a nd unlike ? Wha t a re its c a uses a nd effec ts? How sha ll it b e divid ed ? Wi th wha t sub j ects is it correl a ted ? Wha t exp erienc es do es it reca ll ? Wha t ex a pl es illustra te it? , , , m QUE S TIONS AND EXE RCI S E S Wha t woul d b e the effec t of a dhering to a ny one of the fo r s of di sco urse in a p ub l ic a ddress ? Ha v e yo u ev er hea rd su ch a n a d dress? 2 r f n I nv a se i o x a l i llu r iv of e e t s e es s t a t e t h di s e 3 p a d e on p a g es 2 3 2 a nd 2 33 tinctionS li M st of ten sub j ec ts tha t k ight b e trea ted a e a 4 l a rg ely if not en tirely b y exp o si tion i x a t h e s t a n d r d by h ic h xp o i o y w r N e s a s e s t 5 wri ting sho ul d b e tri ed D efin e a ny one of the foll o wi ng : (a ) stora g e b a ttery ; 6 “ ” (b) a free h a nd ; (c) sa il bo a t ; (d) The B ig S tick ; (g) short sto ry ; (h) (e) non sen se ; (f) a good sp o rt ; novel ; (i) n ewspa p er ; (j) p o li ticia n ; (k) j ea lo usy ; (l) in gi r l n co ll g h ono r y t e tru th ; a t e e e s s é ( ) () ; ; (0) odish ; (p) S lu ; (q) settle en t wo rk ; (r) foren sic h A pl ify h d fi n i ion by a n t i t s i s t e e t e 7 8 I nven t two ex a pl es to illustra te the definition (qu estion o r s I nv n n l ogi u b j c q u e t t w a a f o t h s a e s e t e e es ( 9 tion I . m m . m . . . , . m m . , . . - mm m m m m m . m . . . . m IN FL UE N CI N G B Y E M ak e a XPOS ITION 2 29 o ch b a sed o n one of the following : (a ) wa g es a nd sa l a ry ; (b) a ster a nd a n ; (c) w a r a nd p ea ce ; (d) ho e a nd the bo a rding house ; (6 ) struggl e a nd vic to ry ; (f) ignora n c e a nd a bi tio n M a ke a ten inu te sp eech on a ny of the top ic s 1 1 na ed in qu estion 6 using a ll the etho ds of exp o sition a lrea d y n a ed Exp l a in wha t is 12 ea n t b y disc a rding top ic s co l la tera l a nd subordin a te to a sub j ec t Rewri te the j ur y sp eech on p a g e 2 2 4 13 14 D efi n e co rr el a tio n 15 Write a n e x a p l e of cla ssific a tion on a ny p olitica l socia l econo ic or ora l i ssu e of the day 16 Ma ke a b ri ef a n a ly tic a l sta te en t of Henry W g Gra dy s The Ra c e Prob l e a e p 36 B y wha t a n a ly tic a l p rincip l e did y o u p roc eed ? 17 (S ee p a g e 18 Write a short c a refully g en era li zed sp eech fro a l a rg e a o unt of da ta on one of the foll owi ng sub j ects : (a ) The serva nt girl p rob l e ; (b) ca ts ; (c) the b a seb a ll cra ze ; (d) refor a d inistra tions ; (e) sewing soci eti es ; (f) co educ a tion ; (g) the tra veling sa l es a n 19 Ob serve thi s p a ssa g e fro Newton s Eff ec tive S p ea king : 10 . m m - . m m m S h rt sp ee m m m , . m . . . - . . m m m m m . . . , , . , . “ ’ , . . , . m . m , mm m m . m Tha t a t v ir tu e is an but m an is cynic t l ov ; a He . m f snee rs f a ch nd h p ty conv ntion lity m a rt ul s an e e er . e a mm e sees e a m m m ’ nowh H sn rs th id n p lighting h t oth v n in th oth s kiss nothing see s to hi e goodn . e e ess a ere m e e er . e ee er r ’ ” . m Wri te co it and deliver two si il ar p a ssa ges b ased on your choice fro this li st : (a ) the ego ti st ; (b) the , ' THE ART 2 30 AKING OF PU B LIC S P E mm nsua list ; (c) the hyp ocrite ; (d) the ti i d a n ; “ r t h fli r e t r j o k e t h e e t h e u n g a teful ) ( ) () ; ; (g f an I n bo th c a ses use wo a n ; (h) the o urnful Reference to Exp erience the p rincipl e of Wri te a p a ssa g e on a ny of the fo regoing cha ra c ters 20 in i ita tion of the styl e of S h a k esp ea re s cha ra cteriza tion of S ir Jo h n Fa l sta ff p a g e 2 2 7 se m “ m m . . m . ’ , . TH E ART 2 32 m u look OF PU B LI C S P E AKIN G d escrip tion a s a p ictoria l p roc ess whether ”1 the wri ter d ea l s wi th a teri a l or wi th sp i ri tu a l ob j ec ts I f y o u w ere a sked to describ e the rap id fi re gun y o u ight go a bo u t it in ei ther of two w a y s : giv e a co l d techni ca l a cco u nt of its echa ni s in whole a nd in d eta il or el se d escrib e it a s a terrib l e engin e of sl a ughter dw elling up on its effec ts ra ther tha n up on its structure The fo r er of these p roc esses is exp o si tion the l a tter is tru e d escrip tion Exp o si tion d ea l s ore wi th the gen er a l whil e d escrip tion ust dea l wi th the pa rticula r E xp o si tion elu cida tes idea s d escrip tion trea ts of things E xp o si tion dea l s with the a bstra ct d esc rip tion wi th the Exp o si tion is conc ern ed wi th the interna l de concrete E x p o si tio n is enu era tiv e sc rip tion wi th the ex terna l d escrip tion litera ry Exp o si tion is intellectu a l descrip tion E xp o si tio n is i persona l d esc rip tion persona l sensory I f d escrip tion is a vi sua lizing p roc ess for the b ea rer it — is fi rst of a ll su ch for the sp ea k er he c a n no t d esc rib e wha t he ha s n ev er seen ei ther phy sic a lly or in fa nc y It is — thi s p erson a l q u a l i ty thi s q u estion of the p erson a l eye — wh ich sees the thing s l a ter to b e d esc rib ed tha t a k es descrip tion so interesting in pub lic sp eech Given a sp ea k er of p erson a li ty a nd w e a re in terested in his p er — his vi ew a dds to the n a tura l in terest of the son a l vi ew sc en e a nd a y ev en b e the so l e so urc e of th a t in terest to his a u di to rs The seeing eye ha s b een p ra i sed in a n ea rli er cha p ter (on S ubj ec t a nd Prepa ra tion a nd the i a gina tion wi ll b e trea ted in a sub sequ en t one (on Riding the Wing ed J B W iti th S h t S t Es w i st m at m , . - m m , , , m . m m . , , . . , , m . , . m . . , , . , , . , m . , m , . m 1 r ng e or - or y , . erg en e n . INF LUE N CIN - b ut here we ind tha t f clea r y for w e h e p hysica l t i T B Y DE S CRIP ION 2 33 m u con i m p om oub l bi ing ng m — m m l o i in n do i — of im gi ng ng mn y u o g i g m b o bi m o u ul n of vi u lizi g N ly obj c c i u io n c ion on bo u c ib nl imy Horse the G the p hea rers c l ea r O . e t, the s ene , oc ess to b e t a , ef re re des sef ed r thi ’ e at , ess for es of the t a s s n s a the . w th we tha t U . i ds the t S ind these thi tha the of see t a - t is icturing d tha re ha the r s e p then the ett n ha e w th the re a nd eye der the s the d s see se of rp r st , tha t p r the ar ca rri ed out clearly the p ic ture will b e b lurred for the b ea rer b eho l der I n a work of this na ture we a re concern ed with the a nd wi th its etho ds rheto ric a l a na ly si s of d escrip tio n o nl y so fa r a s a y b e needed for the p ra ctic a l p urp o ses of The fo ll owi ng gro up ing therefo re wi ll not the sp ea ker b e reg a rded a s co p l ete nor will it here b e n ec essa ry to ore tha n a word of exp la na tio n : a dd is r p , - . m m 1 . m m , , , , , S till m Obj ec ts I n o tion S till In cluding a ction Prec eding cha ng e D uri n g cha ng e After cha ng e S c enes S i tua tion s S pea kers Ac tion s Person s l F or Rhetoric a nd s , m fuller tre a t Alb ig ht s D ds is d eco n r er e ’ . es cr ip an s ipti G ti W i i B t s T lk d d ht i en t o f a ny a De ve on cr r t ng , v a n ce r e nu n g s see a e e or c . Wor kin g on Writing ’ ’ a s p P rinci les of E ng lish, fi rs t A ART OF PUB LIC S PE KIN THE 2 34 So mof G foregoing processes will overla p in certain insta nc es a nd all a re ore lik ely to b e found in co bina tion th a n singly When d escrip tion is in tended sol ely to give a ccura te — infor a tion a s to d elin ea te the a pp eara nce not the — h a n t r t h Z tec nic l co s u c ion of t e l a test epp elin airshi p it is c a ll ed sci en tific d escrip tion a nd is a kin to exp o si tion When it is intended to present a free p ic ture for the p ur p o se of a king a vivid i pression it is c a lle d a rti stic d escrip tion With bo th of th ese the pub lic speak er ha s to d ea l b ut ore frequently wi th the la tter for Rhetori a k e still fu rth er di stinc tion s cia ns m the e , m m , . , , , m m m m . , m . . , . Methods of D escription m I n pub lic sp ea king description should be ainly by sugg estion not on ly b ec a u se sugg estiv e d escrip tion is so uch ore co p a c t a nd ti e— sa ving b ut b ec a u se it is so viv id S ugg estive exp ressions conno te ore tha n they — li tera lly say they sugg est i d ea s a nd pic tures to the i nd of the b ea rer which suppl e ent the direc t words of the Wh en D ick en s in his Chri st as Ca rol sa y s sp ea k er “ In c a e Mrs F ezziwig one va st sub sta n tia l s il e — u ch our ind s co pl ete the p ic ture S O d ef tly b egu n a ore effec tive proc ess tha n tha t of a inutely deta il ed descrip tion b ec a use it l ea ves a unified vivi d i pression Here is a p resen t da y bit of a nd th a t is wha t we n eed “ an sugg estion : G en era l Trinkl e wa s a gna rly oa k of a — ro ugh so lid a n d sa f e ; yo u a lwa ys knew wh ere to find A littl e p in D ick en s p resen ts M i ss Peecher a s : hi c u shion a li ttle hou sewife a li ttle book a li ttl e work box , mm m m , m . m m m m m . . m m , m m m m m : , , , , , - . m , , . - , , , , 2 36 TH E ART OF P U B LI C S PE AKING mm m guida nc e This a tter is o st i p orta nt b e a ssured A b ri llia n t yet ca refully restra in ed figura tive styl e a a rk ed b y b ri ef styl e p ung en t wi tty a nd hu o ro u s co p a ri sons a nd chara c teri za tions is a wonderful re wo rk so u rc e for a ll k ind s of p l a tfo r a y be dir ect This sta te en t i s pl a in D escription Use yo ur own ju dg en t a s eno ugh wi tho u t exp o si tion to wheth er in p ic turing you ha d b etter proc eed fro a g enera l vi ew to the deta ils or first give the deta il s a nd thu s b ui l d up the g en era l p ic ture but by a ll ea n s B E B RI E F No te the vivid co p a c tn ess of th ese delin ea tion s fro Wa shing ton I rving s Knick erbock er : 1 . m m . m , , , m m ‘ , - , m . . m m . m . , , m m . “ ’ m m qu s o m ny Old g ntl n with d ubl tiff chin outh n d b o d copp no which w s up d y t h v cqui d it fi y hu f o th con p o d i th o t nt n ighbo hood of hi tob cco p ip x ctly fi f t i inch in h ight nd si f t fi H w inch in ci cu f nc Hi h d w s p f ct sp h n d of di n ion th t D tup ndo u N tu wi th ll h su ch w oul d h v b n p u l d t con tru c t n ck s x s ing nu i ty c p bl of up p o ting it ; wh fo h wi ly d clin d th t nd ttl d it fi l y on th t p of his b ckbon j ust t pt Hi body w b tw n th houl d of n obl ong fo p t bo tto which w d by ti ul ly c p ciou wi ly o d ; P ovid nc ing th t h w s n of s d nt y h bits nd v y v t th idl l bo of w lking He w a s se s a h se e r as e e s e m e ee c ar v e ers s s s, a a ee e m m a e e e e a r , m e a zz e o a x re , s o a e a m e, r a e . se e e e a a er a e as v e ee ere , a se e m a s e er e a as a a m r e . re s s . a o a r e , see e rse ea o a e e s a , se , er es ere e a e s x . r s re a m e a er a e a ee e e S a a a e e r a a se e er m s a ra w s s , b a , e r a a re , , e re e a rt , s e ’ a a r es e o as a , a sh l r ar , ar ere a a , m foregoing is too long for the pla tfor but it is so good hu o red so full of delightful ex aggera tion tha t it m The - s pp , , 28 3 5 ; - . 1 62 ; 23 1 240 , The Art 1S ee a lso Rob e rt , - . f V er sifi ca tion J o a nd Wr itin g , . B erg E s the S hort S tory , J e nw ein a nd - . B erg E Mar s w en y e in . Ele a n or pp . 152 F IN L U E NCIN m G T B Y D E S CRIP I ON 2 37 m m mm m m ve a s a o del of hu orous cha ra cter p ic turing a n in the o uter for here one i nevita b ly sees the i n ner D irec t descrip tion for p l a tfor a d e vivid use ay b e The fol by the spa ring use of the hi storic a l p resen t lowi ng dra a tic p a ssa ge a cco p a nied b y the o st lively a c tio n h a s l i n g ered i n the i n d for thirty y ea rs a fter hea ring D r T D e Wi tt Ta l a g e lec ture on B ig B lunders The c ra ck of the b a t so un ds c l ea r even to da y : ay p well ser m - m m m , , . . , . m . k you p o ition N w giv u th b ll TOO l w D on t t ik TOO high D on t t ik Th it coml ik lightning S t ik ! Aw y it o ! High ! High ! Run ! Anoth b ! F t ! F t ! G ood ! All ound t n t ok ! Get e rea a dy the b a ts a n d ’ o . e re es ta er a o Ob serve e s r e r . er ar s r . e r e a se s s o . ’ . . e s a a s er s e , s r a rs e . er a s er e mk bl lecturer fused sp ea ker a udience sp ec ta tors a nd p la y ers i n to one — exci ted ec sta tic who l e just a s y ou ha ve fo un d y ourself sta rting fo rwa rd in y o u r sea t a t the d elivery of the b a ll wi th three on a nd two down in the ninth inni ng No tic e — too how p erha p s uncon scio usly—Ta l a g e \p a inted the not a s ha vi ng sc en e in Ho er s c ha ra c teri stic styl e : a l rea dy ha pp ened b ut a s ha pp enin g b efo re y o ur ey es If y ou ha ve a ttended a ny tra vel ta lk s y o u ust ha ve b een i p ressed b y the p a inf ul ex tre es to which the — r r lec tu e s g o with a few no ta b le excep tion s their la n gua ge is either over orna te or crude If y ou woul d lea rn the p ower of wo rd s to a k e sc en ery yes ev en ho uses p a lp ita te wi th p oetry a nd hu a n app ea l rea d La fca dio Hea rn Rob ert Louis S teven son Pi erre Lo ti a nd E d ondo D e A ici s the re ar , a e in wa y , c whi h the , , m ' m , . , ’ m , m m m . g , - m , m . m , . , , , , , m 238 ART OF PU B LIC S PE THE lu di m oun in ml l f ing on p p d b fo —th T p the it t h v n it wil d n Of chi l d fl inging t th ky th gol d n p y of its d co tion p inn cl —LAF CAD IO HEARN Chin Gh t l Th t w fi l d nd j w l lik b ut n t f o sty A f int ilv y v p ou tood f th M ilky W y All ound e th b l c k fi p oint tood u p ight n d t ock till B y th whit n of th p ck addl I coul d M od tin w lking ound nd ound t th l ngth of h t th ; I coul d h h t dily unching t th w d ; b ut th w n t noth ound v th ind c ib b l qu i t t lk Of th unn l ov th ton —RO RT§L OU IS S TE VE N S ON T l with D nk y It w full utu n n w l t utu n—with th nightf lls gl oo y n d llfithing g owing d k ly in th Old cott g nd ll th B ton l nd l oo king o b d t Th v y d y b ut twil ight ; i u bl cl ou d lowly p ing w oul d ud d nl y b ing d kn o n d con t b o d noon Th wind ta ntly—it w lik th ound Of g t c th d l o g n t di t nc b u t p l ying p of n i d p i ing di g ; t oth ti it w o ul d co cl o t th doo nd lift up howl l ik wil d b t — PIE RRE L OTI A n I l nd Fi h n I th g t f c t o y wh b tt lion ight h v d ill d ; I th l ong t b l th fi hund d h d b nt bov the th otion of fi hund d fo k of thou nd pl t p id h nd nd ixt n thou nd t th ; th w of rv nt n d th unn ing h c ll d t col d d hu i d on v y id t onc ; I h of di h th d f ning noi th th cl tt voic chok d with food c ying ut B d b d ! nd I f l onc o th fo id bl p p tit th h cul n t ngth Of j w th xub nt lif nd p i it Of tho f ff d y m B e - nt sta e , ta a , e e, es, a of c a rv e o ea e s o n AKING st e e s e ea re er s e a re e e ss se e ra e ra . “ ese , e re e s a rs s a e er e m r a a - e s a BE m as , a e a r s as m s a e, see see rea re e a e s, ra s a r m e es e m e e ra es m a e a r e es , o e a s —E D MOND O e : se a a er a e a r e a a sa se ar er e , - er e e a s s e rea ea ar o - a ” a s re s 2 . D E AMICIS , Colleg e Friends S uggestions for the Use e se , ea e e s a m s, re a e, r a e rr e , “ e r s e . s ea e s er a e s a es m e, a s see ra m m . a m e er a a e , r a s o, s o a a r ee e r a re r re e e , a a e e ee a e re , er e . a e re sa es e a ss v e sa a e r, v e s ea e ce a e e s m r ea ere a er ra v e s s e a er s er . e r a . o , ee ea r oo e a rs , o r 1 r e s, ere a a re , , e es , m a se a ea r a . e a s a e ea s s a r o e s, r e e e a m es a ra e a as . e . e . m r ar ea r ar s e ss ar a , a ea s e o o . s - es , r m m re s e r a s a a e re m a e, - er e ar e e e see er e e a e e s es r e , r e a a or s s - ess c o o re r s a r a c ea r os s . ription e D sc f o D ecid e, on b eginning a descrip tion wha t p oint of vi ew yo u wi sh y o ur h ea rers to ta k e One c a nno t see ei ther a , . 1 In 3 the Milit a ry Co ll eg e This fig u re o f sp ee ch of M od e na is kn ow n as “ Visi . on . THE ART OF PU B LIC S PE 2 40 AKING m m m m I nterruption s of the d escription to a ke sid e re a rk s a re a s p o werful to d estro y unity a s a re sc a ttered d escri p The only Vi sua l i p ression tha t ca n b e tive phra ses fec tiv e is one tha t is unifi ed ef Indesc ribing try to ca ll up the e o tion s y o u fel t wh en first y o u saw the sc ene a nd then try to reproduc e tho se e o tions in y o ur hea rers D escrip tion is p ri a ri ly e o tiona l in its app ea l ; no thing ca n b e ore dea dl y dull tha n a co l d u n e o tion a l o u tlin e whi le no thing l ea ves a wa r er i p ression tha n a g l o wi ng sp iri ted descrip tion Giv e a swift a nd vivid g en era l Vi ew a t the c l o se of the p ortra y a l First a nd fina l i p ressions re a in the long est The ind a y b e tra ined to ta ke in the cha ra c teristic p oints of a sub j ect so a s to vi ew in a singl e scen e a c tion r ion of h o l h exp eri enc e or cha ra c ter a u nifi ed i ess t e w e p To d escrib e a thing a s a who l e y o u ust first see it a s a wh o l e M a ster tha t art a nd yo u h a ve a stered descrip tion to the l a st d egree . . , m m m mm - m , m . , , , . m m mm . m m m , , . , . , , . . S ELE CTI ONS FOR PRACTI S E THE HOMES OF THE P EOPLE n W hington th oth d y nd I tood on th I l ook d t th t o w ing t b t qu ic k C p itol Hi ll ; y h bl of y count y C p itol nd th i t g th d in y y s s I thought of it t ndous signific nc nd th is u y nd th ju dg s nd th P id nt nd th n d th t And ll th t w g th d th nd C ong nd th co u t coul d n t l ook down on b tt r I f l t th t th un in ll it co u t t h h t t h t h d ight th n th t j tieho of u b l ic u g p ons of lib rty And I f lt th t if honor nd w o l d it b t l bid d th in th wo l d woul d t last w nd ju tic wi do in which th k Of th cov n nt of y country t h ou t th t g g n tion i l odg d it fin l u p l if ting nd its m m I w e t to m a ar e e e rea s r re ss a e S s o s r ’ e s a a m s es a rea e , m m s a es e e a m s a a e ar e , ere e re e re e e ra e a . e e e a m a r e . a e , e a a a e a a a re e ar se res m e re a e, a a m er o . ere e e e a s as a rse e m e a a e e ss e a e a s a e e r s, a s a re , a a a , e a s a as ea s e r ea r a a er e as o e INF L UE NCIN G T B Y DE S CRIP I ON 24 1 d I w nt t vi it f i nd in th count y od t n with qui t coun t y ho It w ju t i p l unp t ntious hou t bou t wi th big t nci cl d in dow of h v t Th f g nc of th n d fi l d ich with th p o i h h n k h o l l y h oc k in t f on t y d i ng l d w i t h t o w n d i p nd on nt wi th th clu ck of th o ch d nd of th g d n f p oul try nd th hu of b qui t cl nlin th ift n d co fo t Th w In id w d in t dy u v yn w th ol d cl ock th t h d w l co o ily th t h d tick d th ol n qui of th t th f d d nd h d k p t co p ny with th w tch t th b d id tful b d n d th ol d Op n fi th big nd w Th pl c ily B ibl thu b d with th fing of h nd l ong th ol d f till nd w t wi th th t of y l ong inc clo d hol d sin ing th i p l nn l of th f ily nd th h t n d th con ci nc f th h o tood t i p l up ight Out id th y f i nd th n wi th n tg g on hi oof no li n on hi g owing c op t of hi l nd nd of hi lf Th w hi old t f th n g d t bl ing n but h p p y in th h t n d ho of hi n And th y t t d t th i h o th h nd of th old n w nt down on th young n houl d l ying th k bl bl ing of th hono d nd g t ful f th nd th un p nnoblin g it with th knighthood of th fifth co nd nt th y ch d th doo th ol d oth c with th An d f c nd lighting up h d p p ti nt t f ll ing f i on h su n y whil h lip t bling with th ich u ic of h h t b d h hu b nd nd n w lco t th i ho B yond w b u y with h hou hol d c cl n of h t nd th h ou wif n d h lp t of h hu b nd th b u c kl D o wn th con ci nc ln c th chil d n t oop ing h o ft th cow kin g n t t u nt bi d do th qui t of th i h o An d I down on th t hou f ll ing g ntly w th night co th wing of th un n dov And th ol d n—whil th fo t n d th t tl d bi d c ll d f o t w h ill n d th t wi th th crick t w w ing in th ky y il y nd t kin g th ound hi ol d B ibl f o th g t th f t bl c ll d th t th i kn th l ittl b by hiding in th whil h cl o d th fold of it oth d co d of th t dy ft m m T wo a s a a es a e rwa r a , r e e e a ar r e e a o as e s m e er c ea e o m m ce s e e s m m a s ' s a s er a er , a m s so e re , a e ss e as se e e er e s a e a e s, a a m e, e e e r r a sa as e s ar e re e e o a e, s a m m m e a r e a ’ s cr ar e s e e o ’ er s er , a a , , e er ee e a e r e ress , es a ee s , e e se ea r , as a e s, se e . a e a e re e s ere ar e e . s a r e s e e a , e e e a , ee e ea r se , e re s . e . a er a , e er e e s a rs e r s . res e er a ea a e , e a res , r a a e e re s e r se e s e er o s a a er e as a e s, r e ra e r see e . r e, ea r s s a e s e , r e, e, a a e e e r r er a s ’ re er , as e r o s e a so s e, s e e re . a , e re e s a s se s ar e er er s se e e e e, a se e a r a es , a rea e ea r e e e e a e a s er , a , e e e a s e e , s r a e e e rs a a s er a as ea s e a m re e es e e er m m m m m m m mm m m m m m m m m m m m m m m m r e a . a e . or o a e ere s e, , a m m m m m m a s m e a rs as ere . re , e a e er a e m e e ar e e a e, e ea s r e , e e , ea ra m m m e s s a e ra e a s a s ea e s r e e e e e e e a e o e m m e, m a , , a re s , a , e r r . re s a a e m a , as . . e ss , e e e re e re s a a a , m a a e s, a e ee s ea , as ar ar e es ar m m r e re es , e r m a e se r r e a r m a m s o e se , se re e a e , e r e a e e re r a RT OF PU B LIC S PE THE A 242 ml AKING m m m m by c lling down G od b n diction on th t f ily An d whil I g d th vi ion of th t bl a nd th t ho it t F o go tt n w u n d it j sty C p it o l f d d id Oh u ly h in th ho of th p op l l odg d nd I sp on ibil ity t ngth nd th f thi gov n nt a t l st th — nd th p o is of thi p ublic HE N RY W G RADY th h p s i m da y e p a a e e a a r . e r e e s m s re a s e e a e , e a re s o - a ar s a e s s re a re s es e re e a e , e a e e a o e re m e s re a e re e re s , , s a ze e . “ sa a ’ e er . e , . . S UGGES TI VE S CENE S in lif c ll f noth ; th i fitn in v nts Th sight of nt bo p ut it in u ind t a nd p l c s pl On p l c ugg t wo k noth idl n thi d sit th ising nd l ong bl s in th d w Th ff c t of night ea ly of ny fl owing w t of light d citi s of th p p of d y of of th op n oc n c ll up in th ind n y of nony ship ous d i s nd p l u s S o thing w f l houl d h pp n ; ny of And w kno w n t wh t y t w p oc d in qu t of it in l if fl t by u in thi v in tt nd nc on th h p p i t h ou nd o nt It i thus th t t cts of th g niu of th p l c young fi nd l w ock s th t ch into d p oundings p ti u So thing u t h v h pp n d l ly d l ight nd to rtu nd p h ps g in su ch pl c b ck t b s f y c ; chil d I t i d t inv nt pp op i t g nd wh n I w f till t y j u t v inly t fi t th with th p op s I th g d ns So C t in d n to y p l c s p k di tinc tl y u d ; c t in ol d hou d nd t b h unt d ; y l ou d f c t in co ts t id f hip w ck Oth p ots g in bid th i d tiny ugg tiv nd i p n t b l ich t s ing ll cho Th inn t B u fo d B idg with it bou nd — g n g d n nd il nt ddying iv though it i known l dy s th p l c wh K t w o t o of his E ndy i n — t w it th still nd N l on p rt d f o his E ing of th p p op i t l g nd Within th ivi d w ll b hind n hutt s o fu th bu in s s o uld w iting th s ol d g y k f Inn t th Q u n s f its ho u Th ol d H w il c ll u p on y f ncy Th it t nds p t f o th si in cl i te of it wn h lf inl nd h lf to wn b id th p i in —in f ont th f ry b ubbling with th tid nd th gu d ncho ; b hind th ol d g d n with th h ship sw inging t One thing e a ere or a s a e . s e a ra a m e s, m e s re e a o e s e e a o re m e s r m m e m m a e ree ar a rea a a e e e s r ree m m or ar , ar e e a e a e e a r a es as r , o s s s er e s r e , e s r es a s e , ’ , , e r e ee er er a o e or e r er ar m a e, e e a s a rs a m m s o a a e co s, ar es a r , e e a a a e a e m m ers , a ar e es e e rr a e a k ra es s o a a s s a e re . e e e a e m m m ese er a o c ra s ar se e . e a o er . e, a e a e ar m m e r a e e r r ea r e a r r a e ra , er a re es a e . m m m m m m e a m e a a er e , a e a s o , or ere e r, e e e a e o a a a o , se s e , e . s s , e s s . er a er e “ a r s . es a a r a s e a es s a m , r , . ee . ea e . ee o e ar a e a ee e es s as er e r e o a s se a re as er a ee a s , e r or a a cr a e . ee r e r s a , er e rea a as a e r m , e r es, a e e e mm m m m mm m m m ‘ a , e ee e a a e e e ss , e . e r o er e m ess s a , m . e e e r, a ar e , rs es a e re r e s a , ea s a r e ea e ar es s s a ere ea sa a er , a a er a e . r r e e a ar e TH E ART 2 44 OF PU B L IC S PE AKI NG l it ting bill ow of fi olling p lunging bounding n m n d wi th ing ion bu ting d p g f ll ing w ll ing h d h t id und ching ut it nci cling it qu ing g bbing u p w ll owing v ything b fo it with dy outh of n p p ll ing on t th h t g d h ound th co n ! Anim l in tinct H w th h o B ut Ay o on sa y yo u ? n! Up th l dd v g Th tow ing b u il ding i b u i d in b l o t d b nk of biting l nt F o k d tongu d t ut nd in dodg h n d do w n n d wind th i up cutting dg oun d n d th v y obj ct A c h dull xp l o iv ound nd p uflf of ok l p ut At th high t p oint up on th o f t nd s d k figu in d p t t it th h nd king f ntic mwinging wildly— nd th n th body hoot g tu th nt with ff int o f ightful p c p lu nging u p on th p v volting thu d Th m n mt ik by t nd h d t n d u tt l w down Th c owd hudd w y s u u t d l ook u hid Th f int h th i nd ho o f p ity f c n woon w y On w o l in l bo h l ook up on Poo f ll ow ! D d ! n body th w ll t ! H l iv d n x t doo t n d I k n w hi Ay J wido w d flight b ck H l v oth nd tw w fi bu y hi w if fo tnight g I h l p d him b it of o p h n th o p h n f Ah J ! b u t it h d l in ov on d gging it gi nt of p nic in its A gh tly h o u on bl otch of c u l ty l ong th p th of t il n d l ving c i night n? th y ll u t fi A Op e n A pa p ' . s , s re s a ree , ers , a e m e e s e m re ar s r o re r e es a m a e m m r ’ a e “ s a s a ’ Ay e , o a e a y e , sir ! or , re a s o a mm e ar s r r e rs o e as s e m s e e r r e s a ” . s re ra r es s , rer , a oo , e m m m s - es a ea es r . re e ra e er a s er s a e r . ex c a r s a es ea a e s a e, ere s a e a a o a e a a m m s a ea r e - e ar , es a r a , es a s, a m e r a “ ” . s s s a s . as ra e , s r a e e s oe , s ar ers , oe , a r s a . v e s e e . s e e e, ea e e, e, r , sa , e r s ra e ’ s a es s rr a o a a a a re r . e o s e , era e . . ar s s e ar re s , es es e e r e a a a a . e . es , s, er r e e ra s . r rs ” , s o ea e r a e er e e e rea s e . m er s er , a ss ar m a s e re , a m r . s e ar er e o a , a a a as , rea s , m r a , er , as re e, e av , rses e o e m m ra , re , es s o - o s , ee z e a e e r e er a a o r ee a m o . a e a e o e a e ” m a e er e r y n t ! Th s wo n in th t p window hol d —ov yond in th ight h nd co n ! ing chil d in h n wh ks ! A hu nd d p ou nd t th th Th l dd cu ! th nd o upp l th n th oth n On A do n t t ckl in hi b v y cl b s t th t p ung of th l dd H oi t noth ! h c i s sho rt ! T ount t th window f t n th op l h H Up it go No ’ the , re o e res e ze s ar s e ss re “ ” oo es . e . er ra e , m e s re e re ers , a a er s er a r a e m ere ’ r e mm m re a er a “ . s o o s e a e o e s e o er , o m - o a e r a er a ers , e a m r a e a er . ” as e s e r e, as es F IN L U E N CIN o m G T B Y D E S CRIP ION m 2 45 m n d l ts ing th fi into ugly p tin down t b e cu d by hi co d th n ! hout th c ow d B vo fi k th ough th up o of c ckling ti b h b A c oof h f ll n ! L oo k liv u p th ! G t G d ! Th ock nd tu bl in with d f ning o w y Th w ll c s t b th Th col d t uth v l it lf Th p c t to An o l d n h b n c i d into th thin g fu n c Th fi n b nt with th w ight of g u h th ough th fi lin wo ving nd w inging h h nd nd op nin g h h t h i king of g i f Poo J ohn ! H w ll I h d ! An d b v l dh w t ! gon n w H l o t hi wn lif in vin tw o nd B ut h — n w h w y in th w th ! h n p oin ting t p t th c u l ov n Th ngin do th i w o k Th fl i An di ut gl oo h ng ov th uin l ik fo id bl bl ck n d p ll — t h noon of nig h i d And t ARD E NNE S J ONE S F OS TE R p m the r e “ a ra re , 4 a e s a re a a r e , r e s , r ea e a rs as ra r e re a o e e rs ra m as e r o a r s e, r r er e r ar e se . . . re e s a a a r es " ea s re r e see e a . ea e a e a rr e a m . . e . e a , es r ar rea e ss , a e e, ea r er e . as a e e o o e s e e e re , s o a a er r e r e ” e . s e a s a sse e re s m m es a r ’ a m as , e a e sa e ere e r s a s ra a . es e a e . ’ m e ra e ee , e s r s s e ’ e ” m o s e re r o e r e , s e e, m e m e a s s a e m rea ‘ e , sw e r s o ra s s b b a nd oo re , a o o ea s , e e, o a ee r e . e a e . - . . Q UES TIONS AND ANS WE RS gra p hs on one of these : the ra c e ho rse the o tor boa t golfing tenni s ; let the first b e pure exp o sition a nd the second p ure descrip tion 2 S elec t y o ur own the e a nd do the sa e in two r n o a o u s s e c h e sho rt e x te e es p p rt o rigi n a l a ddress in the over orn a D r h e l iv e a s o 3 ented styl e 4 (a ) Point out its defects ; (6) reca st it in a o re fec tive style ; (6 ) sho w how the one surp a sses the o ther ef M n a k e a l i s t of t s u b j c t w c l nd l v h i e e s h e t h e se es 5 to desc rip tion in the styl e y ou p refer D el iver a two inu te sp eech on a ny one of the 6 us g chi efly b ut not so l ely d esc rip tion For one inute look a t a ny obj ec t scene a ction 7 1 Write . , . m two p a ra , m m m , m . . - . m m m . . . . m - . . , m m . , , , . , , , 2 46 THE ART or PU B LI C S P EAKING m pic ture or person yo u choo se ta ke two inutes to a rra nge — yo ur tho ughts a nd then deliver a short descrip tion a ll a k ing wri tten no tes wi th o u t In wh a t sen se is descrip tion ore persona l tha n 8 , , m , m . . exp 0 5 1tion ? 9 Expl a in the . differenc e b etween cientific a nd a n a s i ic descrip tion I n the styl e of D ick en s a nd Irving (p a ges 2 34 IO wri te fi v e sep a ra te sentenc es d esc ribing fi v e cha ra c ters by — one sen tenc e to ea c h ea n s of sugg estion D escrib e a cha ra c ter by ea n s of a h in t a f ter the 1 1 a nn er of Cha u c er (p Rea d a l o u d the fo llowing wi th sp ecia l a tten tion 12 to g esture : o l Y u w good d l of it Y u His v y th o t w l ook d ov v y l w f nc of whit c v t (wh of no n b h l d th ti f h f t n d it b hind ) nd th it h d v v ll y b tw n tw j utting h ight of coll n nd l y b fo you It d t y on th p t of M whi k l nd g n tl n ll is Th i no d c p tion l di P c k niff S did hi h i j u st g i l d h o ly c l p v d p c nd ll b u h d ff hi fo h d with n i on g y which w lightly d oop d in kind d ction with stood bol t u p ight on which w l k though his h vy y l id S did hi p fr f o co p ul ncy S did hi nn which w s soft nd oily In wo d v n hi p l in bl ck uit nd t t of widow ll t nd d t th s n d d ngl ing dou b l p u p o e nd y gl c i d l oud B hol d th o l P ck niff ! CHARLE S D ICKE NS M tin Chu l wit a rt st . , . m m m . . , . . er er a e a a , e er a a r ra r m a . s r , e a a r e “ a , s e e e s o e e - e e m a m a ss , a e ra e e , s re re a ea e e o m a a e er , r a e a e, ea es . m m s e . e a r s - ee e ee , a zz e ar m , a s ” refer a nd Wh ic h of fo ll o ing do yo u p t h w e 3 s S h w s a b l oo ing l ss of f r sh ight n p lu p lting nd o y ch k d s n of h f ri p nd tridg — h I R N c V G I p e a , s a e a , . a , a - 1 . r zz e e r, s a m r a s S ee , a e a r, o e e a ar e s s r ers s . es a e re sere e , a a , a r, o . r o e s a m o . e re a o sa ” or s . ra e , e ea e e as a e r es a , , e m m e e er a as e see s a e e o m e re , or e, sa o . e . r ee e re e e o ra ee e e, a ea m e e e a as er “ s ea e e r e ss s e r a e a a , o e er . Why ? a par ' a the r s 2 48 THE ART or S PE AKING fa vora b ly or unfa vora b ly the descrip tion s of a ny tra vel ta lk yo u ay ha ve hea rd recently 25 D eliver a b ri ef origina l tra vel ta lk a s tho ugh yo u were sh owing p ictures 26 Recast the ta lk a nd deliver it witho ut p ic tures 24 . Cri ticise, PUBLIC m , . , . . . . CHAPTER XXI I N F L U E N CIN G B Y N A RRA TI ON of n tion i th t of w iting in hook nd y king th p p op i t thought follow Th p n p l con i t in o i t h o u g h t t h o f c t t h o f c t in t th ; p p p p p pp fi t p p ing th ind f wh t i t co n d th n l tting it o —WAL TE R B AGE HOT Lit y S tudi The ri e c1 m s s s e r a e e ar re rs m s a rra r a e c a rt r e ar a m or a er r s a m er e, a o era r , r e a e es . r a e r e a e , s a es e a e . m m mm m m m m ch i cu iou ly hi to ic l Mo t n you y ob v p k onl y t n t ; n t in i p ting wh t th y h v oft n v y ll tt b ut in thought, which ind d w xhibiting wh t th y h v und gon n which i quit unl i it d n do t lk dil t Cut u off f o N tiv h w of conv tion v n ong th wi t l n t woul d th gui h into d t ch d h ndful nd ong th fooli h utt ly v p o t ! Thu w do no thing b ut n ct Hi t o y w y littl b ut cit it —TH OMA CARL YLE On Hi t y Our ser v y er e, s s sp e e m e a o e e s re a e a s e m a e, re e Only e a e a s, s a s e , a e a S , a a , e s a a rra a e a s e e e, ses , s e s or a er , , r e mll gmn of e a e or see e . s . er . e rsa s, a s ra e a e a er e rs a ar e e a r o e re ee e s a rra e o ea s r r o a er , e sa . grea t field of na rra tion offers its resourc es to the public sp ea ker a nd tha t i n cludes the a n ecdo te biograp hic a l f a c ts a nd the n a rra tion of ev ents in g en era l — r n o e ea sily defi ed tha n a stered i s the Na rra tion reci ta l of a n inci dent or a g ro up of fa c ts a nd occurrenc es in such a a nner a s to p roduc e a desired effect The l a ws of na rra tion a re few b ut its su cc essful p ra c ti se involves ore of a rt tha n wo uld a t first a p p ea r—so uch indeed tha t we c a nno t even to uch up on its technique here b ut ust content ourselves wi th a n ex a ina tion of a few ex a ples of na rra tion a s used in pub lic sp eech a a s se e t the , , , ' m m m m m m . - , , , , . m , m . , ART OF PUB LIC S PE THE 2 50 m m m AKIN G I n a preli ina ry way notic e how ra dica lly the public sp ea k er s u se of n a rra tive differs fro th a t of the sto ry wri ter in the ore li i ted scop e a b sence of extend ed dia l ogue a nd cha ra cter dra wing a nd freedo fro ela bora na rra tive On tion of d eta il whic h c ha ra c teri z e pl a tfo r the o th er h a nd there a re severa l si il a ri ti es of eth od : the freq uen t co bin a tion of na rra tion wi th exp o si tion descrip tion a rgu enta tion a nd pl ea ding ; the ca re ex erci sed in the a rra ng e en t of a teri a l so a s to p rodu c e a x) ; a strong efi ect a t the c l o se (c li the v ery g enera l ” pra c tise of conc ea ling the p oin t (déno ue ent) of a story un til the effective o en t ; a nd the ca reful suppression of n eedl ess a nd therefore hurtful deta il s S o w e see tha t wh ether for a g a z in e or pl a tfo r the a rt of n a rra tion invo l ves fa r ore tha n the reci ta l of a nn a l s ; the su cc ession of ev en ts reco rd ed req ui res a pla n in o rder to b ring the out wi th rea l effec t It wi ll b e no tic ed too th a t the li tera ry styl e l n pl a t for na rra tion is lik ely to b e ei ther l ess p o li sh ed a nd ore vigo ro usly dra a tic tha n in tha t intend ed for pub lic a tion ore fervid a nd eleva ted in tone I n this la tter or el se resp ec t however the b est pl a tfo r sp ea king of toda y diff ers fro the odels of the preceding g enera tion wh erein a highly dignifi ed a nd so e ti es p o p o us styl e wa s th o ugh t the on l y fi tting dress for a pub lic delivera nce Grea t nob l e a nd stirring a s these older a sters were in th eir l of ty a nd i p a ssion ed el o quenc e we a re so eti es Opp ressed wh en w e rea d thei r so u nding p eriod s for a ny grea t leng th of ti c ev en a ll owing for a ll tha t we lo se by issing the sp ea k er s p resence voic e a nd fi re S o let , ’ , , , . , , m mm m m m m m , , m m m m mm m m m m m , . , , , . m m m m m , , , , m mm m m mm . , , , , . , m m m , h ’ , , . 2 52 THE ART m with AKI NG OF PU B LIC S PE girl to tha t of sitting on a b lock of ”1 ice in win ter c ra cking ha i lston es b etween his teeth The fo regoing quo ta tion ha s b een in trodu c ed ch i efly to i llu stra te the fi rst a nd si p l est fo r of a necdo te—the bodying a pungent sa ying singl e sentenc e e Ano ther Si pl e fo r is tha t which convey s its ea ning wi tho ut n eed of a pplic a tion a s the o l d p rea c h ers u sed to sa y Geo rge Ade ha s quo ted this one a s the b est j oke he ever hea rd : ng ev e Puri ta n a , . m m m m m m . , . m mn mn id m m W ol n l o king g ntl ilw y c i g On g ntl wif nt t ining thi u n N t v y p li d Two ra s e e o e . re e o : e e e e er iding tog th in a I you t th oth up on th oth g ntl w ere sa a er ? s s er a e e a - a rr a a m e ” r e o e er er : here er e r s e e . necdo tes need ha rnessing to the pa rticula r truth the sp ea ker wi shes to c a rry a l ong in his ta lk S o eti es a d e b efo re the sto ry is to l d a nd the the a ppl ic a tion is a k e the co pa ri son poin t by a u di enc e is p rep a red to p oin t a s the illustra tion is to l d Henry W Gra d y used thi s eth od in one of the a n ecdo tes he to l d whi l e del ivering The New S o u th his g rea t ex te p o ra n eo u s a ddress Other mm a m m . m m , . , . m . , ing with t ngth nd vi rtu n Th ho k wh p ut ov ll n w thing t b d p i d John S ith hop found d 1 760 w o th n hi doo th t t wh hu ng u t thi tc h d by hi yo ung iv l c o ign B ill Jon E t bl i h d 1886 N o l d t oc k k p t in this Ag e do es n ot e e s a re a m r, s a s ndo w m o ’ . s se s s r es ! th es e s e a ll e S . a s r e m e , a s a s re ss er a . o m o as , e s ree e e, a re o o s or er a s e I n two a necdo tes to l d a lso in The New S outh Mr Gra dy i llu stra ted a no th er wa y of enfo rcing the a ppl ic a , , 1 H ow to A ttra ct a n d H old an A u dience, J B erg E sen we in . . F IN LU E NCIN G ARRA TION BY N 2 53 ion : in bo th insta nc es he S p li t the idea he wished to r f r n r f r drive ho e br g g a t b e o e a d a t a t h e t e p p The fa c t tha t the sp ea k er i squo ted reci ta l of the sto ry the words of Gen esi s in which the Ark is d escrib ed did not to detra c t fro the b url esqu e hu o r of the sto ry see o t t tch of you cou t y tonight I m I b p k th u tm I com Y u f om mm b th w h om n t t oub l d bo ut tho wif nt him t n ighbo with p itch of m ilk n wh o up tion wh t ip p ing on th t p t p f ll wi th u ch c u l int ffo d d into th b mnt nd whil p icking th l nding lf up h d th p l u of h i ng hi wif c ll u t hi John did you b k th p itch ? id J ohn b ut I b ding d if I don t N I didn t wh c ll t mf om b hind y in p i m whil tho S k n indul g nt h ing f om wi th n g y if n t with cou g I you I b g th t you will b ing you full f ith in A ic n f i n nkn t judgm nt up on wh t I h ll y Th nd f ch onc wh tol d omboy of th B ibl l on n ol d p w going t d in th m o ning Th boy finding th p l c h w Th n x t glu d tog th th conn cting p g o ning h d on th bottom of n p g Wh n No h w n hund d nd — h t t h n y y o l d oo k u n o i l f f w i w h w th n tw t n hu nd d n d fo ty cu bi t l ong fo ty tu ning th p g cubits wid built of gop h wood nd cov d with p itch in id H w n tu lly p u l d t thi H d it g in ut nd v ifi d it nd th n id My f i nd thi i th fi t ti I v b u t I cc p t it n id nc of th t thi in th B ib l f fully n d w ond fully m de If I coul d g t tion th t w you t hol d uch f ith t night I could p oc d ch fully t th n of con c tion t k I oth wi p p o ch wi th m mmm t m , . m es m ea m r o se e m se “ ’ o, e er e e a a e: se e e a e o e re er e, ” o a m er e , e a e s e as e . o e, a a r ere e ss e e a e re o a as e r , s, s s e rs ev e e a r - , a e s e a , e er e a sser e . ee se m e rea . e, e re a s s a as a a se r r a e . m as o er r a sa a e e re e re e a a se a er as a s a a r e s ea r r zz e , ea r s o sa e, e a re a ra a s : er s, a , o s e e e e . m “ , m m e es err a a . e ea rs r r , a a e e . a s er ’ a o e o e e as e, e er e r e re a , e e e e r o er er e e o a o re a as as e r re a as a e er ra e ss ra e ss a e e a s s , o a a se ea r o . a . r , re o , e . ea s se e o, e , e sa , e , rea , “ e e a , s e o r s a a e as e o a . r es r r e se r o, s re se a e a s e m eer se ra o e . n a sp eaker wi ll p lunge wi thout introduc tion into a n a n ecdo te l ea ving the a pp lic a tion to fo ll ow etho d : The follo wing illustra tes thi s l w foot d d ky w l ning g in t th co n of A l g th il o d t tion in T x town wh n th noon whi tl in th Now a nd the m , ar e ra e, r a S e s a - e ar a e as as . ea a e e a s e r s e er e ART OF PUB LIC S PE THE 2 54 AKING c nning f to y bl w nd th h nd hu i d ut b ring th ir g ub bu ck t Th d ky li t n d with hi h d on n id until th ock ting cho h d quit di d w y Th n h h v d d p igh nd k d t hi l f D inn f ti D h go o folk —b ut j 12 o cl ock a ac r e s r m mll re e ar s e ar s e rr e s e o e e se a e a a , sa a m o f D o ub tl ess the . o e s e ea es ’ e, e ’ mc n f c o i e c , e . s s e c . e ea a itu tion in thou nd of A t od y An d why ? t t S ea , : or s e o , m m m a er . Tha t is the a nd s e m a ” ! e e e a ar s fur e S ee a . e r a e eri a t a l ge r e s, ar . m m m mm quent pla tfor use of the a nce do te is in the pulpi t The ser on illustra tion h owever is not a lwa y s stric tly n a rra tiv e in fo r b ut tends to ex tend ed co pa ri son a s the follow g fro D r Alex a nder Ma c l a ren : st re . m M en will , , , , . m m nd Indi n f ki do with th i bov th i lv up on h d un til th y tiff n th Th y will p ch th l ik S i on S tylit f y till th bi ds b u il d th ir p ill n t in th i h ir Th y will u ll th di t nc f o C p C o o rin t J u gg n ut t p l wi th th i bodi s l ong th d usty o d Th y w ill w h i hi t n d cou g th lv Th y lv Th y will b u il d c th d l will f t n d d ny th nd ndow chu ch Th y wil l do ny of you do l bo by fi t n d t rt ll th u you l iv ndl t k of king your t th lv dy f h v n nd winning it by ob di nc nd by ight ou n Th y will do ll th thing s n d do th gl dl y th th n l i t n t th hu b l ing g th t y Y u do n t n d t do nything—w h I it you w hing th th t will cl w t n you ? W h nd b cl n ! N ns cl ning w only t t of hi ob di nc n d tok n th t it w s G d w h cl n d hi in Jo d n s w t s Th w s no p ow t t k w y th t in t of l p o y Ou cl n ing is in th t b l ood of J u Ch i t th t h th p ow t t k w y ll in nd t k th foul t ong t u p u nd cl n sta e m a er as a e es r e s a a se s a s e ra er o o a o e a m es a e s es a e , se ea e a es a a m s ere r s e s e e s m m re a o a s, s a a “ , r m or a a e a , e ’ a ’ a er a a a s , a o . fina l wo rd u st b e sa id abo ut the introduc tion a n ecdo te A c lu sy in ap prop ri a te in trod uc tion . , o aa s e a ea e ea er ea e as a e, a r er e e a . m m r a sa a r a ra s a e e s . e . a a e ssa es m as e se as as e ss e a es e , m m e . a m e e se a e a a m e e e e m r e e r es a e a as a One the . ea r s e es a as o se se s a r e s e r e e r r s a s a e e re a e as o a ea e e o er, a ea s e ee s r . a ea s e . or e ss m m m er e a rs , or a r S e r e s re a r a ea r e . e e ’ e r ar , . es , . o rs a e re e e e r es s r a s e a rs a m s ea as to is 2 56 PUBLIC THE ART or mn d l of ov m n of m S PE AKING d qu t o g n f th t th g nd n tion l ind Ro n subli ity u t b l ook d f in Ro n ct nd in Ro an yings Wh g in will you find o d qu t xp ion of th — t t h t h o n j y n in ying of j n s T R I p t — i th t C t nt ought t di st nding ; p t t ! I c h of i o i l g nd u wh w p p lying th t h p — n ll h fo o t of t i s w o l d nd in g d t ll h t oth n tion th p nt tiv of hi wn — hould Exp s its ch ct i tic vi tu in hi f w ll t— hould di in p in tu t th h oul d th l t n y fi st with Ro n nd tti tu d count n nc nd in ol di If thi h d n i p wh t foll o w h d con ul j ty nd is l o st th t i l g nd t to y up on co d n wh o t b v n ti con ul w s in M iu th dung on n d l v w nt in wi th co i ion t p ut hi th w d th Th on th tw xt iti s of t p x lt d n d fo l o n hu nity it v nw d n d it r w d Ro n con ul nd n b j ct l v n B ut th i n tu l l tions t ch o th w by th c p ic of fo tun n th con ul w in ch in ; th l v w f t u ly inv t d o nt th bit of hi f t B y wh t p lls wh t gic did M iu in t t hi lf in hi n tu l p ogativ ? B y v l d wn f o h v n f o th did h in th wh t g in inv t hi lf with th p u p l nd twinkl ing of n y lf nd hi s in ho t of h do wy l ic to ? p l c b tw n hi bl nk up cy of g t inds ov w k on B y th ttl n k do bi d S t nding H f in t d th l v l ik T n iff h ot hi with hi y n d id Tnn nd id ? D o t thou f ll o w p u h C M i Wh t th p til qu king und th t kill C iu M iu ? voic n d ing t ff ont th con ul y nk g ntly t th — — g ound tu n d ound up on hi h nd nd f t nd c wling u t of th p i on l ik ny o th v in l ft M iu t nding in t df t nd i ov bl sol itu d th c p itol — TH OMAS D E Q U INCY ing to Ro the m mm mm m mm er ra s e e re , a a or ere s ee “ a er a s, e re m r er s a ra s a or a s, ar e ea o m a e a m r a e o re a mm m s ro s ar ar a ar e e s s a e re e s a e e e e m “ e o m e re o, e, e es occ ere a o e, or r o s ar r e s ar m m a e m m m m s a ssa s s ere a r e a e a s s ea as s a m m er a a ar e m er , e as e , e e, er r es ea e a re s e o e ra s s a ar a e er e , m e, , , a . a . sa a a rs a ee e a r e , sa s a or a e, s e, o es e , e re m m ra as e , s , s e, ar a a es a e s e e r r s a ar a ” o a e es ra ea r re r s a e e, , ea r e . e re a a e, as a r a m s se es a re e s a m m m or e e r s m a e r ra a e o e a . a , a s a s ea re s . r a as a e S a er a a s a a e e e, se ee a sc r m e e e c e ra a o ar S a e se ra a a s s a a e a e re , e er s, s , a er a es - m m m roc m m m e a a s , o res , . a es e rs e a ar ss a : m e se o m ea r as o s e a s se r er e s se a e, e . e re a a , r a re s e ar e , , as s a e e se . m er s a o r S a a e ac ’ re a a , e e e era ore a a . re ss o , s o e . sa a e e , or a . . m e a re m m m m m r a a e ra a r a as a m e e r a s r e s s s es ra re a a e a - a ae sa r ra e e a a e s, a e a a re se ee ‘ e r a s re ‘ or e s a m m a a a , m n ot a n a a a , e ra e e or a es a o s e e e it , wa s ea I a . . H ere is a m ml i ila r ex a s p e, f c ed by r p e a a g enera l his F IN L UE NCIN mn torica l sta te A ATION N RR BY concluding a nd t e G wi th 57 utobiographica l a deta il s : REMINIS CENCE OF A m o ng in m on — ncock — it S p ring LE XI NGTON ill b ighty y th l g th n d Ad th M o nd A H on d y of thi th of th t G t D liv nc w both t L xington ; th y l o B i ti h ol di h d ob t uct d n offic with b v w o d nd c thou nd t ong c t i th y th ov f t i l nd nip th b u d of F do u p iciou ly op ning in th t ly p ing Th town iliti c t og th b fo d y light f t ining A g t t ll n with l g h d nd — n wh h d n vic high wid b o w th i c p t in h ll d th into lin nu b ing b ut v nty nd b d v y n l o d hi p i c with p ow d nd b ll I will o d th fi t n hot th t un w y id h wh n o f lt d unl fi d up on b u t if th y w nt t h v w D on t fi l t it b gin h n you know wh t foll ow d ; tho f nd G ntl ch nic fi d th hot h d ound th w o l d A littl onu nt cov th bon of uch b fo h d p l dg d th i fo tun nd th i c d hono t th F do of A ic nd I w bo n in th t littl town th t d y g v it l o th i li d up id th o i of th t d y Wh n boy y nd b oth lift d u p n S und y in h ligiou p t iotic d th fi t onum nt l lin I v nd h l d whil I w S c d t Lib ty n d th Right of M nk ind oil bl of G c nd tudi d th S inc th n I h v in ny n nci nt town ; n y on Eg yp ti n ob li k Ro d wh t w w itt n b fo th E t n l i d up M o h v l ut of E gyp t ; b ut no chi l d ton h v ti d t l d I uch otion th u tic n of n wh f ll In t of G d nd th i Count y th S c d C u n th S p i it of Lib ty th Lov of Ju tic w ly G ntl f nn d into fl in y boyi h h t Th t onu nt cov of y wn kin folk ; it w th i bl ood which dd n d th bon It w ng t L x ingt on th l ong g which y wn n t nd chi l d on th t t on ; th t ll c p t in wh h ll d One rni ra w s a “ a s r e sa a r a or s mm “ , a rs ra e r “ a m rs ’ e ere a e e s a ” a se e a S e ers ea r e re a es e as r re a er e o re e rea m o e o s e a e e es e , s a s a e e e r a e r a e e re se a er r e s a ea r as s ree ra ss a se e a e s e s e a a, a m m , , a r e ar s, e r sa e . es ree e a a e s ra se e es s se s as e e er s o e rre “ . e mm m m m s e, a . e r as . a e r a m m e , s e o er r e e , e e r a o ar se e ese r e s, a a e a as , a e a s m m mm m re e rs o e e e a e e . a r, ers a er re , e as a sra e ea a e e s a a e, o a a . . a r as . ere m er re e e e a ar e er a m m e e r es a a v es e rea e o e a , e e a e r e e e a r e s re a s a er e se r a m o e e, r s a a , . a a se r . e r sa a ea e e e e r sea re e se e a m mm m m m m mm m m m a a ar ers , e er a e, , e e a sa , s s s , er a m r . a rr er re re e a s s o a s e e e o , a a e r a , “ s a e e e a r e ss a a , e, s a re e m s m m mm e rea e r a a a re e . , r a a ar e e e e se s a e m m m m m m o se ze e . e e er e e s, a ra e r or , m so a , a , a ere e, er a s r ea r a era e m ea rs e e a a re a a w a ere ea r re o a ers e a o e e a e e a rs 2 8 5 THE ART or PUB LIC S PE m m AKING f ll ow f r s nd ch nics into st rn r y a nd sp ok su ch b r ve nd d ng ous wo ds s op n d th wa of A ric n — — h s t t e Ind p nd nc t l l v th fi ld w y f ther s Il fa th n dt d ut of his B ibl nd with a usket h th f I l n d a nother ligious th t d y c p tu d f o l sson, th t R b ll ion t Tyr nts is Ob dienc t G d I k p th b oth S c d t Lib ty nd th Rights of M nkind us th both In th S c d C use of G d nd y t — TH E OD ORE PARKE R C ountry his e er a a a e e e a a e ee e m m e o a e e re e e e oe , ea r r e as , e a a ’ a . e o o e re a e re e er o e , e a e m m m ra a e, a o a e o e e a m r re a e ea o o rea e a r a e ea r . e er a e, er a . m a a o , a . . m m m I n this wider e a ncip a ted na rra tion we find u ch ingling of o ther fo r s of disco urse grea tly to the a dv a n ta g e of the sp eec h for th i s truth c a nno t b e too stron ly g e pha si zed : The efficien t sp ea ker cuts l oo se fro for for the sa k e of a big free effec t The p resent a na lyses are — do for no o ther purp o se tha n to acqua int yo u wi th for not a ll ow a ny su c h od els to ha ng a s a weight a bo ut yo ur n eck The foll owing pure n a rra tion of even ts fro Geo rg e Willia Curti s s Pa ul Revere s Rid e va ries the bio gra phic a l reci ta l in o ther p a rts of his fa o us ora tion : t t n o cl ock ight hund d B itish t oop s Th t v ning und Li ut n nt Col on l S ith took bo t t th foot of th on nd c o s d t th C b idg sho G g thought his Co d th p op l s c t h d b n k p t b ut L o d P cy wh h d h on th t th t oop s woul d iss th i i u s y on th Co d ceiv d hi G g in t ntly o d d th t no n should l v d th iv E b n Do r th to wn B ut s th t oop s c o nd Ad s w s iding ov th N c k with ss g t H ncoc k riv t w s owing ov t Roxb u y nd P ul R v th d with hi f i nd Rob t N w n Ch l town h ving g On t show l nt n f o th b l fry of th Old No th Chu ch — s S ign l of th rc h of th if by l nd nd tw if by s B ri tish m m , , mm m , . , m ' m . m e a m m er e re e , , a e e e e a e a r o , a r es o er . , a e a e a s m a a r o o , ere a e re m , s e e e a e a r ‘ ea r o e e r a e r, mm r , e ze r er e , e m er e m e r e e er , e ea e r a e e e er r e , e m a e r a a . r a ree ea a a r sse r a o a , a a e r r re r s a e a . e a e er r , a . r a re a , e o m m m m e ee m m e , - r s e a ’ e a e e m ’ ’ e a a , o a , r e a e THE ART or 2 60 Ha ll AKING nd th t s up on th hill it is you lv s who you s w lking full Of hop nd d s glowing with con ciou p ow nd nou i hing youth ubli nd in thi f ili t p l which u ly h nev choed with l oqu nc f vid nd i n p i ing th t of you co nc nt o r tion it i n t yond youth in th g ll i s wh th y whi p ing t fondly b li v id ; it i you y ond young lv wh in th d y th t no o u uring oth nd g nd oth Of tho id t t th f i n nd w o n in th p ictu H pp y th w o n n d w y coul d th y h v f lt th i ol d y s till gli t ning with th t li light nd th i h t y t b ting with undi ini h d H p p y w b th n wh t v sy p thy n d p i tion y l ft undon if tu ning t th h v b n chi v d wh t v li y ho Of u w b ing wi th u th illi it b l h op olution th in xtingui h bl f ith Of youth th u nchill d G E ORG E W LL IAM C U RTIS of a nd rse H op e C ollege PU B LIC S PE m m m ee e s s s a e a er s s, a e e e m m ea r a er , a e a e ee e r ea r o e e e a e s ea r er e ea r s a e e a rs , res , e er e a er e s e s a e s r r s a . e re s e a s re e, e re e, s s e as o, a ea e e se r e e re , a re ers e a . , er m m a re a a , a , re I a o a u hs t tr t fro ay e a ny s be r e ten to se e e a e, . . AND EX E RCI S E S m ou c h y m u d illu Cl ip . e er r e e e I QUE S TIONS , m m mm m m m m m a er a e r ra r o rea er e a e a s a as s er e r e as ra e as a r e rs a a a r s re m m m mm e es s s a re e ‘ s o, r e , e, a re e a a er m a re s e e o e, er e r, a a es er se o ar e so e U . a necdo tes and stra te sta te wh a t . of these in your own la ng ua ge wi tho ut a k ing a ny a ppl ic a tion r n o t o a e t h e a F o d l iv k ppl ic a r h t n e o e s a s t e e e 3 tion b efo re telling the a n ecdo te D el iver a no ther so a s to spl i t the a ppl ic a tion 4 h a tion a f ter o a e t e a l iv no h r k ppl ic D r e o a s t s e e a t 5 the n a rra tion D el iv er a no th er in su c h a wa y a s to a k e a sp ecific 6 a ppl ic a tion n eed l ess n t r a a e e Giv h r y of in od u cing n cdo by e t ee a s t w 7 sa ying wh ere yo u hea rd it etc D eliver a n i llustra tion tha t is not stric tly a n a nec 8 do te in the style of Curti s s speech on pa g e 2 59 m 2 . . D el iver fi v e m , m . , . m . . . m . . . , . , . . ’ , . F IN LU E NCIN D eliver millu liv mmn 9 the . for 10 sa . e s De a BY N a n a ddress on a ny ARRATION 2 61 r r a a t e s u b l ic c h c u ing p , in thi s cha p ter a ddress on so e histo ric a l m stra ted er a n ner G . . the m y p a thies a nd viewp oint of the sp ea k er wi ll co l o r a n a n ec do te a biog ra phy or a histo ric a l a cco u nt 12 Illustra te how the sa e a necdo te or a section of a hi sto ri c a l a ddress a y b e giv en two differen t ef fec ts by n r r o a l ju c e e s e di p p I3 Wha t wo uld b e the effec t of shifting the vi ewp oin t in the idst of a na rra tion ? I4 Wha t is the da nger of using too uch hu or in Too uch p a tho s? a n a d dress? II . E xp la in how the vent in e s , , . . , m m , . . . m m m m CHA P T ER XXII I N F L U E N CI N G B Y S U G G E S TI ON mm o ti s th f ling th t giv n w y Of l ooking t thing is undoub t dl y co ct p v nt th ind f o thinking t a ll In vi w of th hind nc which c t in kind dg of f ling th ow into th wa y Of thinking it ight b inf d t h t th think u t up p l nt of f ling th in th inn lif NO g t i t k coul d b d If th ndow d n with th p ow t think t f l nd t to C n t d l cti iti s of th ind ign d t b in s v will th confl ict nd l ong ny n of th i n t p v t d ll ow d xc ily id nd t ngth n th oth it n c un t t l function in th i no — ning t Think NATHAN C S CHAE FF E R Thinking nd L S e e e ee a rre e re e e er e e e r e rea e se , , e e r m era a as a m r e e m m m re ss s er a e e e e a m m o s s a a o , o s re e s s or e ee e . , e er e er e ee es o . m e e a re e essa r s a e s , e o a er a e e v e ss , es s a er rea a so a o e o r . s er e a r ra m r a erre e e ee ree s s e m m e a a o o e or a e ers e . . a , m ea r o . h a t n e e a d e r h n ig h co p a d cid u on v lue e w e e w e W p of a ny given idea s we rea son ; wh en a n idea p roduc es in t r e s e e t s t t w t o p inion c ion i h o u fi b ing u b j c d n a r a o n a us t es s e a re d l ib ion ov d by u gg ion w e r t a e e o t a r a a e s t o b e a t fo l y o u g h oning ni l h t r r e s a n w Ma b a sing his a c tions on the co nclusions of na tura l logic It or n e di O r a upp o d h b fo fo ing p inion d ci ng r e e a t t s e s wa s on a co urse of conduc t he weighed a t l ea st so e of the r r r e a e n e r a a t t e d on g in p fo d o t h e s t a n a r a d o f s rea s r r r a e es e B u t r a s e l i pl p oc of oning od n ch r es s e s e ss or r t o u r M s t e i s t e o n q u i o pp o i u o of s h e t t e h t a t h w a s s h Op i nion s a nd a c tion s a re not b a sed up on con scio u s rea son ing but a re the result of sugg estion I n fa c t so e i er s r re a s e u h o i i d c l h of pu oning v y c t a n a a t r t a e e r t e s a t r e a e a s s s e t e in v g ind M o n o u d ci ion d r e a e a h e t r e ra , , , m , , m m . , m m m . m mm m , . . . , m . m , m m , 2 64 TH E ART OF PUB LIC S PE m o fi es itsel f the AKIN G ongly with every a ssa ult up on its opinion The la tter typ e is a l o st i une to sugg estion One of the singul a r thing s a bo ut sugg esti on is tha t it is The ind tha t is rec ep tive to the ra rely a fix e d q u a n ti ty a y p rov e infl exib l e to a u tho rity of a c erta in p erso n ood s a nd enviro n ents tha t pro duce hyp no si s a no ther ; a y b e en ti rely ino p era tiv e in rea di ly in one i n sta nc e e ind s ca n sc a rc ely ever b e thus oved a no ther ; a nd so We do k now however tha t the feeling of the sub j ec t tha t — infl uence p ow er do in a tion con tro l wh a t a u tho ri ty — li es in the p erson of the sugg ester ev er y o u wi sh to c a ll it is the b a si s of a ll sugg estion The ex tre e fo rc e of this influ enc e is d e on stra ted in The hynop tic sub j ec t is to l d tha t he is in the hynop tis a k es swi wa ter ; he a cc ep ts the sta te en t a s true a nd ing o tio ns He is tol d tha t a b a nd is a rching down The S ta r S p a ngl ed B a nn er ; the street pl a yi ng he decla res he hea rs the usic a rises a nd sta nds wi th h ea d b a red I n the sa e wa y so e sp ea k ers a re a b l e to a chieve a o difi ed hyp no tic effec t up on their a udienc es The ea su res a nd id ea s which a f ter in hea rers willéa p p la ud divi dua l reflec tion they will rep udia te unless such refl ec the convic tion tha t the fi rst i p ression is tion b ring s m correc t A second i p o rta n t p rincipl e is tha t our feelings re str . . m mm mm m m m m m m , , , , . m , . , , m m mm m m m . m . . , . m fl m m m m , . , m , . thoughts Onc e a nd op en m m ind , wills tend to follow the line the y of of feeling to the qui res a grea ter p ower — to u n sea t or ev en a ll three re m swa it . f o lea st resista nce . feeling a nd it tho ught or wi ll Our feeling s influence one , , F IN LU E N CIN judg m G BY SU GGE S TION m m 2 65 volitio n s uch ore tha n w e c are S o true is thi s tha t it is a sup erhu a n ta sk to a d it to g et a n a u di enc e to rea so n f a irly o n a sub j ec t o n which it feel s deep ly a nd when thi s resul t is a cco p li shed the a s in the c a se of H en ry es no tewo rthy su cc ess b eco Wa rd B eecher s L iverp ool sp eech E o tio n a l i dea s o n c e e our v ery a cc ep ted a re soo n cheri she d a n d fin a lly b eco in o st selves Atti tudes b a sed o n feeli ng s a lone a re r es ju d c e i p Wha t is true of our feeli ng s in this resp ec t a pp lies to All tho ughts tha t en ter the i n d ten d to b e our i dea s : a cc ep ted a s tru th u nl ess a stro n g er a nd co n tra dic to ry tho ught a ri ses a n a g es to The sp ea k er ski lled in oving en to a c tion inds of his a udi enc e wi th his thoughts b y d o ina te the sub tly p ro hibi ting the en terta i ning of i dea s ho stil e to his Mo st of us a re ca p tured b y the l a test stro ng a tta ck own a nd if we ca n b e i ndu c ed to a c t whil e un der the stress of tha t l a st insi sten t tho ught w e l o se sight of co un ter ih — i fl uences The fa c t s tha t a l o st a ll our deci sio ns ii they — involve thought a t a ll a re of this sort : At the o ent of decision the co urse of a ction then under conte pla tion usurp s the a ttentio n a nd conflic ting idea s a re dropp ed out of co nsi d era ti n o The hea d of a l a rg e p ub l ishing ho u se re a rk ed on ly rec ently tha t nin ety p er c en t of the p eop l e who bo ught books b y sub scrip tion never rea d the They b uy b e c a use the sa les a n presents his wa res so skillfully tha t every co nsi dera tio n but the a ttra c tiv en ess of the boo k drop s out of the ind a nd tha t thought p ro pts a c tion m our ents a nd . m , , ’ . m m , m m m . . , m m . m m m , m . , , . m mm m , m . m m m . , m . 2 66 THE ART OF PU B LIC S PE E v ery idea th a t m AKING nters the ind will result in a ction unless Think of a con tra dic to ry th o ugh t a ri ses to p ro hibi t it usic a l sca l e a nd it will result in yo ur S inging s g Ing the it un l ess the co un ter th o ugh t of its fu tili ty or a b surdi ty inhib its yo ur a ction I f you b a nda g e a nd doctor a h orse s foo t he will go l a e You ca nno t think of swal l owing witho ut the uscles used in tha t proc ess b eing You c a nno t think O f saying h ello with out a ff ec ted ove ent of the uscl es of sp eech To wa rn a sligh t chil dren tha t they sho uld not p ut b ea ns up their no ses eth od of g etting th e is the surest to do it E very ind of your a udienc e wi ll work th o ught c a ll ed up in the Th o ugh ts a re not d ea d ei th er for or a g a in st y o u a tter ; the th o ugh ts a ll tend to they ra dia te d y n a ic en ergy p a ss into a c tion Tho ugh t is a no ther n a e for D o in a te yo ur h ea rers tho ugh ts a lla y a ll con fa te a s yo u wi sh tra dictory i dea s a nd yo u wi ll swa y th e V ol i tio ns a s well a s f eel ing s a nd th o ugh ts tend to follow the line of lea st resi sta nc e Tha t is wha t a k es habit S ugg est to a a n tha t it is i p o ssib le to cha ng e his ind a nd in o st c a ses it b eco es ore difficult to do so — the ex c ep tion is the a n who na tura lly ju p s to the contra ry Co un ter sugg estion is the only way to rea ch hi S ugg est sub tly a nd p ersi sten tly tha t the op inion s of tho se in the a udienc e who a re Opp o sed to yo ur vi ews — in fa c t a re Cha nging a n d it requires a n effo rt of the wi ll a su oning of the forc es of feeling tho ugh t a nd will to ste the tid e of c ha ng e tha t ha s subcon scio u sly set in B ut not only a re we oved by a utho ri ty a nd tend to wa rd ch a nn el s of l ea st resi sta nc e : We a re a ll infl uenced by m e ‘ m . - . ’ . , , . m m m mm m m m . , , . m m . m m . - . m ’ , , . m m m mm m m . m . m m . . m m m , , , , m . , 2 68 TH E ART OF PU B LIC S P E AKIN G H ow the S pea ker Ca n M a ke S uggestion Ej ective ' We ha ve seen tha t under the influence of a uthori ta tive sugg estion the a u di enc e is i n c li n e d to a cc ep t the sp ea k er s a ssertion wi tho u t a rg u en t a nd c ri tici s B ut the a udi ind unless it ha s i plicit con enc e is not in this sta te of fi dence in the sp ea k er I f they la ck fa ith in hi question his o tives or k nowl edge or even obj ec t to his a nner they wi ll not b e oved b y his o st logic a l conclusions a nd wi ll fa i l to giv e hi a ju st hea ring I t is a ll a a tter of their confi dence in hi Whether the sp ea ker finds it a l rea d y in the w a r exp ec ta n t l oo k of his hea rers or ust win to it a ga inst Opp o si tion or col dn ess he ust g a in tha t one grea t va nta ge p oint b efore his sugg estion s ta k e on p o wer in the hea rts of his l i sten ers Confid enc e is the o ther of Co nvic tio n No te in the op ening of H enry W Gra dy s a fter dinn er sp eech how he a tte r h hi d c u confid nc of t e t o se e t e e e s p a u di enc e He c rea ted a rec ep tive a t o sph ere by a hu o ro u s sto ry ; exp ressed his d esi re to sp ea k wi th ea rn estn ess a nd sinc eri ty ; the va st in a c kno wl edg ed d ep rec a ted his un tri ed a r terests invo lved ; r i n r o u n of s d h i h u i l i y W o ul d n o s u c h a t d c es e s t t p tion give y o u confi d enc e in the sp ea k er u n l ess y o u were stro ng ly o pp o sed to hi ? And even then wo ul d it not p a rtly disa r yo ur a nta goni s ? m m m m ’ m m m m . . , m m m m m , . , . m . . m m ’ - . m . m m , . m m , m , id nt —B idd n by you invit tion t di cu ion of — c p obl fo bidd n by occ ion t k p ol itic a l — ch I p p ci t in t ying t concil o d s with p op ri ty t l x i t y of t h l i l id bidd n t l n wi tt h w p p Mr . Pre s ra r e S p ee the , , m the m , a er e e e re m r e r a e, r e e o as e m e o re a , o, m o a a r e a e a r er o ss s ea r o s e m , , F IN L U E N CIN G BY SU m GGE S TION 26 9 dju d N w go y d ling ; h ng you cl oth on icko y li b n d don t go n th w t i ion y Th tout t p o tl Of th Chu ch th y y i th n d th i ion y wh v h unfu l hi fl g wi ll n v find th n I bidd n lf in d p n d Of unction nd dd hi tonight t p l nt th oc t in B o ton t nd d of S outh n D b nqu t h ll n d t di cu th p obl of th c in th h o n d of S u n B ut M P id nt if p u p o t Of Phillip k in p f ct f nk n ity ; if n t und t nd nd inc p ing of th v t int t involv d ; if con c ting n of wh t di t i und t nding nd t ng nt ; y foll ow fu th if th t dy u nd i cip l in d p ch nd t y b count d t — t ngth n n un t i d th n i I h ll find th cou g t p oc d wa s y e t a h r e s a m e m re a m a e s ar ee o ea sa s er o e r r m e s er s a s s s e r se o ers a se se e m ’ e es a s r, e s a , , er , es se ra a , a ar ra ea r e e e , e ra er s ar e re s . o s ea e r e e , er r e r e . m er m m e re s s a ee ss a ss e re ss a a e ss a ra as a s re o m s a ese ar er m m e a s , s r s e m . sa e , ee a er e er er a es r a e r e e s a , ar ea r e re s a s , e , er a a , ’ a ss se o , a , es “ m a e s ra e S a ee a e o ra e e m . l o Mr B ry a n s a tte p t to secure the confi denc e of his a udi en ce i n the followi ng i n tro duc tio n to his Cro ss of Gold sp eech delivered b efore the Na tiona l D e o cra tic Convention in Chica go 1 896 He a sserts his own ina bi lity to opp o se the disti nguished g en tl e a n ; he a in ta ins the holin ess of his c a u se ; a nd he dec l a res tha t — he will sp ea k i n the i n terest of hu a n ity well kn o wi n g tha t hu a ni ty is lik ely to ha ve confi den c e i n the cha p ion of their rights This intro duc tio n co p letely do ina ted ous the a udienc e a nd the sp eech a d e Mr B ry a n f a M Ch i n nd G ntl n of th Conv ntion I w oul d u p tuou ind d t p nt y lf g in t th di tin b p n t who you h v li t n d if thi w g ui h d g n tl u ing Of bil iti ; b u t thi i n t cont t b tw n p on o of Th hu bl t citi n in ll th l nd w h n cl d in th ight ou c u i t ong th n ll th h o t Of o I co t of c u holy of lib ty th c u p k t you in d f n th c u of hu nity S o e sp ea kers a re a b l e to b ege t confi denc e b y their very a nn er whi l e o thers ca n not No te ’ a s . m m m m . m m m m m e a r . re s s r es s ea o se es , s m e a s s r a rese er se a a a . s o a a se a s . . e se e s e e , e a : a e es a m m m . e e a ze se , e o o e e m m a a ee e a e e e e e r e a s e ea s s a m m m m m , r m . , e s ere a e ee e ar a s s as m m m s e rr e a r se . s e re ers s a r e er . o TH E ART 2 70 To OF PU B L IC S PE m e, be d e n c fi secure con How d e n t fi con AKING . ca n yo u exp ec t m m o thers to a cc ep t a essa ge in which y o u la ck or see to l a c k f a i th yo urself ? Confid enc e is a s con ta gio u s a s disea se Nap o l eon reb uk ed a n offic er for u sing the word i p ossi b le in his p resenc e The sp ea k er who will en terta in no id ea of d efea t b egets in his hea rers the idea of his vic tory La dy Ma cb eth wa s so confiden t of su cc ess tha t Ma cb eth cha nged his ind a bo ut underta king the a ssa ssina tion ission tha t Queen Co lu b u s w a s so c erta in in his I sab ella p awn ed her j ewels to fin a nce his exp edi tion Assert y o ur essa ge wi th i pl ici t a ssura nc e a nd y o ur own b elief will a ct a s so uch gunp owder to drive it ho e Adv erti sers ha v e l ong u ti li z ed this p rincipl e The ” “ Ask the a chin e yo u wi ll ev en tua lly b uy a n who ” owns one Ha s the streng th of Gib ra lta r a re pub licity sl og a n s so f ull of confid ence th a t th ey giv e bi rth to con fi dence in the ind of the rea d er — o h t t w i t o u t s a h a con It sho ul d but a y not g y g fi dence ust ha ve a solid gro und of erif or there will b e sp ell It is a ll very well for the a ri dic ul o u s c ra sh — binder to c la i a ll the precinc ts the Oflicia l count is just a hea d The rea c tion a ga in st over confi dence a nd over suggestion o ught to wa rn tho se who se Chi ef a sset is f ere b luf A sho rt ti e a g o a sp ea k er a ro se in a pub l ic sp ea king c lub a nd a sserted tha t gra ss woul d spring fro wood a sh es sp rinkl ed ov er the soil wi th o u t the a id of seed Thi s id ea wa s g reeted wi th a l a ugh b ut the sp ea ker was en t so su re of his p o si tion th a t he rei tera ted the sta te forcefully severa l ti es a nd ci ted his own persona l exp eri , , . . m m m m m . m . m , m m . , “ , , m m m m . m - m . - . m - . m m - . , , m m ART OF P U B LIC S PE THE 2 72 AKIN G yond thi p l c Of w th nd t r L oo b u t th H o o of th h d And y t th n c of th y Finds n d h ll find un f id It tt n t h w t it th g t H w c h g d wi th p uni h nt th c oll I a th t of y f t ; I th c p t in Of u1 y —W ILL AM E RN E T m Be s a e m s e e S ers e a o ar rr e a r e s m s a a a e, ‘ a ra m e m m e a e a rs e s ra o s ea e a s er a e a m mm m o ra e a a e . a e, e s e s r , e so . I S HE NL EY . g n r lly cc p t a a e e e e W f a s tru th a n d wi thou t c ri tici s the w o rd s of a n a u tho ri ty Wh en he sp ea k s con tra dic tory id ea s ra rely a rise in the ind to inhibit the a c tion he sugg ests A judge of the S up re e Co urt ha s the p ow er of his w o rd s ultip lied by the vi rtu e of his p o si tion is The id ea s of the U S Co sioner of I igra tion on his subj ec t a re uch ore eff ec tiv e a nd p o w erful tha n tho se of a so a p a nuf a c tu rer tho ugh the l a tter i st a y b e a n a b l e eco no This p rincip l e a l so ha s b een u sed in a dverti sing We a re to l d th a t the p hy sici a ns to tw o King s ha v e rec o ended S a na tog en We a re info r ed tha t the la rgest b a nk in A eric a Tiffa ny a nd Co a nd The S ta te Wa r a nd Na vy D ep a r t en ts a ll use the E ncyc l o p e di a B ri ta nnic a The shrew d p ro o ter gives stock in his co p a ny to influen ti a l b a nk ers or b u sin ess uni ty en in the co in o rder tha t he a y use their ex a pl es a s a selling a rg u en t I f yo u wi sh to influence yo ur a udienc e thro ugh sugg es tion if yo u wo ul d h a v e yo ur sta te en ts a cc ep ted wi th o ut cri tici s or a rgu en t yo u sho uld a pp ea r in the light of — a n a uth o ri ty Ignora nce a nd creduli ty wi ll a nd be one Authority is m in a ctor a sugg estion , m . . , , m m m m mm m m . m m m . . . , . . m m m , m . m , m . . , m m , m m . m m m , . , m m m , F IN L UE N CIN min unch ng d unl follo d p om p ly b y f c G BY SU GGE S TION 2 73 uggestion of authority b e r D on t c la i a u tho ri ty un a ts t we less y o u ca rry your lic ense in your pock et Let rea son ed sup p o rt the p o sition tha t sugg estion ha s a ssu Advertising wi ll help to esta b lish y o ur reputa tion it is up to yo u to a inta in it One sp ea k er fo und tha t a g a zi ne wri ter wa s a spl endid a sset his rep u ta tion a s a Mr B rya n s publicity ga in ed b y three a s a sp ea k er no ina tions for the presidenc y a nd his p osition a s S ecre to co a nd l a rg e su s as a ta ry of S ta te help s hi B ut— b a ck of it a ll he is a grea t sp ea ker News sp ea k er p ap er a nnounce ents a ll kinds of a dvertising for a lity i p ressive introductions a ll ha ve a cap ita l effect on the B ut how ri dicul o u s a re a ll these a ttitu d e of the a udi enc e if a toy pistol is a dvertised a s a sixteen inch gu n ! No te how a uthori ty is used in the following to supp o rt the streng th of the sp ea ker s a pp ea l : a a re the ess e m m s ’ . . . m m m . ’ . . , m m m , m . m m m , . , , , , . - ’ of o Alf d Ru ll W ll c h s ju t c l b t d hi 9 0th bi thd y S h ing with Ch l D win th hono of di cov ing volution P of o W ll c h l t ly c iv d ny nd ignal At th dinn ci ntific oci ti giv n hi in hono s f o l g ly d up of ini c nc L ondon his dd s w He vi w d th p og of civil i tion du ing th l t c ntu y nd d of b illi nt nd st tling cont t b tw n th ri H ffi d th t u Engl nd Of 181 3 n d th wo l d of 1 9 13 ing nd n t l P of o W ll c in i ts s i onl y p og cul p to th chit ct of Ath ns nd th th t th p in t up io t th od n n th t th v y f g nts Ro w th d p i of th p bl s n d t p l s nt d y Of th i n h i p ov d hi t l cop nd ti t H t ll u th t b ut th t h i l o ing hi y sight ; th t n i i S p ct cl p ov ing hi l oo b ut tiff ning hi fing ; i p oving his uto obil otiv b ut lo ing hi l gs ; i p oving his foods b ut nd his l oco Pr r a m s r r m re e e e a a res s m e e r s s ar e a ar e e e s, e er r s s a s e, . a e m e m m e s e e r m e r a a . a ee e ess r r . m a es as e a . er s e ra s s rea s a re e r o s e er ar a e a o e er a re e s e a as s s e e s e s e e s a es r e e a r s a r r er e e e e rs s ar a ra e re se e es a e a s a r s s e m m m m m m m m m m m rs , s a e e e r e ra r re e a e a o e a m m es , es a m ers , ere so s . s a m e ar see a e a as e e e za r a r as s a ar e re ss es se a s e r e a a re s a e a r es e ss r r , a a ar . e sse re ess r r a , e THE ART 2 74 AKING OF PU B LIC S PE m l o ing his dig tion H dd th t th odern white l v t ffic o p h n ylu s nd t n nt hou lif in f cto ytown s ke bl ck p g in th hi to y of th t w nti th c ntu y o W ll ce vi w info c d by th p ort of th P of co i ion of P li nt on th c u of th d t io tion of In u wn co u nt y P of o Jo d n th f cto y cl p op l g in t w int p nc ov w o kin g und f ding w ns u of p oo chil d n nd di tu b s u cont ntm nt with hi H rv st o J nks is o p i i tic H thinks P of of B l ood t n d th t Of city lif th cl i h v b ok n th t th p c down th Pu it n tock th t in noth c ntu y u Old f ili s xtinct nd th t th fl ood of i ig tion n Ni g will b u ddy w t fouling th p u p ing of A ic n lif In of s in N w H v n P of o K ll ogg c ll th oll of th his dd c d g n cy nd t ll u th t thi d t io tion v n signs of indic t s tr nd tow d c xtinction NE WELL D WIGHT HIL L IS m s es as a r a m m a a ar ss r a e a ss - s a ar s a re r ” e a e, a m e e a a a ers e ra a e e e a re S e e ra e s e a ar e o ra s s e m r r a s a e e e r e er ra e a a s a a e e a er e e e ea s e ss r r e a r a a . m m r e ra e s e, er r e r ee s m m a ra , m e ss e e ss r r e s re ss e, a . e er r e re , a , er e e s a re s a r e r m r o r , a e re ses e, ra , e r e a e ra r a e r e m m e ss e m e r a r o o . s e e e a r . e s a e s a re re e a r, , se e e e e e m s a a r s ’ m s e e e e e ss r r a , a a e a . a ra . e e e . - . m m m m m m o v y id co w ning t th A ic n p op l Ou dic l j ou n l fill d with d ng ign l ; n w b ooks nd t ll u p l inl y th t ur p o p l g in f h f fth p M J ff on wh w s onc g dd soci l c i i a re f onting t h v diff d in op inion ti l u th rity a s good D f o th g ntl ng h h dd d u on th p rt of th in o ity Th s wh Op p o d t thi s p op o i tion t ll u s th t on y i function of th b nk nd th t th the i u Of p p nt ought t go ut of th b nking bu in s I t nd g ov n n d t ll th on th th n with th h did with J ff function of gov n nt nd th t n y i th t th is u fi f th b nk s ug htjt go u t of th gov ning b u sin s —WILLIAM JENNINGS B RYAN Fr e e a s er a e e a s a re r ' es , az r ro res m ress, e r s s a m mm m m m m r e r ss er e ou er e a s ra e o o t , see se e e r . e m ers s a resse o o a e m a er e re s e ar e e a s a a , a m m s e e e a es e er e e e re a , o a e r s a o a , o e a e a e o er o o e . s a e o ers r as a o a re e e a a e a e . o c a o eg . a a s s e ’ o cra e er er s a e e o ‘ a e s ar , e es . as , e s a e , a a . . Au tho ri ty is the grea t wea pon a ga inst do ub t but even its fo rc e ca n ra rely p reva i l a g a in st p rejudic e a nd p er I f a ny sp ea ker ha s b een a b le si sten t wro ng h ea d e dn ess to fo rg e a swo rd th a t is wa rra n ted to p i ec e suc h a r o r let bl ess hu a nity by sha ring his secret wi th his pla t hi , - . m m m , 2 76 ART OF PUB LIC S PE THE m AKING m Tha t o a k es ev erybody wa n t to go You ca n reinforc e the p o wer of yo ur essa ge by show g th a t it ha s b een wid ely a cc ep ted Po l itic a l o rg a ni za tion s sub sidi z e a pp l a u se to c rea te the i pressio n tha t th eir sp ea k ers id ea s a re wa r ly rec eived a nd a pproved b y the a udienc e The a dvoc a tes of the co ission for of govern ent of cities the cha p ions of vo tes for wo en reserv e a s th ei r strong est a rg u en ts the f a c t th a t a nu b er of ci ti es a nd sta tes h a v e a l rea dy su cc essfully a cc ep te d th ei r pl a n s Adv erti se en ts use the testi oni a l for its p ower of sugg estion Ob serv e how thi s p rincip l e ha s b een a ppl i ed in the fo l l owing sel ec tion s a nd utilize it on every occ a sion p o ssib l e in you r a tte p ts to influ enc e thro ugh sugg estion : to the big st re . m m m . m ’ m m m . , m m m - , m . m . m . m , N o rth the b Our m m c tu lly b gun Th n xt g l th t sw p f o s th u l h of ounding will b ing t s n l dy in th fi l d Why t nd y h idl ? —PATRICK HE NRY The wa r is a e a r rethre e . r ea r o o a e a e C as e a re a re a e e s ee re s ar s a . r e . e re e . With l p p o ching th l which in p i d th C u d s th H it u ilv D oc t w nt fo th wh foll ow d P t n w f o victo y u nto victo y until th y s bl d n t t di cu n t t d b t but t nt up th ju dg nt l dy nd d by th p l in p op l of this cou nt y In this cont t b oth h s b n y d g in t b oth f th g in t s n of l ov cqu int nc nd oci tion h v b n t ti Th w di g d d ; ol d l d h v b n c t id wh n th y fus d xp ion t th nti nt Of tho who th y woul d t giv l d nd n w l d h v p ung up t giv di ction t this c u of t uth Thus h s th cont t b n w g d nd w h v bl d h und s binding nd sol n in t u ctions s w s v r i p o d up on p s nt tiv of th p op l —WILLIAM J E NNING S B RYAN a ze a m r m a ar sre ar ea , a se e ee es r s o a re ss a e r e se e o ea ers a . ere e e se a e s re m as s r es es er a e e se e m e a e r e e er o , o a rea es a ss e m m sa . a ee r e o e a as ee a re e er , e, a a e er a a se e r s e ra s r a a m re o er e a a e, a ers e e e a rra ea e e o er a re e a e, es e m m a se e e e o e o o er r , r e re re m er e r ss , s e er e o s e zea r a a a s a a m e e ee re e s r e , a . e re e o o e a a e ere . . F IN LU E NCIN Figura tive G BY SU GGE S TION m m suggestiv e indirect la ngua ge ha s a nd 2 77 f orce, b ec a useit do es not a ke sta te ents tha t ca n b e direc tly disp u ted It a ro u ses no contra dic to ry idea s in the inds o f the a u dienc e thereb y fulfi ll ing one of the b a sic req B y i plying a conclu sion in in di uisites of sugg estion o st rec t or fig ura tive l a ng ua g e it is often a sserted forc efully No te tha t in the followi ng Mr B rya n did not sa y tha t Mr McKinley wo ul d b e defea ted He i p li ed it in a uch ore effective a nner : m . m “ , . m . m . mm m . . m m m m m mm m m no in t d t S t L oui up on p l tfo d f th int n nc of th gol d t nd d un til which d cl n b ch ng d into bi t lli by int n tion l g nt it o t p op ul n ong th R p ublic n M M Kinl y w th n d th onth g v ybody in th R p ublic n p ty l ction H w i it tod y ? Why th n wh p op h i d hi — h onc p l d t think th t l ook d lik N p ol on th t w tod y w h n h b th t h w no in t d n hu dd on th nniv y of th b ttl of W t loo N t onl y th t b ut h li t n h n h wi th v inc ing di tinctn th ound of th w v th y b t u p on th l on ly h o of S t H l n M r M cKinl ey wa s . a re e e ca r a m as a e s s o e re a e a e a a er e - e a ea m m a a s a , e ss e o a e s e s, ar e as e . a o . e a e re a s er re e r e e e e rs e a , e a ar a a e e a a mm ea r es a s er s o e s a e a ca a s er e a e ar . a e e s a a s . e a s e rsa r s e e o ers e e e s ea se e a as e s e e es e r a a e a as e ree a e e m c . or a e e re s . . Ha d Tho m m mm id : A fa lse a n ca nno t found his wo rds w o ul d ha ve b een nei ther so sugg es a rel igio n tiv e nor so p owerful nor so l o ng re e b ered a s his i p li c a tion in these striking word s : as Ca rlyl e sa , , m m m m m n fou nd fl ligion ? Why f l n c nno t b uil d b ick hou ! If h do n t know nd foll ow t uly th p op ti of o t bu nt cl y nd wh t l h wo k in it i no h ou th t h k b ut ubbi h h p It will n t t nd f tw lv c n tu i t l odg hund d nd ighty ill ion ; it will A a a se r se es r a r, se e a e a re e r a e e r es, a es , o , es a o , e a a a a r a se a re a r e se a s a ea a . e e r e s , m o s a s r er s or THE ART OF PUBLIC S PE 2 78 fall mm m m m ightw y A n ust confo union with N tu la ws b v ril y in co N n t at will n swer hi or N tu stra a e , a . e a re a 0, , AKING mimlf h r re a nd a Na tu re to se ’ s u of things the tr th , a ll! o m pic ture tha t Web ster dra ws here is pha tic a nd forc eful tha n a ny ere a sser Ob serve how the m uch m o m re e ion co ul d b e : t know n m mm S ir, I see y al b y th os r ha ight son e ot who a re re nd h v h —WE B S TE R a e ers ee a or a , m e e ' a ter s a m oth ys lf wh n I y f l b ut s f u ound d lik C in th s n t hous it ting st b ft t b I woul d n t f this nd s y tu n t And thou t y how rr e e ra er m a r o a e sa r e , a ‘ er s a e a a e e a e e, or o , , , oo , m . p ch sho ul d b e b uilt on so und l ogic a l fo unda tions a n sh o ul d d a re to sp ea k in b eh a l f of a fa ll a cy a nd no Arg ui ng a sub j ec t h owever will n ec essa ri ly a rou se con ind of your a udienc e When tra dictory id ea s in the i edi a te a c tion or persua sion l s d esired suggestion is — ore effi ca cious tha n a rgu ent when bo th a re judi ix ed the eff ec t is irresi stib l e ciously A m s ee , . m m , , m m m m Make Revi se , . , QUES TIONS I . an o utlin e , AND EX E RCI S E S or b rief of , the contents of this introduc tion to a ny of yo ur written ind a ddresses wi th the tea ching s of thi s c ha p ter in r t h w sug g es Giv o gin l x pl of e p o e of i s o r a e a e e t w 3 tion a s yo u h a ve ob served it in ea c h of th ese fi el d s : (a ) t t e p o l i ic pu b l ic n i n 6 c e t s a dv erti sing ; s () ; () e r es t e s e s Giv o igin l x pl of u gg iv p c h i llu a s e a e es 4 tra ting two of the p rincipl es set fo rth in th i s c h a p ter 2 . , . . m the m m . m . , . CH A PT ER XXIII IN FL U E N CIN G B Y ARG U M E NT m m m m m o on s ns is th co on s ns of a nkind It is the on Ob s v tion nd xp ri nc It is od st p rodu c t of co It with v rybody ey s nd p l in a nd un sop histic t d s It h s no c p ricious distinctions he s with ev ryb ody nd no y t ri s It n v quivoca tes nd n p p l xi ti s n v r trifl s Its l ngu ge is lw ys int lligibl It is known by cl n s of sp ch nd ingl n s of p urp o —GE ORGE JACOB HOL YOAKE P ublic S p king nd D b te C a m m e er a e , er o e e ea r ’ e ar e e e e e , a e s m e a a e a a m e . ’ s e , a , , er e e e se a , . . e a a ea , m m e . e e . es e e e s e s e see s . a a ee e a . s ea r a . a e mm m m m m . very na e of logic is a weso e to o st yo ung sp ea k ers b ut so soon a s th ey co e to rea l i z e tha t its p roc esses o st intric a te a re erely technic al sta te ents even wh en of the tru ths enforc ed by co on sense it will lo se its 1 terro rs I n f a c t l ogic is a f a scin a ting sub j ec t well wo rth the pub l ic sp ea k er s stu dy for it expl a in s the p rincipl es tha t govern the use of a rg u en t a nd p roof Arg u en ta tion is the p roc ess of p rodu cing convic tion b y ea ns of rea soning Other wa ys of p roducing convi e tion there a re no ta b ly sugg estion a s we ha ve ju st sh own a s the b ut no ea n s is so hig h so wo rthy of resp e c t a dd u cing of so u nd rea son s in supp o rt of a con ten tion S inc e o re th a n one side of a sub j ec t ust b e con sid ered b efore w e ca n cla i to have d elib era ted up on it fa irly we o ugh t to th ink of a rg u en ta tion u nder two a sp ects The , , m , , . , , m ’ , m m m m 1 . M cCosh s Log ic is a A b rie ig e t of log ical How to Attract a nd Hold , , , ’ fd s . , , m m hel pf r nc an m , m ul v olu p i ipl . es a s a e , a nd not too tec hnica l for t he b eg inner ppli d t p e o ub lic sp eaking Aud ience , b y J B e rg E s enw e in . . is c o n ta in e di . n F G IN L UENCIN m BY ARGUME NT 2 81 m b uilding up a n a rg u ent a nd tea ring down a n a rgu ent ; ust not only exa ine into the sta bili ty of that is yo u yo ur structure of a rg u ent so tha t it ay bo th sup port t he pro p o si tion yo u intend to p rob e a nd yet b e so so und ust tha t it ca nno t b e overthrown b y op p onents b ut yo u en t tha t yo u a l so b e so k een to d etec t defec ts in a rg u wi ll b e a b le to de olish the wea ker a rgu ents of tho se who a rgue a ga in st yo u We ca n consider a rgu enta tion only generally lea ving inute a nd technic a l di sc u ssion s to su ch ex c ell ent work s The Princip l es of Arg u en ta tion a s Georg e P B a k er s Pub lic S p ea ki ng a nd a nd Geo rg e J a cob Holyo a k e s Any good co lleg e rheto ric a l so wi ll giv e help D eb a te on the subj ec t esp ecia lly the works of John Fra nkl in G enung a nd Ada s S her a n Hill The student is urged to fa i lia ri z e hi self with a t l ea st one of these tex ts The following seri es of question s will it is hop ed serv e a tripl e purp o se : tha t of sugg esting the fo r s of p roof tog ether wi th the wa y s in which they a y b e u se d ; tha t of h elp ing the sp ea ker to test the stren g th of his a rg u en ts ; a nd tha t of en a b ling the sp ea k er to a tta ck his opp on en t s a rg u ents wi th bo th k eenn ess a nd justic e m ‘ , m , m m m m m , m . m ’ m , m “ . , “ ’ . m m m , m . . , m m m , m ’ . TE S TI NG AN ARGUM ENT I . THE 1 . QU E S TION UNDE R D IS CU S S ION mof mn mn m pu n ( x m pl mning mg n l mn m m uu Is it clea rly sta ted? () a D o the ter s ch dis ta t? ea sta te e For of the ter e t e a lly a g reed up on ) . a t e a ea e, the sa the a y not be e to ea t G 2 82 THE ART OF PUB LIC S PEAKIN 2 . (6) Is confusion likely to a rise a s to its purpose? Is it fa irly sta ted? (a ) D o es it include eno ugh ? (6) D o es it inclu de too u ch ? (c) Is it sta ted so a s to con tain a tra p ? Is ita deba ta ble question? m Wha t is the pivota l point in the whole question? Wha t a re the subordina te points? 1 . The witnesses () o (b) (c) as to fa cts m m ch witness i partia l ? Wha t is his rela tion to the sub j ec t a t i ssu e ? Is he p eten t? en ta lly co IS he o ra lly credibl e? Is he in a p o si tion to k now the fa c ts? Is he a n eye wi tn ess? Is he a wi lling wi tn ess? Is his testi ony con tra dic ted ? Is his testi ony co rrobora ted ? Is his testi ony con tra ry to well k no wn fa c ts or g enera l principles? Is it p rob a b l e ? Is ea m m - (e) (7) (g) h () (i) 2 . The m m m - a uthorities cited a s evidence uthori ty well recognized a s such ? () (b) Wh a t con sti tutes hi a n a utho ri ty ? r a I r h a a n a t in in c s i p i l c s hi t e e t t e e s s () o Is the m a - m one ? (d) D o es he sta te his o pinion p o sitively a nd cl ea rly ? () e Are the non p ersona l - a uth ori ties cited 2 84 ART OF PU BL IC S PE THE AKING r a r t s t s con y p o i ion sh own to b e rel a () tiv ely u n ten a b l e ? (f) Ha ve yo u a ccep ted ere op i ons as fa cts? e Are a ll m m , Deductions (o) Is the law esta or genera l principle a well b lished one? principle Clearly include the fa c t yo u wish to deduc e fro it or ha ve yo u stra in e d the inferenc e ? (c) D o es the i p orta nc e of the la w or p rinciple wa rra n t S O i p o rta n t a n inferenc e ? (d) Ca n the dedu c tion b e sh own to prove too u c h? (b) D o es the la w or m , m m m 3 . P a ra llel () a (b) (c) (d) ca ses c a ses p a ra llel a t eno ugh p oints to wa rra n t a n inferenc e of si il a r c a u se or fec t? ef Are the c a ses p a ra llel a t the vi ta l p oin t a t issue ? Ha s the p a ra ll eli s b een stra in e d ? Are th ere no o ther p a ra ll el s tha t wo ul d p oin t to a strong er con tra ry conc lu sion ? m Are the m I nferences (a ) Are the a n tec eden t condi tions su ch a s wo ul d a k e the a ll eg a tion p rob a b l e ? (Chara c ter m pp o m pl ) a nd O a e unities of rt the a cc used , for ex . ign s tha t point to the inference ei th er c l ea r or n u ero u s eno ugh to wa rra n t its a cc ep ta nc e a s fa c t? (b) Are the s m F IN LU E NCIN G ARGUM ENT BY m m u l a t ign s c u ive () wi th the o ther ? (d) Co ul d the signs b e a de trary conclu sion ? Are the c s , 2 85 a nd a to p greea b le one oint to m m v b n o () gi m ( uc in m I f m ) ( yllogi m S yllogis s Ha a con a in the syllo as a syll ogi s in so test a ny su ch b y fil l ing e a ny step s enthy out h S s? s a e the m itted ee , s s s . H v e a b ) ( y o u b een guil ty of sta ti ng a co nclusion tha t rea lly do es not follow ? (A n on sequitur ) (c) Ca n y our syllogi s b e redu c ed to a n a b surdity ? (Reductio a d a bsurdu ) m . m . AND EXE RCI S E S QUE S TIONS S how why mn Illu m up o I . t e unsupp orted a ssertion is not a n a rgu an . irrel eva nt fa c t r r n t a a gu ent to s see p f a y ju stly b e W h in erenc es a t 3 following ? 2 m m how stra te . an . . m md md f om ay a be a the r e to e u ing th B o W it w found th t th v g Engli h t nd d of c uiting nd th up t th n did n t m u n if t d l w p l n Of vit lity nd v g oldi in th fi l d m ndu nc P li nt l d by th di t ou con qu nc Th co i ion pp oin t d b ought in titut d n inv tig tion finding th t l coholic p oi oning w th g t c u of th in n tion l d g n cy Th inv tig tion of th co i ion h v nt d by inv tig tion of ci ntific bodi s nd b n up p l individu l sci nti t ll iving t th conclu ion A on qu nc th B iti h G ov n nt h p l c d d t h st t m D r era er e s ra e e as o a a er e e e s ar . e s ee m e e a c se e e e , era e a ar a e e e ss es e a rr r s s a m a er e e s e sa as se r se ss e a ar s e . e e a e e es , e m m a m s a e e e a re a s a s a a as es e e a sa s r e era re r o a s . s m m e . s s, a e e, m ar es e a a a a m e e a a e s a o re es a a a a as ar e a S a ree s KING 2 86 THE ART OF PUBLIC S PEA und d citi with billbo d tting fo th th d t uctiv of lcohol nd p p ling t th p op l nd d g n ting n tu of the n tion t d i t f o d ink ing l coholic in th n b v g Und ffo t di ct d by th G ov n nt th B ritish y i f t b co ing n y of tot l b st in s A nt of contin nt l Eu op foll ow d th l d of Th G ov n nt Th F nch G ov n nt h p l c d d th B i ti h G ov n tt ib uting th d clin of F nc with pp l t th p o p l t nd inc in th d th t t th wid p d th bi th Th of l coholic b v g xp i nc of th G a n us nt h b n th s m Th G n E p o h s G ov n cl ly t t d th t l d hip in w nd in p c will b h l d by H h u nd t k n t lim u t l co h ol in t th n tion th t oo t v n th d inking of b f f o th G n s p o ib l — y nd N vy RICHMOND PEARS ON HOB S ON B f th U S A of h a e a m era e e e a m era es s r ra e e r e ea s a m as ee s a e a ea e e a a e m e a r r e, e . e a e . as ss r e, m a e m a e o e a er e e ore , . r e e rea er er e er a m es a e e e m m ea ar as o ar e er e a e e ar a a as o ea e e er e e e e e ra e . ers m e . r a ea e es e e a e er e e m a er e e s o r re e e er , a Cong ress e . er a a o r e a e e ra r e ar e re a se a ea r a o ra e a er m re ea r es r e m a es s o r s e r a s er s e e m m m er a a e as r re a er e . s se ar e e e es re e . . . m S inc e the r r i h b u d e n of p oof l i s on who a tta ck s a e 4 p o sition or a rg ues for a cha nge in a ffa irs how wo uld his opp on ent b e lik ely to conduc t his own pa rt of a deb a te? “ n r t D e fi a y ll ogi s b e b u t a l c b gging s e e ( ) ( ) ; ) ; ( 5 the q u estion ; (d) p re ise ; (e) rej oinder ; (f) sur rej oinder ; a; (h) induc tion ; (i) deduc tion ; (g) dil e r r e r e e a r i o i a os t r i o i l inf nc e k ; ; ( ) ) ) ( i p p ( 6 Cri tici se th is rea soning : . , , m m m m . . . m ought n t t s ok tob cco b c u t do s is cont ry dic l op inion My p hysici n h s xp s ly cond n d t b t nd i cti dic l utho ity in thi country th p M en es o ra e m e o e o a m se , a s a 7 a a a e se e a , . Cri tici se th i s . a m o ra re s e s r a o e e . oning : rea s ought n t t sw p of n ly b c us it is w ong It th ry t th M o l L w is w ong f son th t it is cont y t th M o l L w b c us it is cont ry t th nd it is con t It is cont y t th S c ip tu s b c u it i c nt ry S c rip tu M en o or r e rea ra r a re s . ea r o o r a e ra r ra o e a a e r re r e o ra a e e a , . ra e ra e e a se s a o o ra , e 2 88 A THE ART OF PUB LIC S PE KIN G d finitiongiv n by B la ckston which is tion and do Th du ul stic o d of the King g by th inha b it nts of S t t like e b e s wh d of w ll gove n d f ily e bound to cOnf thei g n l b h vio t th ul s of p op iety of neighb or nd t b nn d c nt industrious hood n d good n d inoff en iv in th i sp c tiv st tions W oul d thi nd nt int f with ny S t t c r ying on stic o d ? th p o otion of its do n t k th d finition in noth fo in which it is O yo u giv n by M Ti d n wh n h s ys Th ob j ct of gov n nt i t i p os th t d g Of t int u p on hu n ction which i n c s ry t unifo on ble nj oy nt of p iv t ights Th of th gov n nt t i p o thi t int is p ow c ll d th p olic p ow J udg C ool y y of th liqu o t fii of nuf cturing nd lling liqu o i n Th b u in th t ff c t th p u b l ic int t in ny w ys nd l ds ny di o d s It h incr s t t nd ncy t nd c i It nd l g fo c of p c p up i offic s s nti l nd it dds t th xp n of th cou t nd of n ly ll b nch s of civil d ini t tion J u tic B dl y of th Unit d S t t S up C ou t ys qui d in th p u uit of Lic n y b p op l y ny p of s ion nd voc tions which qui p culi kill nd t ining up vi ion f th p ublic w lf Th p of ion voc tion is Op n t ll lik who will lv s with th quisit qu lific tions th p p giv th qui it curity f p ving p ublic o d Thi s is in h ony with th g n l p op o ition th t th o din ry p u suit of lif fo ing th g t p c nt of nd th indu t i l p u u it n d o u ght t b f Op n t ll ub j ct onl y t uch g n l gul tions l good y d nd ll th g n p p lying qu lly t All suc h gul tion nti ly co p t nt f th b ee n d fined e Ta . m e e r - m m a e a r a ca e o e r re e e e e r ea s er e sa e e s o m a er s a s e a m s s a m r e s a e re a e s a ra e ss r a re e e e re r se a a e e s r a o a e , e re a re r s, a o as e s a re e , r era e e era re . or a a r s er er e re a e e . e a e re e a m m m era : e a o s a re e rea e r e a a re e o a m e sa ar e re se r or e, re e e , rs e o a . r e re e e m m e s ra re or a e se rs s s e ea se e e e , e r e re re ea e o ar e e ea a e e a es er s r a a a ar r e . r so e er or s s m o e m m o a re s ra s se ers a ra or a a e r a a a , ree c: a re . e m se s e a s e as a , ear ra e ra a . e e e e sa se a m r , a s eres s a r s a e r r a er r . m r a r a e o o e es e er e e , . er e s e ss a s e er , : s a e , a a e er e e a a e e e r er e er a , e a e re s ra a r , e r r e e a r e r ere e e e . e a r or ers , a e a r e a e, ar e r : mm m er ‘ e r r a , o a s r e, m mm m m m m m m m m m m m e era s a e e e e a a e a e re , a the e e re e o k a e a or , . e INF LU E NCIN m G ARGU ME NT BY 2 89 ) l gi l tu t k nd in no n n b idgm nt of th qu l ight of citi n B ut lic n t do th t nd g in t co on right i n c ily which i odiou n ou t g up on th qu l right of citi ns s a e re e e o r a 14 e e s eth us se e ze m pl oy e a o e e ssa r s . following : in the e es r a l t h v l o t hi avou wh lt d ? it i th nc fo th good f with h ll it b nothing b ut t b c t ut nd t b t odd n und foot of n i ; f th y do th y w n t n ith B hol d th fowl of th gath into b n ; y t you h v nly F th f d th p n A y n t u ch b tt th n th y ? th im nt ? Con id th lili And why t k y thought f do th y p in O f th fi l d ; h w th y g ow ; th y toil n t n ith on in ll hi gl o y w And y t I y u nto you th t v n S ol om y d lik n of th Wh fo if G d cl oth th n t g of th fi ld which tod y i nd tom o ow i c t into th ov n h ll h n t uch o clo th you O y Of littl f ith ? n i th of you who if hi n k b d will O wh t m h giv hi ton ? O if h k fi h will h giv hi p n t ? If y th n b ing vil know h w t giv good gift unto you child n h w uch m o h ll you F th which i in h v n giv good thing t th th t k hi ? Ye the a re s r, sa e m re e a e a rra s m s e e e r ea re e 5 . o , s re , m s a m re s as a rea as mon , m a e s e o r a e e a e e as , as r e s so es s so e origina l syllogis fiv e e e e s o e er o , , o ee s rr e as e er a e m e , e Ma ke m od l 1 e . e er er e , s, a r e s o , e or a e ere e re s a e ea ra re m r e , s e . mm o a ese e o e e a , e a e e a r ser e o e , a s e er so e , e ra ss e r sa e o e o e or e e e a a e r r er e e e e e sa s or s the e o e a r m o a , ar er . o if b ut e sa s or ea rth ; a as e e e the s e re o re a lt of m m a mod did J se a a . s a a e Wha t . s ze s a ra se a re s s a e a a m a s er ollowing the f 1 s e s: MAJ OR PRE MIS E : He wh o k w ld m m d ini a sters a rse nic giv es p oison . m f w d m m O s mdd m O p ms ms m m p m s p p ms ms m m R m T m s w m s d m m W m m m m mm s s W fi f ss m d d s mm s d For those w ho 1 rules a re g iv e n : the e thre e tiv e 4 . . In thing thir ter Of a cla ss i , sy ll og is the re b e the with be e nied o f a cla t he a r ay s be re i e nie y o f the sho ul 3 . be ise be u t 1 h en the of a ll the e of e 2 u t e is s 2 . be n eg a tiv e a g re e two t er “ . tha t b er thre e t er i ollo t he . ing f . a flir a 5 To . . w hich o nly o n e o f b er i re ea c h o ther . e y llo g is re n e g a t iv e er . s o nl y ne . if e ither d is a g re e with be d n eg a tiv e a nd ed o f a ll s tu l e te r P r in cip les : ea ch othe r ; the two ter ay u st eg ula ting f ary o a g ree a con clusion rov e a n eg a tiv e , o ne o f Su further a o nly o ne c a n The . 1 e a ou s a g ree ha tev e r is cl a s , of with the tha t a nd cl a s " . “ sa e with a afi r ed ha tev er THE 2 90 ART OF PU B LIC S PE i on MINOR PRE MIS E : The p r T here CONCL U S ION : fo re s er a ison is a d p a rse oison a re a re a a e m s a s nic t o er the . . . a o . ither the p o si tive or the nega tive side of following question for deb a te : The reca ll of judges Prep a re 1 6. should 1 er stere qu drup d l i biped fo this ni l is n t a dog m the m d ini the p r MAJ OR PRE M IS E : All dogs M INOR PRE MIS E : This a ni C ONCL U S ION : There AKING 7 . e be a dopted a s a na tiona l principle IS thi s q u estion deb a ta b le ? B enedict Arnold wa s . m Give rea sons for yo ur a nswer 18 Cri tici se a ny street or dinn er ta b l e a rg u en t yo u ha ve heard rec en tly Test the rea soning of a ny of the sp eeches given in 19 this vo lu e 20 Ma k e a S h o rt sp eech a rg uing in fa vor of instruc tion in pub lic sp ea king in the pub l ic ev ening sc h oo l s (a ) Clip a n ewsp a p er edito ria l in which the rea son ing is wea k (b) Cri ticise it (c) Correc t it 22 Ma ke a list of three subj ec ts for d eb a te selec ted fro the onthly a ga zines 23 D o the sa e fro the n ewsp a p ers 24 Ch oo sing yo ur own question a nd side p rep a re a b rief sui ta b le for a ten inu te d eb a ting a rg u ent The following odels of b riefs a y help y o u : a e n e t l g an . m . - . . . m . . . . . . mm m mm m m m . , . . . m . , - . D E B ATE RE S OLVED : the f a rt o p Tha t m ar a ny na tion ed to interv ention is collect, fi j not usti in beha lf riva te fp o a ble on indi THE ART OF PUB LIC S PE 2 92 AKI N G t h a w a f ul l ys b een Wi th Europ ea n a s a () S ta tes wh en forc e ha s b een u sed a nd (d) I n a ny case forc e sh o ul d not b e u sed for it co un tera c ts the ove ent towards p ea c e The c , mm , , . B RIE F OF NE GATIVE ARGUME N T First sp ea k er — B ra nch md in v n ion coll c ion of p iv cl img in om mic n ju m f W f Ar e a 1 . ter e s a a hen for the t st s other e A e er a r a ga inst a ny have notion fina ncia l stifi a b l e for a te S ta tes is collection ea ns o interv ention t a iled, is m , ar ed essentia lly b c u e a se p p (a ) Justice sh o ul d a lwa ys b e secured (b) Non enfo rce en t of p a y en t puts a p re iu on di shonesty I n terven tion for thi s purp o se is sa nc tioned by the b est interna tiona l a uthori ty D a ng er of u ndu e co ll ec tion is sl igh t a nd ca n b e a void ed en tirely by sub ission of cl a i s to The Ha g u e Trib u n a l b efo re intervening ro er , mm - m m m 2 . m Ar ed m — S econd sp ea k er S ton e m interv ention is tropica l A necessa ry to secure m erica , ustice j in for a s t t r t s e t gov n n of h i c ion con n ly e t s s e () repu di a te ju st d eb ts a t a e s h y in i h t h fin l d ci ion bo u T b e s s t t a t e () a The F IN LUE NCIN m G BY ARGUMENT 2 93 cla i s sha ll rest with their own corrupt courts e s r r t s t e T h y r f u t o a bi t a e o i c e e se () mm . Third m A r 3 . — D enn ett sp ea k er intervention ed is benefi cia l in its results , b eca use m p ion m (a ) It in sp ires resp onsibili ty r I n a d ini s t e ing c u s t o h o u ses b () m it m ov re es volutions (c) It gives confidence to desira bl e capita l A ong o thers the foll owing book s were u sed in the prepa ra tion of the a rgu ents b y T B Edging ton Cha p e D oc trin e The MonrO N ta t te m re . m , . ters to . , — 2 2 28 . . . of I nterna tiona l La w b y J B Moore Rep ort of Penfi eld of p roc eeding s b efore Ha gue Trib u na l in 1 90 3 S ta tes a n s Yea r B ook (for sta ti stics) A Mini ster D ra go s a pp ea l to the Uni ted S ta tes in F or eig n Rel a tion s of Uni ted S ta tes 1 9 0 3 — Presiden t Roo sev el t s M essa g e 1 90 5 pp 33 3 7 ong a ny a g a zin es (a And a rticl es in the following o thers) : Journa l of Politica l Econo y D ece b er 1 90 6 Atl a n tic Mon thly Oc tob er 1 90 6 No rth A erica n Revi ew Vol 1 83 p 60 2 All of these con ta in a teri a l va lua b l e for bo th sides ex c ep t th o se a rk ed N a nd A which a re usef ul only for the n eg a tive a nd a flir a tiv e resp ec tively D ig est . , m . . . ’ . ’ . , . , m mm m m ’ , , . . , m m , . , m m . , . , , . . , , , . 2 94 f “ THE ART OF PU B LIC S PE ’ — Pra c ti se in d eb a ting NOTE AKIN G m o h lpf is st e ul to the pub lic sp ea ker but if p o ssib l e ea ch deb a te sho ul d b e under the sup ervi sion of so e p erson who se word will b e resp ec ted so th a t the d eb a ters ight show rega rd for co urtesy a ccura c y effec tive reasoning a nd the necessi ty The App en dix con ta i n s a li st for c a reful p rep a ra tion of questions for d eb a te 25 Are the foll owing p oin ts w ell con sidered ? m , m , , , , . . . I NHE RITANCE ME A S URE TAX THE A D o es . I . k NOT IS A G OOD oo t of the evi l m m m not stri e a t the r Fortunes not a enace in the A fo rtun e of 8 selv es ay be a grea ter socia l vil th a n one of e 2 . Da nger ealth depends w f o on its wrong m m rita nce ta x will not prev ent h e I n 3 discri ina tion, bribery, etc ai w s L a 4 . ed It wo ul d b e . 1 2 . . Low j a t un ust accu re ula tion a nd . use f o edy . v a d ed e m ust be high to result in distribution . x ci ses : Mock Tri a l for (a ) so p o litica l offen se ; (b) a b ur l esque offense 26 ono oly, ra tes a re ev aded R fortunes a te ulation . wea lthfurnish the true B reba tes, m m m mp accu a nd use . RE F ORM S OCIAL Cla ss e er . f o m r e a t g io us e ser 2 96 THE ART OP PUB LIC S PE m AKIN G m — Op inio ns the lter en s ul terior purpo se is a l o st a lwa y s a c tion The na ture Of p ersua S IOn IS not so l ely in tell ec tua l b ut i s l a rg ely e o tiona l It uses every p rincip le of p ublic for of disco urse to use a rhetori sp ea king a nd ev ery en t suppl e cia n s exp ression b ut a rg u en ted by sp ecia l Thi s w e a p p ea l is its p ec uli a r q u a li ty a y b est see by ining ex a to ’ a . m ‘ , m m , ’ , m . The m i d d High m m , M ethods of P ersuasion m m p ea k ers often seek to ove th eir hea rers o tives such a s love to a c tion by a n a pp ea l to th ei r h ighest of lib erty S ena to r Ho a r in pl ea ding for a c tion on the eth o d : Philip p in e q u estion u sed this n - e s . , m , , m m Wh t h b n th p ctic l t t n hip which comf o you id l nd you nti nt liti ? Y u h v w t d n ly ill ion of t u Y u h v c ific d n ly t n i hund d — ic n liv th fl ow of u youth Y u h v tho u nd Am d v t t d p ovinc Y u h v l in uncount d thou nd of t b n fit Y u h v t bli h d con th p op l you d i c nt tion c p You g n l com in g ho f o th i w i th th in th h p of oth thou h v t b inging h v nd Of ick nd wound d n d in n t d g ut i bl liv ind Y u m k th A ic n fl g in th w ck d in body n d y Of nu ou p op l th bl of c il g in Ch i ti n c hu c h n d of th bu ning of hum n dw ll ing nd Of th h o o of th w t t o tu Y ou p c tic l t t n hip which di d in t t k G o g W hington nd Ab h m Lincoln th ol di of th R volution of th Civil W m od l h s — l ook d in o c t S p in f you x m l I b l i v n y p I k now—th t in g n l u offic nd ol di n hu B u t in o c th y h v c i d on you w f with i tu of Amic n ing nuity nd C tili n c u lty Y ou p c tic l t t n hip h u cc d d in conv ting a as a ee m re s x er sa as a e e e e re S m er a r e s, a e s o e a m m s e e r ra a se s a a o e e mm a ra e ra e a a a e rs a s as a as s r a r s a m a s a or e . a r a re e e e e s, e e a m m a e rs a re e es, a ar as s e r a s, ra e e e s a es ee s er e e a e re se ra r sa r a e e er r a rr e e m s a es r e r o o s o e or a a a or e m m m m e a as e e e e r . e o ra ea r sa es a e s o e r ea r . e a re e e , r r e m sa a . r r a o e e r a se s e er re e ra s a re e e a s s er a e rs e e e e s r m a r e . as e e e e a e e S a es ea a o o . a es s s es e sa a er a s o o . e o . m s e rr es a es a re es a r s sa e a es ar rea s e s re ra e e s r e m s a es a r se ea s a r ra e a a , e x . er “ . F IN L U E N CIN B Y PE RS U AS ION 2 97 m dy t ki th h of th g nt of th A ic n nd t w l co hi lib to wh n ft you i l nd wh n th y l nd d on tho throng d into ull n nd i concil i bl wi th b n diction n d g titu d i po d of h t d which c ntu i c nnot dic t n Y u M P id nt thi i th t n l l w Of hu n n tu t i t u gg l g i yo u t c you y p n t i t t y y p y u d you lf th t you int ntion b n vol nt th t you yok will b y nd you bu d n w ill b light but it will t it lf g in G ov n nt without th con nt of th gov n d — utho ity which h v n n v g v n only b up p o t d by n n which h v n n v nction ic n p op l h v g t thi n qu tion t n w Th A it n w ; th y n t k t n y tw nty Th y y n w y g n tion c ntu y t think Of it B ut it w ill n t down Th y u t n w it in th nd C n you l wft buy th on y ight t hold in with g t by b u t fo c Of ubjug tion n i nwill ing p op l nd t i p o on th u ch con titution you n d n t th y think b t f th ? pe op l G m ar m m s e s r a a e ea s a m m m er e a a e a rs , o r a m e s or i as s a , r r e e e, e o app ap er a , . o . r a sse r , e e er e r e es e or er o m m : a s, a m or a e m s e mk to o se es , a e r o . e . ar on s o a ea rs , e o e S ena to r Ho a r then went — the ea l a e e r re e s s o ca e a e m a e ca o e e . er e a a s a e s, a se sa e a or a , s , e r ca o m e a s a era , e e o a a e e e e er s e ra e . e o es a e r, rre m e er a r es s a re r e e a r e e ea e a r e e ra se a e ea s e m er . a a r a r a ea a m e e er e e e , a rse e se s a s re e as a a e e, s s mm ss o e e e , a a rea o ra , e a e a e sse sse re s . a a es , r m r e w e re ea rs a g o er er a e e m e e e e y w ho three e e a no ther sort of p ea l to fa c t a nd exp eri en c e : m m d thi qu tion good ny ti in th n w d it in 1 776 nd found d th R p ublic p t Th f th up on th i n w which h b n th co n ton J ohn Quin cy M on o nd J n w d it g in in th M on o Ad d cl d w onl y th doc D oc t in w hich J ohn Q u incy Ad con nt of th gov n d Th R p ublic n p ty t in Of th n w d it wh n it took p o ion Of th fo c of gov n nt o t b ill i nt p iod in ll l gi l tiv t th b g nn ng of th Ab h L incoln n w d it wh n on th t f t l hi to y j ou n y t W hin gton in 186 1 h nn oun c d th t th doct in of hi p olitic l c d n d d cl d with p op h tic vi ion th t dy t b in t d f it if n d b Y u n w d h w lv wh n you id th t Cub wh h d no o it g in you titl th n th p op l of th Phil ip p in I l nd h d t th i ind Of ight ou ght t b f nd ind p nd nt p nd n G E ORGE F H OAR We as ha v e . a e m s r s s r ere e m es i r e ee s a o a ree rse ce , m r s a a e a e e e as s e e s a o a e a , a s a m e re re e r o e a r e o e a s . a, e a e e s a e , a ee m ar er a e e e a er ree a r r e r e . e e e o e a e as a re , e e ere or e a . a sa e a e e - e a re e e a ssa ss es e , er s e a , o e s r s as a a m e r m er es a e re e e a e s se ss i ra . a e , as e e e e a e re se a s rea a es a s e s e r, e r s e, e a s a e a e rs a a r sw ere a e r a a n e . - . . 2 98 AKING ART OF PUB LIC S PE THE m hol d d lm p ch ( App ea l to the thing s tha t m m m m an p o tent for of p ersua sion Jo sep h S tory in his grea t S a o st dra a tic a lly : ethod . , e s s ee is ear 1 a no ther used this 82 8) c ll up on you f th by th h d s of you nc to s—by — h s which in thi p ciou oil b y ll you th d po ll yo u hop t b — i t v y obj ct of di uni n f ist nd v y nc o ch nt up on you lib ti s i t v y tt p t t f tt you con ci nc s s oth you p ublic schools xtinguish you y t of p ublic in t u ction I c ll up on you oth by th t which n v f il in wo n th l ov Of you off p ing ; t ch th th y cl i b yo u k n s l n on you bo o th bl ing of lib ty S w th t lt w ith th i b p ti l vow t b t u t th ir count y th nd n v t fo g t fo k h I c ll up on yo u young n t b who on you ; inh it nc you p o Lif n n v b t S ho t wh o n d op p ion D th n v which b ing no thing b u t di g c co t oon if n c y in d f nc Of th lib ti s of your count y n f I c ll up on yo u Old you couns ls nd you p y s b n diction M y n t you g y h i s go down in nd you ow t th g v wi th th coll ction th t you h v liv d in so v in M y n t you l t un ink in th w st up on n tion of lv d in th d tiny of y count y f b tt hop s f r No ; I b ight vi ion W whp n w bl d h ust soon d t th cong g tion of oth d ys Th ti of u b g th d p tur i t h nd t k w y f u chil d n up on th th t n d th i s M y h wh of lif M y G d p d th t th di t nc of noth c ntu y sh ll t nd h t c l b t thi d y ti ll l ook ou nd up on f h pp y nd irtuous p op l M y h h v on t xult s w do M y h with ll th nthu i of t uth w ll s of p o t y xcl i th t h is — t h i t coun y J OS E PH S TORY s ill I a e ea r a s a re e m e a er e a or er e r e a er m e ra a es s e e o . s a e r o r e a ere e ar e s a a a e e s a e , e o , a . e s er m e re a s r r r . e , ee , a r , e e a a er e ere , e . r . e re a , e a m m e e a , o a e o, o e e ra e e m , a e . e a e, a r e v a e er re e r , ra e a e . er e r ar , , a r s a e r a er m a r ea e a a re oo a , r a ree , e a m , a o e a e s . ra or o a e a as e er ee e or e er e a sse o e r a e e m a e r a o a s s as s re e o se s e a re e o m m r ea r re ss m e, . o ea re a s r ca s es e s er s s . rea a as m s a . er o e re e, e r a . o e a or , er e e e m m er e e . e e ssa r , , rr a sse ss e . o re , s ra a r er a , e as , s, e er re s . s a e o r m ess e . a e e e oo s r ea a re , s res s , er a s r es a e r a e er es s s s r rsa or r a er m or s a , se e e m m mm s, e r o , r s a r, a s a e s r e a re e rs , r ea s s e , e a r e r s e e re s s e m m m s r er e o e s se e r a e ers , a , ere . — The app ea l to p reju dic e is effec tive th o ugh not often , THE ART OF PU B LIC S PE 0 0 3 mn AKIN G f y nd int e t qui t W nt into n w l if in which g in t W th t w h d p ut b hind fo gott n f th ll th f cts f w h v tu n d t th f ont n d t t u a s l t hund d y It wi ll b l ong nd h d o d b s t th y t t d u f th n d di co u g nt b ut w t d it tog th wi th diffi culti d it tog th t th nd n d w will t nd b i s h v b n w pt w y Ou p tty oci l divi ion ighty t uggl All th int sts of u lif t th o u t t Of u k g d d W h v b ut n int t n w nd Of i w th n k d h t of v ry n in thi s i l nd nd in th t tou c h th pi t w in th ight f ou lv nd f f do t If w xi t on th v y n u t Off hi lf f th t rvic nd c ific th t i tere d w th tha t e a re a e a f o a as a ers a r s se e a S x a e e m s e or o m e e e o e ea r e a es ar e rea e ee r ea r , mm r e o er e m e e o e e e , e s e er r o s a m rse er es a or or se e a , a m ree o se a a a o ere s a or s a e s a e re e . a e . . . a rr er s r e s, or e a a re e r r a e s a ea a e e re . a re e e e e er m o a re es re r o s a ee ra s a a e a e s e r er s a er a . re a e e e re e sa et a . e a es a a a e a ar r o es e Ger er e a rs , re e s s a v ity u ch f se e a m xm pl i ll n p icul c p k pp l d i m —m m v y im o n p incipl ch m yo u m u k p con n ly in m ind cco m li h fo m qui d p k no l dg of hum n m o iv in g l u nd nding of m p icul ud nc dd d Wh o iv ou m c ion hink of h m n ly mdo n on bl of yo u m ind udy pp l mo ly n h m o iv o ul d lik ly pp l h i id l W in l if i k in yo u im m co m y o u you c pp l p id in pp nc o ul d — mk of m mly l ugh ou ym y J in l in o ul d d fo m ong o h u y you u nc f l yo u sa a e r Fro . these e a wa y in whi h the by co ing showing e st To a a rt ar ar sta ea w terests in a s a e one h a t p t . To set . a en for the ers rthi A e? a se p er re ews St d t by the r res a a nd resse selv es whi es at a re t w , e ea to r ere Pa a e e die est es e, ee set r ea s a nd a te ea ra be w r st ay e b e wa ste w , es how to to try to a est r a t r est t st , at the h a t a re the ea rers ? sta the ea r e r The . e e ersta . ets w ee an T ? t to your ea a r a the ta to the to e to rta ar hea rers wa s r a nd a rt . r a e en w er en era ie a to the ea e t the e se the a ee t a tha t two p tha t the see to their interests , e otion s be ers a ea s ho close it w es w ar se ef wa y, rt a nd F IN LU E NCIN G B Y PE RS U wh en A S ION 30 1 m you ha ve onc e ra i sed a sp a rk fa n it in to a fla e b y every ho n est reso urc e yo u p o ssess ore sure y o u a re to fin d Thel a rger y o ur a u di enc e the A s a ll a udienc e of b a chel or s a universa l b a si s of a pp ea l will not grow exci ted over the i p o rta n c e of furnitur e insura nc e ; o st en ca n b e roused to the defen se of the freedo of the p ress Pa ten t edici n e a dverti se en t u su a lly b egi n s b y ta lking — they b egin on y our in terests If they a bo u t yo ur p a i n s first discussed the size a nd ra ting of their esta b li sh ent e dy y o u wo ul d n ev er rea d the or the effic a cy of their re ” a k e y o u think y o u ha v e n ervo u s If they ca n ad — they wi ll not tro ub l es y o u wi ll even p l ea d for a re edy ha ve to try to sell it — edici n e a ski n g y o u to The p a ten t en a re p l ea ding — invest y our o n ey in their co o dity yet they do not They g et over on y o ur si de of the a pp ea r to b e doing so fenc e a nd a rouse a d esire for their n o stru s b y app ea li ng to yo ur own in terests Recently a book sa l es a n en tered a n a ttorn ey s offic e in New York a nd i n qui red : D o y o u wa nt to b uy a book ? Ha d the l a wy er wa n ted a boo k he w o ul d p rob a b ly ha v e bought one wi thout wa i ting for a book sa les a n to ca ll The sol ici tor a de the sa e ista k e a s the rep resen ta tiv e I wa nt to sell y o u a sewing who a de his a pp ro a ch wi th : a chin e They bo th ta lk ed o nly in ter s of their own in terests The succ essful p l ea der u st convert his a rgu ents i n to ter s of his hea rers a dva nta g e Ma nkin d a re still selfish They a re interested in wha t wi ll serve the Exp ung e , m m m . . mm m m . ’ m m . m m . , , m m m m m m . m . . - m m m ’ mm m m . m . m . m - ’ . m m . . THE ART OF P U B L IC S PE 2 0 3 m AKING fro your a ddress yo ur own p erso na l concern a nd present yo ur a pp ea l in ter s of the g enera l good a nd to do this yo u n eed not b e insincere for y o u ha d b etter not pl ea d r the hea rers good a ny c a u se tha t is not fe No tic e how S ena to r Thu rston in his p l ea for in terven tion in Cub a a nd M r B rya n in his Cro ss of Go l d sp eech con sti tu ted the selv es the a p o stl es of hu a ni ty E xhorta tion i s a h ighly i p a ssion ed fo r of a pp ea l frequen tly u sed b y the pulp i t in efforts to a ro use en to a sen se of d u ty a nd ind u c e the to d ecid e th ei r p ersona l co urses a nd by co unsel in seeking to influenc e a jury The grea t p rea chers like the grea t jury la wyers ha ve a lwa ys b een a sters of p ersua sion No tic e the differenc e a ong th ese fo ur exh o rta tion s a nd a n a lyz e the o tiv es a pp ea l ed to : m . , - , ’ ‘ . “ m m m m . m . m . , m - , , m . m tra , bout ! S k ! B u n ! Fi ! — ito liv l S HAK S P AR Juliu C Revenge ! a , A r E e E K ill ! re r ee E, s e sa r m S e r h e or r e or e oe e r a e E - m re s , r S re s , es a no t re s , r ra ree e ar a rs a r a Ha o as e Le t a . ik —till th l t d f xp i — n d yo u fi you lt S t ik f n g v Of you i f th g S t ik — — nd you n tiv l nd ! G d Fi Tz G RE E N HAL L E C K M S tr l y! a rco , B ozza ris . li v g ntl n if it w n t f th o child n h w oul d n t co k u ch un tion ; if it w n t h t d y t t t th t by yo u v dic t yo u t t h t v n o l i l innoc n y p w ll d f ud d w tch f o b com ing w nd ing b gg o p h n on th f c of thi th Oh I kno w I n d n t k you cy ; I n d n t xto t it f o you thi v dict f o com ion ; I will c iv it f o you ju tic I do conju p you n t f th b ut hu b nd —n t hu b nd b ut s — — n b ut s citi n n t citi n bu t mn n t Be o m e e, e a e e e re o r , e ra as r s e a re s e m m m er r , es a a ss , o ze s as a o r as er re e e as s, . as a rs , ee , m a e o s: s r o e as o e as . e m o r r e o e e er ee s e re se e a r e , era re a s ea r r ze m e e ers , m re re se or o s o see a - e er e re , as r re . s as m a e s, a , a ART OF PU B LIC S PE THE 0 3 4 AKING Go ethe, on b eing repro a ched for not ha ving written war I n y p o etry I have song s a g a in st the F rench repl i ed H ow coul d I h a ve written song s of ha te never sha ed ” Nei th er is it p o ssib le to pl ea d wi th full wi tho u t ha tred ? nc y for a ca use for which you do not feel deeply effi ci e F eeling is conta gio us a s b eli ef is con ta gious The spea ker who pl ea d s wi th rea l f eel ing for his own convic tion s wi ll instill his feelings into his listeners S inc eri ty forc e — th ese a re the qu a li ti es a nd a bov e a ll f eel i ng en thu si a s ove ultitudes a nd a k e a pp ea ls irresi stibl e They th a t p orta nc e tha n technic a l principles of a re of fa r g rea ter i — delivery gra c e of g esture or p olished enuncia tion i p o rta n t a s a ll these ele ents ust do ub tless b e con sidered B a se yo ur a pp ea l on rea son b ut do not end in the b a se en t let the b ui l ding ri se full of d eep e o tion a nd nob l e p ersua sion m m , m , . . . . m mm . m , , m mm . m , , m , , . m , - , . AND EX E RCI S E S QUE S TI ONS mn of a pp ea l do yo u fi nd in the fo l l owing ? (b) Is it too flo rid ? (c) Is this style equa lly p owerful toda y ? (d) Are the sen tenc es too long a nd invo lved for cl ea rness a nd fo rc e? Wh l a t e e () a ts e m m m m g ntl n I thi d y only th cou n l of y cli n t? — — dvoc t of hu nity f you lv you NO no ; I th — you wiv s—you f ili —you littl child n I ho it is gl d th t thi c xhibits such t ocity ; un k d by ny itig to y f tu it y top th f ightful dv nc of nd ity ; it will b k d with v ng nc thi c l t n w w ll t If it b n t f w ll t th vi tu s of you cou ntry ; f w ll t th t u n u S p i ll co nfi d nc b tw n n; f n nd cip oc l t nd n i g i b ut i u nd without whic h Oh e , m es r m m a a s s a a se r a o e s a , e re e r o e o e r e a ee a a re , ea er a e ss , , re e r es a ar s e r a ar e a a re e o a . as a a a re e s a a rr a e ea e e m r e r e e es rse o a a r e e se e m m m m m m m m e a re m a a e r e a a e c o , s a e a a , a e e s e . o F IN L UE NCIN G B Y PE RS U A S ION 0 3 5 con c ted curse If o th t b viol t d l w di g dd f i ndship b t y d hu nity t p led n tion l nd individu l n d if n d of hu b nd ju y of f th t in d h ono will giv su ch i c ncy p p o t t th i h o n d wiv nd — f w ll t ll th t y t in Of Ir l nd ! B ut I da ughters will n t c st su ch doubt up on th ch ct of y coun t y of th f n d th k p tici of th fo ign Ag in t th n tic Vi tu th t no p fi dy coul d I will till p oint t th do b t nd no b ib y n p u ch th t with Ro n u g bellish nd con c t hou hold giving t th t onc th ll th p uri ty Of th l t ; th t ling ing soci ty of th h nd th co tt g till t b foun d c tt d a lik in th p l c ov thi l nd—th lic of wh t h w —th ou c p h p — th h lon th t t ly nd g nific nt Of wh t y b oria l th t ing th i j ty id u ounding uin th l nd k of th d p t d gl o y nd th t onc se od l by which th futu ct d y b v tho v irtu with v t l fid lity ; k thi d y P by you v dict you ho or Of th ir p of n tion ; nd b li v co d th t v dict h ll b du t nd wh n th h nd which k it t c l in th g v ny h p p y th tongu th t nd ny oth t ch h ho will b l ess it con qu nc on of dul t y littl chil d to ha te th i p iou t C HARLE S PHIL L IPS se ra a e ra r e s a r m a . m e e a , a , m er s mm m s a e s, e e a m e reser m m r er e e a as s s e s a e ra e r er s a e a s rr m r e r , er a m m m a s, e s e, a er a a e s e s e a er a a ar a e re r m ra e a e a rea s s a , s e, er e er er, sa a . a . o ar e e es , a a e s e r re m ar m es a e ess s a e e m se e e , e e ere a re a e a rr r , a o as s es se e e e, re e r s, e a es ar a e e s s e, e r rea r a m s se m m m e e a e as rv e a a s a m a e , a re s a , es , a er e a e e e a a e a s s es , ar a es , a e se ra e sre a m a ra ase , e re a a r r ca a m e s es a a a e er r ea r e e m e e e re e oe , a e o e a a s a e r o a , a , e eer s a r er, a r e a ers a e s s a e a o a e a o ra a ss a a re m o r a s rea e s a re a , e , e a a ea er . - . . Ana lyze m criticise the for s of a ppea l used in Ho a r S tory a nd Kip l ing the sel ec tion s fr o i t h t s a s W h y p of p er u ion used by S ena to r a t s e e 3 Thurston (p a g e sel ec tion s in thi s Ci te two ex a pl es ea ch fro 4 volu e in which sp ea kers sought to be persua sive by sec uring the hea rers (a ) sy p a thy for the sel ves ; (b) pa thy with their subj ects ; (c) self pity sy r M h r t s s i r k o dd e u ng p u on a e a s a s e s a si 5 2 m a nd , . , . m m . m , . ’ , m m m - . . TH E ART OP PU B LIC S PE 30 6 m m AKIN G Wha t o ther ethod s of p ersua sion tha n tho se here e? ention e d ca n you n a en to cha ng e thei r co urse i si er to p ersu a d e a I s t e 7 of co nduc t tha n to p ersu a d e the to continu e in a given Giv e ex a pl es to sup p ort y o ur b el ief course? I n how fa r a re we justified in a king a n a pp ea l to 8 en to a do p t a giv en co urse ? sel f i nterest in o rd er to l ea d o eri t Of the co urse ha v e a ny b ea ring on D s the e 9 ethod s u sed ? eri t of the the Illustra te a n unworthy ethod of using p ersua 10 m 6 . , m m m m . m . m m - . m m . II . ua sion s 1 2 . D eliv er o . p eech on a sh rt s the va lue of skill in p er . D o es f c tiv e p ersua sio n ef e a lwa y s produc e con v iction ? n t a lw a y s resul t in a c tion ? co vic ion 3 it f a i r for co unsel to a pp ea l to the e o tio ns of Isz 14 urder tria l ? a jury in a a king his 15 Ought the ju dg e use p ersua sion in cha rg e ? a y hind er the p o wer 16 S ay how self con scio u sness of p ersua sion in a sp ea k er Is e o tio n wi tho u t w o rd s ev er p ersu a sive ? I f so 17 i llustra te M ight g estures wi tho u t wo rd s b e p ersua sive ? I f 18 so i llu stra te H a s p o sture in a sp ea k er a n y thing to do wi th p er 19 su a sion ? D i sc u ss 20 H a s voic e ? D i sc u ss Ha s a nn er ? D i sc u ss 21 I . D o es m m m . . m - . m . . , . . . , . . . . m . . CHA PT ER XXV ‘ IN F L U E N C IN G TH E CRO WD u cc s in b u in in th l t n lysis tu n up on touching th i gin tion of c owd Th on th t p ch in thi nt g n tion l s ucc ful in g tting p op l t w nt p n goodn s th n bu in in g tting th t w nt oto h t nd p i nol i th t b u in c cl s o n s cl o n d d p t tu d nts of hu n n tu bon d nd h v down h d t th t of tou ching th i gin tions of th — w G E RAL D S TANLE Y LE E C wd c o d S e m es a re se e es a rs , a s a e ra s o e a s, e e . m era e s er as e s s e ss a es s a re s, a ar e r a se a e ss , s m a r , rea s a e ss s re a e e a s e e e ss e a ar , ro s ers m e m m m a re s r a a o a a re , a e a e s m m o a a r s a re a a e re e a e . ly p art of July 1 9 1 4 a collec tion of French a n s in B erl in wa s not a crowd in a en in Pa ri s or Ger E a ch individu a l ha d his own sp eci a l yc o l ogic a l sen se h s p interests a nd n eed s a nd there wa s no p owerful co on A gro up th en rep resen ted on ly a idea to unify the collec tion of individua ls A onth la ter a ny collection of French en or G er a ns for ed a crowd : Pa trio ti s ha te a co on fea r a p erva sive gri ef ha d unifi ed the individua ls the The p sych o l ogy of the crowd is fa r differen t fro p sychology of the p ersona l e b ers tha t co po se it The crowd is a di stinc t enti ty I ndividua ls restra in a nd subdue pulses a t the dicta tes of reason The a ny of th eir i crowd n ever reason s It only feels AS p ersons there is a sen se of resp on sibi li ty a tta ch ed to our a c tion s wh ich ch eck s a ny of our incite ents but the sense of responsi bility is l o st in the c rowd b ec a u se of its nu b ers The crowd is exc eedingly suggestib le a nd will a ct upon the In the m ea r , , , , m m . m m m m m m m , . . , , m , , , m . mm m m . . . . . m m m , m . F IN LU E N CIN m G CROWD TH E m 30 9 m o st ex tre e idea s The crow d in d is w i ldest a nd w i h r n r f a t s i iv i ll c l n o c io n h c r i t a n h r a a d e e d w ee s p p p its e b ers w o ul d u tterly rep u dia te Ruskin s ob is on ly a highly wro ught cro w d A You ca n ta lk a ob into a n y thing ; descrip tio n is fi tti n g : — — ho le g enero u s its feeling s ay be usua lly a re ou the w no ho l d of a nd right b ut it ha s no fo un da tio n for the You a y tea se or tic kl e it in to a ny thing a t y o ur the r h r h i n n f or a t a t l u I nk b y i f c io h o c c ea s e t t s e t t e s t , p p ing a n op inion l ik e a co ld a nd there is no thin g so li ttl e tha t it wi ll not ro a r i tself wi l d a bo ut when the fi t is on no thing so grea t but it wi ll fo rget i n a n hour when the fi t S m mm m m . - . m - m m m ’ . m m , , , . . , , , , ” is p a st . Hi sto ry will Show m crow d i n d work s The in d wa s not given to rea soning ; the edi eva l edieva l a n a tta ched g rea t w eig ht to the u ttera nc e Of a u tho ri ty ; his religion to u ched chi efly the e o tio ns These co n di tion s p rovi ded a rich soi l for the p rop a g a tion of the c ro w d ind when in the el ev en th c entury fl a g ella tion a v olun la ry sel f sco urgi n g onk s S ub wa s p rea ched b y the S titutin fl ll i r reci ting p enetintia l p sa l a e a t o f o n s wa s g g a lv oca ted b y the r efo r ers A sc a l e w a s dra w n up Iraking one tho u sa nd stro k es eq uiva l ent to ten p sa l s or fif teen tho u san d to the e n tire r r z l c s a t e T hi s a e p — sp ea d b y l ea s a nd c ro wds Fla g ella nt fra ternities p sp ru g u r rr n P i es t s c a y i g b a nn r l r o u g e s e d t h h h t e p strets grea t p roc essio n s r eci ti n g r p a y ers a nd whipp i n g thei b loo d y bo di es wi th l ea thern thong s fi tted wi th four iron ooints Pop e Cl e e n t deno unc ed this p ra c ti se a nd m m m m us how the - m , , - , m . . m , m . m m . , , . . . 1 Sa m m . e a nd I/ llies . THE ART 1 0 3 OF PUB LIC S PE AKI NG vera l of the l ea ders of th ese proc essions ha d to b e b urned a t the sta ke b efore the frenzy co ul d b e up roo ted All western a n d c entra l E urop e w a s turn ed in to a crow d by the prea ching of the cru sa ders a nd illions of the foll owers of the Princ e of Pea c e rushed to the Ho ly La n d E ven the c hil d re n sta rted on a cru to kill the hea then sa d e a g a in st the S a ra c ens The ob sp i ri t w a s so strong tha t ho e a ffec tio n s a nd p er sua sio n co ul d not p re va il a ga inst it a nd tho u sa nds of ere b a b es died in r ea ch re d ee thei r a tte p ts to a nd the S a c red S epul chre I n the ea rly p a rt of the eighteen th c en tury the S o uth S ea Co p a n y w a s fo r ed in E ngl a nd B ri ta i n b ec a e a sp ecul a tiv e c ro w d S toc k in the S o u th S ea Co p a ny rose fro p oints in Ja nua ry to 550 in M ay a nd sco red in J uly Five illion sha res were sol d a t this p re iu S p ecul a tion ra n rio t Hu n d red s of co p a ni es w ere o rg a niz ed One wa s fo r ed for a wheel of p erp etu a l o tion Ano th er n ev er tro ub l ed to giv e a ny rea son a — rs it erely a ll for ta king the c a sh of its sub sc rib e for a d esig n which noun c ed tha t it w a s o rg a ni z ed herea fter b e p ro ul g a ted Own ers b eg a n to sell a p a nic en su ed ob c a u ght the sugg estio n S ea Co p a ny stoc k fell 80 0 p oin ts in a few d a y s ore tha n a billion dolla rs eva p o ra ted in t hi s er frenzied sp ecul a tio n the K1 The b urni ng of the wi tches a t S a l e gol d c ra ze a nd the fo rty eight p eop l e who were ob s in the Uni ted S ta tes in 1 9 1 3 a re ex a ple to us in A eric a se . m , m m m . m m - . . m m mm m m . m . , m m . . . “ m . F m m m “ m , . , , , . m m , m - , m m m . , . THE ART OF PU B LIC S PE AKIN m G m cco plished by unifying the inds a nd needs of the a udi ence a nd a ro using their e o tions Their — h r r i n n o t t e e a s s t b e a feel gs i on u pl yed upon i i is up ” Arg u en t ha s its pl a c e on the to do this nobly hi to pla tfor but even its p o tencies ust sub serve the sp ea k er s pl a n of a tta c k to win possession of his a u dienc e Rerea d the cha p ter on F eelin g a nd Enthu sia s It is i p o ssib l e to a k e a n a udi enc e a c row d wi th o ut a pp ea l ing to their e o tions Ca n yo u i a gin e the a vera ge gro up b eco ing a crowd while h ea ring a l ec ture on D ry F ly Fi shing or on Egyp tia n Art? On the o ther ha nd it wo ul d not ha v e requi re d w o rl d f a o us eloquenc e to h a ve turned a ny a u dienc e in Ul ster in 1 9 1 4 in to a cro w d b y disc u ssing The c row d sp iri t d ep ends l a rg ely the Ho e Rul e Act on the sub j ec t used to fuse their individua lities into one glowi ng whol e No te how Antony pla y ed up on the feeling s of his h ea rers in the fa o us funera l o ra tion given b y S ha k esp eare in Julius Caesa r Fro ur uring uni ts the en b eca e — ob a a u ni t This be ca n a m m m , , m . m m . , m ’ m m m m . m . m , - m , , , - . . m m mmm . m m . AN TON Y S ORA TI ON OVER CE S ARS B OD Y ’ ’ m m m m m m m m i nd Ro n count y n ! L nd you I co n t t p i hi t bu y C Th vil th t n do liv s ft th ; Th good i ft int d with th i bon S l t it b w ith C ! Th Nob l B u tu H th to l d yo u C bitiou w If it w it w g i vou f ult An d g i vo u ly h th C n w d it H und l v of B utu nd th t B u tu i n h ono bl n F Fr e s, e a a e sa r , e s o e ae sa r aesa r e re so , as a r e a s er r s ea s a e e o ra se er a e e . e es : e r erre e e re , o e a or r r o e e o s, m m m e as a s r e sa r a s s, a r ra a e a , e s s r . , e re . e re s r ea rs ; INFLUE NCIN G THE CROWD So mI y a ll , a ll the a re h ono bl ra I 3 3 m en e s fun k in C l m h n d t t f nd f i t f ul ju i H w y y h w m bitiou ; B ut B utu n And B utu i n hono b l m ny c p tiv homt Ro H h th b ought m Who n omdid th g n l coff fill mm bitiou ? D id thi in C h th w p t ; Wh n th t th p oo h v c i d C bition houl d b m d of t n tuff Am Y t B utu y h w m bitiou ; An d B utu i n hono b l m n Y u ll did th t on th Lup c l I th ic p nt d himkingly c own Which h did th ic fu bition ? W thi m Y t B utu y h w m bitiou ; h i And u bl m n hono n I p k n t t di p ov wh t B utu p ok B ut h t I m k wh t I do know p Y u ll did l ov hi onc n t wi thout c u ; Wh t c u withhold you th n t ou n f hi ? Oh ju dg nt thou t fl d t b uti h b t And n h v l o t th i on —B with m ; My h t i in th coffi n th wi th C An d I m u t p u till it comb ck t m 1 Pl b i n M think th u ch on in i m 2 Pl If thou con id ightly of th m tt h C h d g t w ong C o e as e m to r e r s sa r s s e s e a e s sa r o rese e s sa s re , a er s se s a er a , r , s a as . as a e : . a s e e e e re e a s , e : ae sa r , s er ra r r e r e as a a e e a e see , a r e s a s r s, e, s a e s m o e rs a r e e e ra e aesa r se e e: . es a a s a e ra o s as a e . s a s a s se ra era a , r a e a sa r sp e a ’ s ra e a . ’ s ea o o e re s o S a a o a , r e m m m e e a ea r s s a e e a e e e r rea s s . as a s e re m Ha s he a sters ? , co in hi p l c 4 Pl M k d y hi w o d ? H woul d n t t k th c own ; Th fo ti c t in h w n t bitiou 1 Pl If it b found o will d bid it 2 Pl Poo oul hi y fi d wi th w p ing 3 Pl Th n t nobl an in Ro th n Ant ony 4 Pl N w k hi h b gin g in t p k A nt B u t y t d y th w o d of C ight H v tood g in t th w o l d n w li h th An d non v nc p oo t do hi If the re w ea r e ere ill er , a m . . . re a s e r 3 P le e o er r rea a aesa r , e s e ea r ere e e a s s, s r m or r o o se . m se a o e e, . e, ar e s aesa r a s , s s r a ea se a e e ar . re , ’ er a o o e so a s r , e o m m o a a o s e re a o re ere es e . e e r . ee e a o S ea sa r : e . m mm as s a e m . ea r a er r r e m e e e a e e s a re re , a s as a ar es er a e m m e re s . r s e , ’ . e s s , s e so , s r s . a rse e e . o e s . e w ’ e e a ere , . . . 1 3 4 Oh m if I w a sters ! , PUBLIC S PE AKI NG THE ART or i m m ’ d iS p o s d to e re st r ou h t nd ind t utiny nd g I houl d do B utu w ong n d C iu w ong Wh you ll know h ono bl n I will n t do th w ong ; I th choo T w rong th d d t w ong y l f nd y u Th n I will w ong u c h h ono b l n B ut h nt with th l of C ; p ch I found it in hi cl o t ; ti hi will L t b u t th co on h thi t st nt Which p don I do n t nt d And th y w oul d go nd ki d d C w o u nd An d d ip th i n p kin in hi c d bl ood ; b g h i of hi f oy Y And dying ntion it wi thin th i w ill B q u thing it ich l g cy Unt o th i i u 4 Pl W ll h th will R d it M k Antony All Th will ! th w ill ! w will h will C A nt H v p ti nc g n tl f i nd I u t n t d it ; It i n t l t yo u kno w h w C d you Y u n t w ood yo u n; n t ton but An d b ing ing th will of C n h It will infl you it will k you d Ti good yo u know n t th t you hi h i ; F if you houl d h wh t w oul d co of it ! 4 Pl it An tony ! R d th will ; w ll h Y u h ll d u th will ! C w ill ! A nt Will yo u b p ti nt ? W ill you t y w hil ? Ih v h t y lf t t ll you of it n I f I w ong th hono bl it Who d gg h v t b d C ; I do f n! 4 Pl Th y w t it o Hono b l All Th will ! th t t nt ! 2 Pl vill in u th Th y w ! Th w ill ! R d th A nt Y u wi ll co p l d th will ? th n t Th n k ing bout th co p of C An d l t d th will h w yo u hi th t l v ? S h ll I d c nd ? And w ill yo u giv Y r ea r s a s s s r o, a r e o s r ’ ere s a ar s ar , e a r , ss e r e e . a ’ a e s o a e, e o e rs r se e e . e . m m e a a e s es e e e a : e rs s e m ’ ea r , s a o e ra e , m e ’ ra es a a e a . m ea r aesa r m m mm m m a . e e a e e a r ’ sa r s ere o re a ’ e s a e e . a e re e . , er s o . aesa r , a e se s es , a re e m s o a , m m m m aesa r s ov m e a aesa r . ’ s: r e a o ar , e , s o s, ea e ea r , e ’ s, , ea r a re e rea ea r e e , , . a r o ea . e re : o e m ae sa r s e e e s aesa r a e s or . ’ e e ea r o e , , o re a ea s sa ee a re o . ’ e a e r m m m o o ss e a . a ea or e . s e e m o as a r ea e e e , , : s s m a m se m mm a se s ea r a e r e s e, e ea , ’ , . e sea , se s e e r er ra e s e m r o e, m e ra m m m m a ra r , ra a ss m ea e a a , a re , o o ra rs : e . e e e a m m e o rea e e r se a sa r , e e e ea e ere rs r s, e . ea e e ill ! w 6 1 3 PUBLIC TH E ART OF 3 Ple 4 P le m ill , . , We 2 P le . All , be w Reve nge ; . AKING Oh , w oful d a y ! Oh tra ito rs vi ll a ins ! o st bl oody sight ! Oh . . 1 P le S PE a ’ re v e n g d! bout—s k— bu n—fi —kill— l ly r ee re S a - L et i o live ! A nt S t y cou nt y n 1 Pl P c th ! H th nob l Antony 2 Pl W ll h hi w ll foll ow hi w ll d i with hi A n t G ood f i nd w t f i nd l t n t ti you up T uch udd n fl ood of utiny Th y th t h v don thi d d h ono bl Wh t p iv t g i fs th y h v l ! I kn ow n t Th t d th do it ; th y n d h ono bl wi An d will no do ub t with on n w you I co n t f i nd t t l w y you h t ; I no o to B utu i ; B ut you know ll n p l in b lu nt Th t l ov n d th t th y kno w f ull w ll y f i nd Th t g v k of hi p p u b l ic l v t F I h v n ith wit n w o d n w o th Ac tion n utt nc n th p ow of p ch T ti n bl ood I onl y p k ight on I t ll you th t which you you lv do know ; du b outh S ho w you w t C w o u nd p oo p oo And bid th kf B ut w I B utus p n An tony And B u tu Antony th w W oul d uffl up you p i it nd p ut tongu In v y w ou nd of C th t h o ul d ov ton of Ro t i nd utiny Th A ll W ll utiny ! 1 Pl W ll b u n th hou of B utu k th con p i to s 3 Pl Aw y th n ! C o count y n ; y t h k Ant Y t h p All P c h ! H o t nobl Antony Antony A nt Why f i nd you go t do you k no w n t w h t ? Wh in h th C thu d rv d yo u l ov Al ! you know n t — I u t t ll you th n Y u h v fo go t th will I tol d yo u of a tr a t r a , . e e ea . a s e a e s m m m m m m m r a a r e e a , e r e , ra s, e a a r e e a a or e a m or , r e or , e ra ’ e, s or e m r e S r e . e e ’ a . ea r e ea . e, , e re o as r m s a se e r , e e . s . s e ea r e , s, m m s e S es r e e . . r . ea . . o ’ e se ra e s o s e r m r ea r o e a e , se e aesa r a mm r, r, m m m m r e , : e re o r se a e, ee r s, a e , , ere a e r e es . m m ’ e . a e e re r s e es . m aesa r , e s . or , er e ea r s s, aesa r s ee s r ea rse r s or er s , : s, e . ’ m m ea r a e o er e ea r s r e e, . a o S , ra er s a a e r e: o a a ea s o ra s a , e e , e se , a s a a s e a re re a s r e e ’ : a re o s ea r, a s as o s e , o s, m . e, a as a e e , ee e m m e r e ee e e ’ e , e a a a m m s, s r e . ea r ea r . o s e ere e ’ e . m r a . s, . INF LUE NCIN P le M o st . u tr e THE CROWD — will ! let s sta y ’ the - G hea r the w a nd , 1 3 i l nd und C l v y Ro n citi n h giv T v y v l n v nty fi dr ch T — M o t nobl C l w ll v ng hi d 2 Pl 0 oy l C ! 3 Pl wi th p ti nc A nt H All P c h ! h h th l ft you ll hi w lk Ant M o ov bou nd n w p l nt d o ch d Hi p iv t you On this id Tib ; h h th l ft th co on p l u And t you h i s fo v c t you lv T w lk b o d nd ! Wh n co uch noth ? w C H — w y nv N v Co w y! 1 Pl W ll bu n hi body in th holy p l c th t ito h ou And with th b nd fi T k up th body f tc h fi G 2 Pl Plu ck down b nch 3 Pl s windo w nything 4 Pl Plu ck down fo m m A nt Here is the w l . o e er o e er se era . e ea . a e e r a ’ , e re e . s e ea th . e rse e, a e s re es es s er e r ea s a , re s , . er a a e, rs ra e , s, ar a a s, a m e a e er , s a m m m m a ’ se s . . re e . e e . m es r e . Ant Now le t it w . ok r . s, a , . [E xeunt Citizens Mischief . , th ou a rt a , with the body . foot , ou wh t cou thou wilt ! To unify sing l e a u di to rs into a crowd exp ress thei r co on needs a spira tions da ngers a nd e o tions de l iver your essa ge so tha t the in terests of one sha ll a ppea r The convic tion of one to b e the in terests of a ll a n is intensified in proportion a s he fin ds o thers sharing — his b elief a nd feeling An ton y do es not stop wi th telling — the Ro a n p opul a c e tha t Caesa r f ell he a k es the tra gedy u niversa l : nd ll of u f ll do wn Th n I nd you Whil t bloody t on fl ouri h d ov u Appla use g enera lly a sign of feeling help s to unify a n Ta k as . - e ra o, . ’ re rea e a e e e s e a e e re er , r m a e a aesa r e . e e r as a e re e e a er r a ae sa r rs , a e o v e - a e sa r er, a e ar S e . o re r se ae sa r s se a es, e e e, . o m ea r , e a r . . s a s e . ze a . ’ er a , ill 7 e th rse a m m , m , , , m m . m , s , m . e a , , a rea s a s s e e , er , s . 1 3 8 PUBLIC THE ART or S PE AKIN G udi enc e The n a ture of the crowd is illustra ted by the conta gi on of a pp la use Rec ently a throng In a New York oving p ic ture a nd va udevi lle ho use ha d b een a ppla u ding a nd when a n a dv erti se e n t for ta i l o re d sev era l so ng s e one sta rted the ski rts wa s thro wn on the sc reen so d the crowd l ik e S heep b l indly i i ta ted a ppl a u se a n until so eon e sa w the j oke a nd la ughed ; then the crowd a g a in fo ll o w ed a l ea d er a nd l a ughed a t a nd a p pl a u d ed its ow n stup i di ty Ac to rs so eti es sta rt a pp l a u se for their li nes b y sn a p r n r n i n h r r ing h i fi g e s o e o e t e fi s t f w o i ll i t w e S e s w s p ta k e it for f a in t a p p l a u se a nd the wh o l e thea tre wi ll chi e a . m . m m - , m mm m , , , . . m m m , ob serva nt a u di tor will b e i nterested in no ticing onologi st will u se to g et the first the va rio u s d evic es a ro u nd of l a ug hter a n d a ppl a u se He w o rk s so ha rd b e c a use he knows a n a udienc e of units is a n a udi enc e of indifferent c ri tic s b ut onc e g et the to l a ughing together b er of o thers with a nd ea ch S ing l e l a ug her sw eep s a n u unti l the whol e thea tre is a roa r a nd the enterta in er hi es to b e su re ha s scored Th ese a re eretricio u s sc he a n d do not sa vo r in the l ea st of in sp i ra tion b ut c rowd s ha v e not Cha ng ed in their n a ture in a th o u sa nd y ea rs a nd the on e la w h o l d s for the grea test p rea cher a n d the p etti est — r h o t e w p k r yo u u f u y o u r a u di e nc e y i ll stu s e a s t se e p The d evic es of the g rea t not w a r to y o ur essa g e o ra to r a y not b e so ob v io us a s tho se of the va udevi lle onologi st but the p rinciple is the sa e : he tri es to e u niv ersa l no te tha t wi ll h a v e a ll his h ea rers strik e so feeling a lik e a t the sa e ti e An m . m m m , m , . m , , m m m m m - m m . m , mm . , THE ART or 2 0 3 PUBLIC K G S PE A IN crowd Thi s c a nno t b e done when they pty sc a ttered over a l a rg e sea ting sp a c e or wh en a ny e b enches sepa ra te the sp ea ker fro his hearers Ha ve your a u di enc e sea ted co p a ctly How a ny a prea cher ha s b e o a n ed the enor o u s edific e over which wh a t woul d nor a lly b e a la rg e congrega tion ha s sca ttered in chilled so l i tu d e S u nd a y a f ter S unda y ! B i sh o p a nd chilling B roo k s hi self co ul d not h a ve in sp ired a congreg a tion of on e th o u sa nd so ul s sea ted in the v a stn ess of S t Peter s I n tha t colo ssa l sa nctuary it is onl y on grea t a t Ro e occ a sions which b ring out the ultitu des tha t the service — is b efo re the high a l ta r a t o th er ti es the s a ll er side cha pels a re used Universa l idea s surcha rged wi th feeling h elp to crea te Ex a pl es : lib erty ch ara c ter the c ro wd a t o sph ere country a nd righ teo u sn ess co u ra g e fra terni ty a l trui s n a tiona l hero es G eorge Coha n wa s a king p sychology pra c tica l a nd profita b l e wh en he introduc ed the fl ag a nd usica l co edies Cro well s regi fl ag— song s in to his en ts p ra y ed b efo re the b a ttl e a nd wen t in to the figh t ns The French corp s singing the Ma rseil singing h y la ise in 1 9 1 4 cha rg ed the Ger a ns a s one a n S uch unifying d evices a ro use the feelings a k e so l diers fa na ti — ob s a nd a la s ore eflicent urderers ca l a m m m m - . m m m m m m . . ’ . m . m m . m - m m m m m m , , . m m . , , , , , ’ . , . , m m m m m m . , , , . ‘ CHAP T ER XXVI RID IN G W IN G E D TH E H ORS E ink nd t f l con titut th tw g nd divi ions of — n of i soning nd th gin tion n of g niu th n of IS AAC D IS RAEL I Lit t y Ch f M n f G niu m To th e a , s e m o ee e e re a e e s , a mgin ion bodi fo fo mof ing unkno n un m giv l oc l bi ion nm And as The T A r i at a th s r s the a ha ta t - e the p e s to a w s a nd a e a a o e . s . rth es , sha p e s a nd to m m a ra c er o era r , e s ra o ’ a A e . e s e r m m Midsu S H KE S PE ARE , ot pn i y nothing ’ er - Nig ht s D rea ’ m . m mm m m m m m m m m m m m mm mm m m m mm m m m m m m m co on a ong tho se who dea l chiefly with life s pra ctica lities to think of i a gina tio n a s ha ving little va lue in co pa rison wi th direct thinking They s ile wi th tolera nc e when E erson sa y s tha t S ci enc e do es not know its deb t to the i a gina tio n for these a re the words of a sp ecula tive essa y ist a p hilo sop her a p o et B ut — — when Na p ol eo n the indo ita b l e wel der of e p ires de cla res tha t The hu a n ra ce is governed b y its i a gi n a tion the a u thori ta tive wo rd co a nd s thei r resp ec t B e it re e b ered the fa cul ty of fo r ing enta l i a ges 18 a s effi ci ent a cog a s ind a y b e fo u nd in the who l e ach e True it u st fi t into tha t o ther vi ta l cog p ure th o ught b ut when it do es so it a y b e qu estion ed wh ich is the ore p ro duc tive of i p orta nt results for the happin ess a nd well b eing of a n This should b eco e ore a pp a rent a s we go on ’ It is , , , , , . . , , . , , , - . . 2 2 3 I . TH E ART OF WHAT IS AKIN G P U B LIC S P E I MAGINATION ? k for a definition for a score of va rying a y b e fo u nd b ut let us gra sp thi s fa ct: B g n on es 1 a 1 a y ea n ei ther the f a c ul ty or the p roc ess of for ing tion we a g es en ta l i The sub j ec t a tter of i a gin a tion a y b e rea lly ex istent in n a ture or not a t a ll rea l or a co bina tion of — bo th ; it ay b e p hys a l or sp iritua l or bo th the enta l i a ge is a t onc e the o st la wl ess a nd the ost la w a biding Chi l d tha t ha s ev er b een bo rn of the i nd Fi rst of a ll a s its na e S u ggests the p rot ess of I a gina — for we a re thinking of it now a s a p roc ess ra the tion r — is tha n a s a f a c ul ty ory a t wo rk Th erefore we e ust con sider it p ri a rily a s m m m m L et us not see , . - m m m , m m mm m m , I . hea r Reproductive or feel or m m m m m - . , . b see o r m m m , , We m m , I m ta ste mm a gina tion or s ll so e ing eth a nd ion p a sses a wa y Yet we a re consc10 us of a grea ter or l esser a bi li ty to rep roduc e such feeling s a t will Tw o co nsid era tion s in g en era l will gov ern the vividn ess — of the i a g e thus evoked the streng th of the o rigina l i p ression a nd the reproduc tive p ower of one ind a s co p a red wi th a no ther Yet every nor a l p erson will b e a b l e to evok e 1 a g es wi th so e d eg ree of d ea fness The fa c t tha t not a ll ind s p o ssess thi s i a ging fa cul ty in a ny thing lik e equa l ea sure wi ll ha ve a n i p orta n t b ea ring on the p ub lic sp eaker s study of this question No a n who do es not f eel a t l ea st so e p o etic i pul ses is l ik ely to a sp i re serio u sly to b e a p o et yet a ny wh o se the sensa t : . m m m m , , m m m , m m m . ’ m m m m m , . . THE ART 2 3 4 m ind d you m o m o of OF PU B LIC S PE AKING i b ent in this d rec tion Clo se — r eyes now a nd re c a ll the wo rd thu s hyphen a ted — is re sugg estive the sc en e a ro und thi s orning s brea kfa st ta b l e Po ssib ly there wa s no thing Striking in the si tua tion a nd the i a g e is therefo re not striking Th en — i a g e a ny notable table sc ene in yo ur exp eriencc how vividly it sta nds forth b eca use a t the ti e you felt the i pression strongly J ust then yo u a y not ha ve b een conscio us of how strongly the sc ene wa s la y ing hol d up on you for often we a re so in tent up on wha t we see tha t we give no pa rticula r thought to the fa c t tha t it is i pressing It a y surp ri se y o u to l ea rn how a cc u ra tely you a re us a g e a sc en e when a l ong ti e ha s el a p sed b e a b l e to i tween the con scio u s foc u ssing of yo ur a tten tion on the i a ge a nd the ti e when y o u S a w the origina l (b ) The a uditory i a ge is p rob a b ly the nex t o st vivid of our reca lled exp erienc es Here a ssocia tion is p o tent to suggest si ila rities Clo se out a ll the worl d b eside a nd listen to the p ecul ia r wood a ga inst— wood so u nd — of the sha rp thunder a o ng rocky o unta ins the c ra sh of b a ll a ga inst ten pins a y sugg est it Or i a g e (the w o rd is i p erfec t for it see s to sugg est only the eye) the so und of tea ring ro p es when so e p recio u s weigh t ha ng s in da nger Or reca ll the b a y of a hound a l o st — up on yo u in pu rsui t Choo se yo ur own sound a nd see how p l ea sa n tly or terrib ly rea l it b eco es when i a g ed in your b ra in (C) The otor i a ge is a clo se co p etito r with the H a ve y o u ever a wa k en ed in a u di to ry for seco n d p l a c e uscle ta u t a nd striving to feel yo ur the night every e and , st us a re . m - m . m m . ’ m m , . h m , . ’ m m m m m m m m m m m m m . . . - m - m . , . m m m m m . , . , , ' m m RIDIN G THE WI N GE D HORS E 2 3 5 lf straining a ga in st the opp o sing foot b a ll line tha t hel d like a ston e wa ll—or a s fir l y a s the hea dboa rd Of yo ur ove ent Of the boa t b ed ? Or volu nta rily rec a ll the ” It s a ll up wi th e! The when y o u cri ed inwa rdl y peril ous lurch Of a tra in the sudden sinking Of a n el eva tor a y serve or the un exp ec ted topp ling of a rocking cha ir ents a s fu rther exp eri on enough a s the idea (d) The gusta tory i a ge is co Of ea ti n g l e on s will testify S o eti es the p lea sur outh a b l e recoll ec tio n Of a d el ightful dinn er wi ll c a u se the i a g e of p a rticul a rly to wa ter y ea rs a fterwa rd or the e dici ne wi ll wrinkl e the no se l ong a f ter it a trocio u s a de one da y in bo y hood wretched (e) The olfactory i a ge is even o re delica te S o e ory Of there a re who a re a ffec ted to il ln ess b y the e certa in Odors while o thers exp erienc e the o st del ec tab le a g es sen sa tion s b y the ri se Of p l ea sing Olf a c to ry i (f) The ta ctile i a ge to na e no o thers is well nigh D O y o u shu dd er a t the tho ught of v elvet a s p o tent rubb ed b y S ho rt n a i l ed fing er tip s? Or were y o u ever b urned b y touching a n ice cold stove? Or ha pp ier e ory ca n y o u still feel the to u ch Of a w ell l oved a b sent ha nd ? B e it re e b ered tha t few Of these i a g es a re p resent — in our ind s excep t in co bina tion the sight a nd sound of the cra shing a va la nche a re one ; so a re the fla sh a nd “ doing rep o rt Of the hunt a n s g un tha t c a e so n ea r m Se - - mm m m ’ , , m - , m m m m mm m m m m m m mm m m m m . , . , m . . , . , , . mm - - , mm m , - m m ’ for us . Thu s, m — a g ina tion processes m — i a ging esp ecia lly conscious will m m m ml oductive rep r i b eco e a va lua ble pa rt Of our enta in p rop ortion a s we direct a nd control it . T TH E A R 2 6 3 2 P rodu ctiv e I AKIN G m a gin a tion m m m foregoing ex a p les a nd doub tless a lso a ny of the exp eri ents y o u y ourself a y origina te a re erely Pl ea sura b l e or ho rrific a s these a y b e they rep ro du c tiv e r n h n t a t t h a t e i a g e s evo k ed b y the p ro o a re fa r l ess i p — ductiv e i a gina tio n tho ugh tha t do es not infer a sep a ra te fa cul ty Rec a ll a g a in for exp eri en t so e sc en e wh o se b e ginning y o u onc e sa w ena c ted on a street corner but p a ssed by b efore the déno ue ent wa s rea dy to b e disclo sed — Rec a ll it a ll tha t fa r the i a g e is rep rodu c tive B ut — r r a t pl ea sure the wha t fo ll o w ed ? L et y o u fa n ta sy o a ore or su cc eeding sc enes a re p rodu c tiv e for yo u h a v e less con scio usly invented the unrea l on the b a sis Of the rea l And just h ere the fi ctionist the p o et a nd the pub l ic a g ery Tru e sp ea k er will see the v a lu e of p rodu c tiv e i the f eet of the ido l yo u b uil d a re on the gro und b ut its hea d p ierc es the c lo uds it is a son Of bo th ea rth a nd h ea ven One fa c t it is i p orta n t to no te here : I ag ery is a va lua b l e enta l a sset in p rop o rtion a s it is controlled by The un the h igh er in tellec tu a l p ow er Of pure rea son tu to red chi l d Of n a ture think s l a rg ely in i a g es a nd th ere fore a tta ches to the undue i po rta nc e He rea dily — confuses the rea l wi th the unrea l to hi they a re of l ike va lue B ut the a n Of tra ining rea dily di stinguishes the one fro the o ther a nd eva lua tes ea c h wi th so e if not with p erfec t justic e a y p rodu c e a S O we see th a t un restra in ed i a g ing All of . OF P U B L IC S PE the m m m m m , . m , m m m m m . , , , . . m , . , , m . , , m m , m . . m m m . . m m m . m , , . m m 2 3 8 m ood prob a b le m it s he e (b ) t AKI NG THE ART OF PUB LIC S P E occ a sion the the , pea ker the a nd , itu de toward a nd a tt s . m Concei ve your speech as a whole while you a re pre — — r n n o a r i n i t s a t s e l se c a yo u t see i a g h i e o w ts , p g p pa rts sha ll b e fi tly fra ed together m m i n x m p o n o u p ch m dic bi of im gi g ill giv y o u c oic v i d figu of p ch mm b dd i ou f co m p i on l ik g d i hou b loom con n i h fi ckn y d figu comflo ing you p oin d m un il iking un u u l vividly l com p i o p oi y ou o ugh lik (C) or I ra for e w n a the la ngua ge you will use, a ge te e re is e a the rst s s tha t er ha e t, but s tha t re , te t w t to r the , ee be n ts ar s n rea s ar s w str t resh not es the t on res t DO . wr tte as The ha . ar e w th ress t e rea the an a w t en ar e Of h fa r SO ta te ay ee e e . s a th r s n e p e t y , t e l do es ow tip No te the freshness a nd eff ec tiv eness of the foll owing descrip tion fro the op ening Of O H enry s story The Ha rbing er the stee a rr - . m ’ . , . m ong b fo th S p ingtid is f lt in th dull b oso Of th yok l do th ity n know th t th g s g n godd ss is up on h th on H it t his b kf t ggs nd to t b gi t by ton w ll s Op n hi o ning p p nd s j ou na li l v n li t th p o t onc th vid nc of ur F s w wh s S p ing s co u i fin ns s n w th As oci t d P s do s th t ick ti ring Of Th w b l of th fi st obin in H c k n ck th h h O f t w s l in nn ng on b u dding u y i ll o w th s B i t t p p p l ong th in t t in S y cus th fi st chi p Of th blu bird th sw n ong Of th b lu p oint th nnu l to n do in i ist f o Po p ton N J S t L o ui th p l int Of th p ch p th gul vi it Of th t b ok n l g t th wil d goo s with B il g w t Junction th b tt p ond n p t of th D ru g T u st t boo t th p ic of quinin foil d in th H o us by C n g ss n Jinks th fi st t ll p op l st u ck by lightning n d the L re e es e e er a e s a or e m e a e e , . m s s, e a r re m o a s re s a as see r r r sa e e e, e m e , s ea e o r e . e , ss e r a a a se e r r a a e a . , e e e e e r e ar r r r e e s m mm m , ess , a r e e e e e e e e e m a er e e a e a ea e e , a e ra e e e re e s ea r r er , s ree a e er a r e a ar r e e e re s e a ree - e . r e as rea a ra s e a r ’ o , e e s a s s e ar a s e erea e r se e e S . , a e a C e m s v er r m m r e . o e e o e a , RIDIN uu l G WIN GE D THE H ORS E 329 nn d p icknick wh h d t k n fug th fi t c ck j b in th Al l gh ny Riv th finding Of viol t Of th i in it o y b d by th co p ond nt t Round Co n —th dv nc d ign Of th bu g oning n th t wi d th ity whil th f nothing b ut wint up on into th wi y fi ld hi d xt n l Th t u h bing is th h rt B ut thes b Wh n S t p hon k hi Chl o nd Mik hi M ggi th n onl y iv d nd th n w p p foot ttl is S p ing p o t of th fi kill d in S qui P tt g w p tu confi d s stu a m ce e s a ss m s see re a rr r re e rres re er, e e, e r m sea so r e a er sees ar rs ra a a e e e e a e e ers e se a re re er re e . r e e a e e a s er s s a e a . e re e e e e e , e o s S se C rea r e e e e a e ers e e a a re s m e s e ’ re s s e a e r re as re er ar a m r e r e e e, v e ea . e ra er . A ha ckn ey ed writer woul d p rob a b ly ha v e sa id tha t the newsp ap er told the city a n a bout sp ring b efore the m mco bi g you g m n fa r er ha r n vi denc e Of it but tha t the rea l In the S p ring a er Of sp ri ng w a s l ove a nd tha t a s fa nc y lightly turns to tho ughts Of l ove ul d see a ny e , ’ n . 2 . I m a ging When onc e the p a ssion in S peach D eliv ery - ch is on y o u a nd y ou a re — r r h a s t i b y i k ing e s t ll the iron is hot wa r ed up p p — a y not f a i l to stri k e when it is hot y o ur so tha t y o u ood will b e one Of vi sion — ore else Then (a ) Re i a ge past e otion Of which — r h t r h r T e a c o e ca lls the Old feelings every ti e he w e e renders his telli n g li nes (b ) Reconstruct in i age the scenes you a re to describe I a e h e o b ec t s i n a t r e h c t n u w ose tone you a re () g j ove ent delinea ting S O tha t b ea ri n g a nd voic e a nd r r g u r w i ll ic t u e fo t h t h w h o l convincing l y es t e e e ) ( p In stea d Of erely sta ting the fa c t tha t whiskey ruin s ho es the te p era nc e sp ea k er p a ints a dru nka rd co ing ho e to a b use his wif e a nd strik e his chil dren It is uch m m m m Of sp ee . - m m m . m . m . mm , ‘ m m m m . , . m m THE ART OF PU B L IC S P E 330 AKING m m m o ctive tha n telling the truth in a b stra ct ter s To dep ic t the cruelness Of wa r do not a ssert the fac t ab Wa r is cruel S how the soldi er a n a r swep t stra ctly a w a y by a b ursting shel l ly ing on the b a ttl efi eld p l ea ding for w a ter ; S ho w the chil dren w ith tea r sta in ed fa c es pressed a ga in st the window p a n e pra y ing for their dea d fa ther to return Avoid genera l a nd p ro sa ic ter s Pa int pictures Evolve i a ges for the i a g1na tion Of y o ur a u dienc e to con stru c t in to p ic tu res Of th ei r own re ef fe . , . , , - . m m m . . . III I MAGING HAB IT HOW TO ACQUI RE THE mic n mn d um um lic ion bvio u ginning i h fi im pl n l hi y ou qu li i of im g m king p ci v l kind im g h n O by — v n nv n —o in com bin ion mny img com in com l x fo m lik com bin d noi hoving do ch ing c o d f p c i ing on p oduc iv im ging u n . You tha t is t mm b re the wa y to O s s res e Be . e e one ra i t e t a nd A ter ra p hot t is to the res s O e the own r se sta tes a t a r r Of a re r , a e a es ; for a the e a e - t w a at yses Of a e . a dd a es se a nd e r eer t , a sserte app e a es at e The ? s Of era se ” who a rst s thers to u s s er wt Cha p ter, test ne e A the er e . , t r to the produc tive b eginning wi th the rep roduc tive a nd a dding produc tive fea tures for the sake Of cultiva ting invention Frequently a llow yo ur o rigina ting gifts full swing by — so u nd s wea ving co pl ete i a gin a ry fa b ric s S ights a ll the fi ne wo rl d Of f a n ta sy l i es op en to the sc en es ; j o urn ey ing s Of y our winged steed I n like a nner tra in yourself in the use of figura tive la ngua ge Lea rn first to distingui sh a nd then to use its va ri ed for s When used with restra int no thing ca n b e ore eff ec tive tha n the trop e ; b ut onc e let ex tra va ga nc e , . m m , . m m m . , . , , THE ART OF PUB LIC S PE AKIN 2 33 m G p rec eded the disturb a nc e ; (c) i a gin e wha t fo llowed it ; h r conn c t t h e w o l e in a t e se d ic n ion ra d e a rr t a a t for () a nd d eliv er it wi th ca reful a tten tion to a ll the pl a tfo r tha t y ou h a v e l ea rn ed Of the pub lic sp ea k er s a rt D O the sa e wi th o ther inciden ts yo u h a ve seen 10 or h e a rd Of or rea d of in the n ew sp a p ers NOTE : It is hop ed th a t thi s ex erci se will b e va ri ed a nd exp a nd ed un til the pup i l ha s g a in ed con sid era b l e a stery Of i a gin a tiv e n a rra tion (S ee Cha p ter on Na rra tion Exp eri en ts h a ve p roved tha t the II a j o ri ty Of i o pl e t h n k o s t vivi dl y in t r of vi u l i g e e s s a a es p ore rea dily in ter s Of a uditory However so e think o to r i a g es It is a good pla n to ix all kinds Of a nd i a ges in the course Of your a ddress for yo u will do ub tless ha ve a ll kinds Of hea rers This pla n wil l serve to give va ri ety a nd strengthen your effec ts b y a ppea ling to the sev era l sen ses of ea ch h ea rer a s w ell a s in teresting a ny differen t a uditors For ex ercise (a ) give severa l origina l O f n l co p o u nd i g con u c b i f es a es a d b s t r t r e ex a ( ) p d escrip tions Of the sc enes i a gin ed For exa pl e the fa lling of a b ridge in proc ess of b uilding Rea d the fo llo wing Ob serva n tly : 12 m , m m . ’ . , , . m m . m m m m m m m m m m m m . . , . . . m , m m m m . , m , . , . . ik s uff d bitt p ov ty l t winter in N w Yo k L t win t wo n vi iting th E st S id Of N w Yo k City s w noth wo n co ing ut Of t n nt hou wringing h h nd s Up on inqu i y th vi ito fou nd th t a hil d h d f int d in n of th p rt nts S h nt d nd sa w th Chil d ill nd in t g whil th f th oo strik w st p p vid dic l h lp A p hysici n w call d nd sa id th hil d h d f inte d f o l c k of food Th onl y food in the ho wa s dri d The str er as er er a a e o m e r ra e s, e a e e e a . s as e m e r e se e r C a e e . er , a a . e e re er , e r e e a e a a e o e a as er s a r m a er e re a . e a a er a a a m m m m s a a , a e a r oo m e C e o ro a e . RIDING WIN GE D THE m H ORS E 333 m m ovid d gr oc ies f th f il y nd o d ilk n n to l v ilk f th d ily A onth l t th Th f th Of th f ily kn lt down b fo h turned n ng l id th t h h d v d th i liv f cal ling h ilk h ha d p ovid d w ll th food th y h d h d fi sh e m The . vi si to r a re m er a S e r or e sa e e m m er e er a a e In the pr ea e . r a or e a s as a e a a . e a sa e e a a d e r, and re es , e r e ere a e r she e e r a or the . prec eding p a ra grap hs we ha ve sub sta ntia lly the sa e sto ry to l d twic e In the first p a ra grap h we ha ve a fa ct sta ted in genera l ter s In the seco n d we ha ve a n outline p icture Of a sp ecific happ ening Now exp a nd this o u tlin e into a dr a a tic reci ta l dra wi n g freely upon your i a gina tion m two . , m m . m . , . , CH A P T ER XXVII G ROWI N G A V OCA B U L A RY oy flying kit h ul in th i whit wing d bi d ; flying w o d Y u c n t do th t w y w h n you i good dvic w k now ful with fi C ful wi th w o d i t n ti doub ly O C Th ou ght u n xp d ny o ti f ll b ck d d ; B ut G d Hi lf c n t kill th wh n th y id W ILL CARL E TON Th Fi t S ttl S t y B s es a o ’ a a a re re , a re r m s se s s, ’ a s es S a e e , . e e e s r es e s r re e _ mvoc bul e m m mm m a s ’ a e e resse e o e r a e rs . a ’ ea re sa e . ’ er s or . y ha s a sp ecia l a s well a s a g en era l Tru e a ll voc a b ul a ri es a r e g ro u nd ed in the ea ning ev eryd a y w o rd s of the l a ng u a g e ou t of which g ro w the sp eci a l voc a b ul a ri es b ut ea ch su ch sp eci a l i z ed g ro up p o ssesses a nu b er Of wo rd s Of p eculia r v a lu e for its own Ob j ec ts These w o rds a y b e u se d in o ther v o ca b ula rl es a l so b u t the f a c t tha t they a re su i ted to a u niq u e o rd er of a rk s the a s of sp eci a l v a lu e to a p a rticul a r exp ression c ra ft or c a lling I n this resp ec t the p ub lic sp ea k er diff ers not a t a ll fro H e u st the p o et the novel i st the sci en ti st the tra v el er a dd to his ev ery d a y stock w o rd s Of v a lu e for the p ub l ic f h r r n io n f h o u g t u d y O t e di s co u ses of h e s e t a t O t t A s p eff ec tiv e o ra to rs d i sc l o ses the f a c t tha t they ha v e a fo nd n ess for wo rd s signify ing p ower l a rg en ess sp eed a c tio n co lo r light a nd a ll thei r opp o sites They frequently D l o y o r x iv f v r io u o t ion e w s e d s e r O t h e a s e e ss e p p sc rip tiv e w o rd s a dj ec tiv e s u se d in fresh rel a tion s w i th no uns a nd a p t ep i thets a re freely e p lo y ed I nd eed m The ter a . ar , , m . m , , m m m m . , , . , . , , m , . , , , , , , m m . . , 33 6 ART OP PU B LI C S PE THE p ea ker Word s i n their rela tions ta n t tha n wo rd s con sid ered si ng ly s AKIN G o im po m va stly a re . re r . Wh n v I d book g th t p ticul ly p l d p in which thing w id n ff c t nd d with p op i ty in which th w ith o con p icu ou fo c omh p p y di tinction in th tyl I u t it dow n t onc nd t y lf Iw un u cc ful nd I kn w it ; nd t i d t p th t qu l ity g in nd w g in un u cc ful nd lw y un ucc ful ; b ut t l t in th v in bout I g t omp ctic in hyth in h m ony in con t u c tion nd oo din tion Of p t I h v thu p l y d th dul ou p t H litt t L m b t W o d wo th t S i Thom B own t D fo t H wtho n t M on t ign n t w it ; wh th I Th t l ik it n t i th w y t l It w th w y K t w y h v p ofi t d n t th t i th l n d nd th n v w fin t p m nt f lit tu th n K t till hin im it tion th t th It i th g t p oint of th ch hi inim i t bl od l L t hi t y tu d n t b yond th of f ilu ; n d it i n Old n d v y h pl h i till u ying th t f ilu i th onl y high o d t ucc t u m e er e rea e s e a a a ea s a s r r o a e ea r e r e , a or or o o ea se , e sa s , r e ar s az o e, a s a , e e o e ea r o a e as a er . er e se re a e s e ra e, , . o , m e ss s a r a o o , e, e r o m as e ra e e e ea s a or e er re era ’ e e r e r e a a s a e se e se . ere s s a se s a , m e e a r C as r e or s e a a , r e r a , o a e s e ss e a se ar ere a s r o a ea s r e , e a , a a as s e re s a ar a e ess s r , e s s s a e se ar a as a e e s e, . as a , or a er s as e s o a m m a s sa ere a ssa or a a e, a a ’ e e a s rea s s s re a s , re s a a re r the e erence - e m e s a r er a e ss o s a m e . es s e re s a a e m Rf F or s a . B ook Ha bit content wi th y o ur g enera l knowledge of a — a stered its in wo rd p ress yo ur stu dy un ti l y o u ha ve M ere fluency is ea ni ng a nd u sa g e dividu a l sha des of The b ut a ccura cy n ever sur e to b eco e d esp ic a b l e dic tiona ry conta in s the c ry sta lli z ed usa ge Of intellec tua l gia nts N0 one who woul d write effec tively da re d esp i se its definitions a nd discri ina tion s Think for ex a p l e Of or qua ntity odel a ntle or the differen t ea ning s Of Any l a te edition Of a n u na b ridg ed dic tion a ry is good a nd is wo rth a king sa c rific es to own DO not m be m . m m m . . , m m m m , , . , . , , . GROWING A m VOCAB ULARY 33 7 m m — B oo ks of synony s a nd a ntony s used c a u tio usly — for there a re few pe fect synony s in a ny l a ngua ge will Consider the sha des Of ea ning s b e found Of grea t h elp ong such word group s a s thief pecula tor defaulter a ' r m m , . m mny m o di inc ion m R mm b ynony m u o y unl u d i - , burgla r, bezzler , e ra te, i p a nd or re ; a robber , a n, e y gg the st m m m ong , , ba ndit, a ra uder , s a Hebrew, t no book of ess se w th a dic tiona ry s is tr stw rth s A Thesa uru s of the E ngli sh La ngua g e by D r Fra nci s A Ma rch is exp ensive but full a nd a utho ri ta tiv e Of l s a n d a n ton y s there a re p l enty a ll er boo ks of sy non y s Ferna ld s S tu dy the conn ec tives Of E ngli sh sp eech book on thi s title is a ine of g e s Unsusp ec ted p it fa lls lie in the loose use Of a nd or for while a nd a score of tricky little connec tives Word deriva tions a re rich in suggestiveness Our E ngl i sh owes S O uch to fo reign tong u es a nd ha s cha ng ed uch with the c enturies tha t whole a ddresses ay grow so out of a S ingl e roo t id ea hi dd en a wa y in a n a nci en t wo rd Tra n sl a tio n a l so is exc ellen t ex erci se in wo rd Origin a stery a nd con so rts well wi th the stu dy Of deriva tion s Phra se book s tha t S how the o rigin s of fa i li a r exp res o st of us b y S howing how ca relessly sion s wi ll surpri se B rewer s A D ic tion a ry of ev ery da y sp eech is u sed E dwa rds Words Fa cts a nd Phra se a nd Fa b l e An A erica n Gl o ssa ry a nd Tho rn ton s a re Phra ses — the l a st a n exp ensive work in three vo lu es a ll good A prefix or a suffix a y essen tia lly Cha nge the fo rc e of J ew, I sra elite, a nd S e ite e . tha t er e . “ . , m . m m m m , , . . ’ . . , , , , . m m . m - m , , . m m . ’ . ’ , , ’ , A b ook Writer s ’ of sy y L ib ra r no ny . ” , m , m , 1 m , m s a nd a ntony . m s is in p p re ara tion ss for thi erie s , The 338 TH E ART OF PU B LIC S PE AKING m in m f m — m hu ud y o d m mp fix in g o up cco ng hi u g in m y ov hi d of mning the ste , pt conte - is to a ster - intro duce - . rdi to t a ster a a not ul a nd nous, envi ous a nd envi a ble s, a r Do a ster as - us to F a v or e r ste e r sha t er s, o ther rela ted wo rds one m S ix ty t i b e l p conte s a nd - w to st re es, a nd s es ea r s ffi x es, , a nd . m o ugh mdd o r d s W f fi S et or Kind ly, T o ore tha n Another y ea rs a nd ore ag o Lord B r a a ressing the stu d en ts of the Universi ty of Gl a sgo w l a id down the — n A gl o S a xon) p art of our voca b ula ry rul e th a t the n a tiv e ( hich wa s to b e f a vored a t the exp en se of tha t o th er p a rt W The rul e w a s a n the La tin a nd Greek ha s co e fro i p o ssib l e one a nd Lord B ro ugha hi self never tried serio u sly to ob serv e it ; nor in tru th ha s a ny g rea t wri ter p t Not only is our la ngua ge highly co a d e the a tte co p on en t wo rd s h a v e in D e Quinc ey s h e u t o i b t s t e p phra se hap pi ly co a l esc ed It is ea sy to j est a t words in B ut osity a nd a tion a s dic tion a ry w o rd s a nd the l i k e w o ul d h a ve fo und it diffic ul t to ev en L o rd B ro ug h a ”1 di sp en se wi th po posity a nd i a gina tion The sh o rt vigo ro u s Angl o S a xon wi ll a lwa y s b e p re ferred for p a ssa ges of sp eci a l thrust a nd forc e just a s the L a tin will con tin u e to furni sh us wi th fl owing a nd s oo th ingle a ll sorts how ever will give va ri ety exp ression s ; to — o st to b e d esired a nd th a t is , , , mm m m mm . , m m m , , . , ’ , ’ ‘ . , m m ‘ - - , ’ , . m . - , m , m m Discuss , , . Words With Those Who Know S inc e the m m The m la ngua ge of the pla tfor follows clo sely the dic tion of everyda y sp eech a ny useful wo rds a y b e f m Co p osition , a nd Rhetor ic , J . m M H a rt . . ART OF PU B LIC S PE THE 0 4 3 AKING m in Chur ch in co p etition for a university sch ola r He g ets On fin ely u nti l he p a u ses for l a ck of a word ship For n ea rly a n ho ur he sea rch es for this elu sive thing u n ti l e is up a nd he su dd en ly he is to l d th a t the a ll o tte d ti ha s l o st ! B a rri e a y tell the rest : D ay , . . m m m m m , no o n y th n twig i t f th gowk h d tuck in th iddl Of hi cond p g Y tu ck is ight xp ion hi ch g in d t ch h d t d it wh n th c o x in d H h d n t b n up t o of th boy w h h d tu c k n d hi xp l n tions s you wi ll d it his t icks ; ly p h i d his inc p city lf t p ublic co n f l ck of wo d H h d b ou ght hi Wh t w o d ? th y k d t stily ; b ut v n n w h coul d n t t ll S co tch w o d th t w oul d ignify h w ny H h d w nt d in Chu ch n d it w on th tip Of hi tongu b ut p op l w Pu ckl w no f rth n ly th w o d b ut it did w o ul d co n S O ny p op l s h nt Th hou h d gon by n t j u t lik winking ; h h d fo gott n ll bout ti whil s ch ing hi ind f th wo d E ssa y! , It wa s s a re ss m m r a m m m m er a o er m e a e, at r an a a sha Of ht I th Of e h a uz “ se , tha t the ea ste a E s still tt it e es o e o r a d “ a a e ill - e e ea r u ckl to p e r i l t do n wo d Wh t il d you You l tt . e? sa a a , w e s e ’ swa r a nzy s a e re b u ing the zz for he wa s , . gith oul d r l ik b It w e . tha t , r ze a e y o fully m m m m li d To a e r ill w rep , fu ious w ere there no , b u t—b ut th k i k w ea . , m e e e, r e . m o s . a r a e ea r ea ! were a nzy , o r “ , . r a re m oug my md imlf folk in mn in d of i ing v n if do mn e a e m e ers r a s as r m e a v e m e a or a e . oth fi [ x in C th o o ta tti dool i if you h d to wil f o The e as r e e o s , e mm o a ee r e a or es , s . a a s e a e e or a e re e , . a e er o e , a s a r r ere ea s a a ea s e a e e o e e e . m as r a , s a a s se a a e a e e a e se r e a s a e s r a a e - as a s ze e e , ss e r as e e ssa e e e r ere re a ee s , e m m m y [ om u i with i p ti nc t Of ticul ? S u ly th fi t wo d th t co s nd id M r . D th a e, e e, r n d of b ing S O p y writing consi ts in u ing th s hu ying on Th t s h w I did id th p oud M L u hl n T ucc s ful co p tito ! I s int p o d M r G l o g th t M cL uchl n sp a k of th r b ing k Of p op l n the chu ch M k is fi n S cotc h wo d wha t wa s the e sa rr a ’ “ ee , e e e . m m o e s r e rs r a e . “ s s s - e a re ar ar e ee e ’ ’ er a as sa , r r e c a c a ’ a . 1 se a . e e 1 , a r . a a as a e e s s GROWI N I th ea ful l a r e 34 1 m y m im d om ju mn m md ought of sk n th ki k w c m G A VOCAB ULARY as wh , e ra T p e re I a nd , st oul d iddl ing m b ut tha t w , t it to b e ea m l ow woul d h v don ugg t d M L o i Fl o w b ut h ndful id To y n th n you j ck n p ! Cu n no nough Cu M L o i mfl ung u p hi h nd in d p i n nd k id T o y I w nt d o m th ing b tw n cu dogg dly y t lm o t t th c ying M Ogilvy wh h d b n hiding hi d i tion w ith diffi culty t h t t d id yo u n d w o d n n t f hi Y w t u p iddling full W ll why did you n t y iddl ing full— f ll mk ? Y why n t ? d nd d th ini t uncon ciou ly c ught in th n t I w nt d n w o d m y uncon ciou ly void p l i d To m ing it utt d M Ogil y und hi b th b ut Y u j w l! m M C th o w oul d h v b ng d th boy h d h d n t th m ini t int f d It i O y t t find th ight wo d id M G l o g It s no ; it t hit qui l c i d To y d ifli ult nd g in M Ogilvy nodd d pp ov l F a ’ s a rra ’ rra r a e r e rea e e e e a a rra r m m a r es s ee . sa e m a e re e a sa o e sa , , m r , ea a or m s ers , e m ra a , m m . as a s a o o a s ee . es, “ a ” as es a e “ . e a m o or e a . a e s , . . a . m S s er rr . ” er e , a e e m m sa , , s rr . ” r es e s e, a e , e s s . o r e , s s , a . o r e a . ” e r a s ers er ere s S ea s ’ a a r a e e a s er v . ’ e s rea ea , o a e . oo , , ’ r e re s r e r o as c o r a e . s a a sa , rre r m m a . . r e , , . n n Odd thing h p p n d A th y w p p ring t l v th chool [ C th o h ving p viou ly un To y ut by littl nd th d in th th n ck! th doo Op n d pp th f c Of T o y t t in d b u t xci t d I k n p tu t th w o d n w h c i d it c t onc ; it i h ntl ' M Ogilvy id in n c t y t hi lf H h d t think Of it till h g t it— nd h g t it Th l ddi i g niu ! And the ea a e s e e e er a a r r e , re e a e a o , e e r m m e e e o e s . 2 . a o - e r o e e a a a e ea re a e a e e . m a se o o e s e s as e o a o ere ’ m m re . e e e , a e ” QUE S TIONS I s ea r s a e re e mm sa . s a e a a , s . re , r e e a r a e AND EX ERCI S E S Wha t is the deriva tion of the word voca bula ry? B ri efly di sc u ss a ny co plete sp eech given in thi s m THE ART OP PU B LIC S PE 2 4 3 m m AKING olu e with ref erence to (a ) ex a c tness (b) va riety a nd r h u s c h in s of w o d r t e e c a () r a a es t h Giv o igin l x pl of k ind of o d u di e e s r e w s t es 3 referred to on p a g es 3 37 a nd 338 r r t a n l iv h o lk on a ct using a t l ea st D e a s t e 4 y sub j e fi v e words which ha ve not b een p revio u sly in y o ur dyna ic voca b ul a ry f r wo rd s fo u nd in a n M a k l i O t h u nf a i l i a a e s t e 5 y a y sel ec t a dd ress yo u D eliv er a S h o rt ex te p o ra n eo u s sp eech giving 6 yo ur opinion s on the eri ts a nd de eri ts of the use Of un usua l words in pub lic sp ea king n x a t h r u r find l of ov s of u n u u l T t o a e e e e e s a p 7 y wo rd s in a sp eech 8 Ha ve yo u u sed referenc e boo k s in wo rd studi es? I f so sta te wi th wha t result n a Find ny y nony s a d n t on y s a s p o s ib l e a s a s s 9 for ea ch of the fo ll o wing word s : E xc ess Ra re S ev ere B ea u tif ul Cl ea r Ha pp y D ifferenc e Ca re S ki llf ul In vo lve En i ty Profi t Ab surd Evid en t F a in t Friendly Ha r ony Ha tred H on est I nh eren t v , , m , . , . - . , . m m m . m . . m m . . - m . - . . m , . . m m m , m , , , , , , , , , . , , , , , , , , , THE ART OF PU B LIC S PE 344 infa nt mu oy mm e t u l a p ea s re Of . Quintilia n m e g us a nd AKING Ari sto tle regarded it as a . his is very good We a ll agree tha t a relia bl e is a n inva lua b l e p o ssession for the sp ea ker We r e never di ssent for a o ent when we a re sole n ly tol d ory sho uld b e a storehouse fro which a t e th a t his plea sure he ca n draw fa c ts fa ncies a nd illustra tion s B ut ory b e tra ined to a ct a s the wa rder for a ll the e ca n the thinking rea ding a nd tru ths th a t we h a ve g a ined fro And if so how ? L et us see exp eri enc e ? igra nt boy e ployed a s a Twen ty yea rs a g o a p oor i di sh wa sher in New York wa ndered into the Coop er Union a nd b ega n to rea d a copy of Hen ry G eorg e s “ His p a ssion for k nowl edg e wa s Prog ress a nd Poverty e a h a bi tua l rea d er a wa k en ed a nd he b ec a B ut he fo und tha t he wa s not a b le to re e b er wha t he rea d so he b eg a n to tra in his n a tura lly p oo r e ory until he b eca e the worl d s grea test e ory exp ert This a n Mr B ero l co ul d tell the wa s the l a te Mr F el ix B erol p opula tion Of a ny town in the wo rld of o re tha n fi v e He co ul d r ec a ll the n a es of forty th o u sa nd inh a bi ta n ts a nd wa s stra ng ers who ha d ju st b een in trod u c ed to hi eig h th a b l e to tell wh ic h ha d b een p resen ted thi rd He k n ew the da te Of every sev en teen th or in a ny o rd er i po rta nt even t in history a nd co uld not only rec a ll a n p erfec tly endl ess a rra y of fa c ts b ut co ul d co rrel a te th e To wha t ex ten t Mr B erol s re a rka b le e ory wa s na tura l a nd requi red only a tten tion for its develop en t s i p o ssib le to deter ine wi th exa c tness but the see ho wever useless were evid enc e c l ea rly indic a tes tha t Now a ll t . m m mm mm mm . , , . m m m , , . , , m , ’ . , m mm mm mm m m m m . , m ’ . . . . , . , m . , , m ’ . mm , m , m mm m , , . , Y TRAI NIN G ME MOR mny of his a mm oy f r e ea ts, a highly 345 mm ntive e ory ” good forgettery rete “ develop ed where b efore only a exi sted ory is not worth striving for but a good T he frea k e ory decidedly is Your p ower a s a spea ker e working will dep end to a la rg e ex ten t up on yo ur a bil ity to reta in i pressions a nd c a ll the forth when occa sion de a nds — r r e i o y s like uscle it resp onds to an d tha t so t of tra ining Wha t Not to D o isdirected effort to b egin to e orize by It is S h eer l ea rning words b y ro te for tha t is b eginning to b ui ld a pyra id a t the a pex For yea rs our school s were cursed — by this vicious syste V icious not only b eca use it is inefficient but for the ore i p orta nt rea son tha t it hurts ind True so e inds a re na tively endowed wi th the e b ering strings of words a wond erful fa ci li ty in re fa c ts, a nd figures but such a re ra rely good rea soning inds ; the nor a l p erson ust b ela bor a nd forc e the e o ry to a cq ui re in this a rtificia l wa y e ory in ho urs of Aga in it is hurtful to force the physica l wea kness or enta l wea riness Hea lth is the b a sis of the b est enta l a ction a nd the op era tion of ory is no ex ception e Finally do not b eco e a sla ve to a syste Knowledge of a few si ple fa cts of ind a nd e ory will set you to work a t the right end of the op era tion Use th ese prin or not but do not ciples wh ether inc lu ded in a sy ste bind yo urself to a ethod tha t tends to lay ore stress e b er tha n on the develop ent of on the wa y to re was mm mm . m , . m mm m m , . mm m m m . m mm , m mm mm mm m m . , , , mm . m m mm m m m , . , . m mm m m m . . , m mm , 3 46 THE ART OF PU B LIC S PE mm oyi AKING o mm lf It is no thing short of ri dic ul o us to riz e ten word s in o rd er to re b er one fa ct e r e tse mm . e . m im n y ou i h m o ind fi p in m m o izing— m o m po n by fo go fo u h of li of icl y o u if k d yo u b ing omchi fly b c u yo u ll o d y ou n ion v in n h n ling yo u n ion m conc m n ion W n iphon c g d i ci n ly fi l d i c bonic cid v o mk i flu nc f l mnd ch g d i h id m h g d dg u fici n old u ch ch g ing ill m k i on b u m uc n ion l d i ni y d qu n ion n mm f und m n l c b ing n lly do giv f c d qu n ion h n do mim po n lm o v yon mm n d in ppl p oin o iz d M e f The Na tura l L a ws Concentra ted i st a rt st e a its C n e to w ea the w e see e a the to s f s e t . t to h Of re not e es not se e see e er a a t rta an a s a te . t the e e an sta a tte t e to r an h a e is ea ar a tte t t to the , is , . a a te e A t, e the TOO . too e a nd be ap w t it to w th g a s it e a ar e A for er ha r ar rst ; se re t we how the is h p h a y not s i a nsa ta e a w th the e ree s e era it he t; to wa t s rt r Atte t . e e a a trifl es Ge l t to r a tte . t the r e w r e You . e as we t e ar e w wa s tel a tte suffi fa r ory whe e rst ste on e r a she e t es se tra ted is rta the t at is the the st re w a ttention o st e ha s a nd a tte er t e e r ha s e — M o st of us ha ve p er the d a te of Wa sh ing ton s d ea th — h ap s wisely forgo tten bo th The li ttl e nick in the b a rk of a tree is h ea led over a nd ob litera ted in a sea son but the g a shes in the trees a ro u nd G etty sb u rg a re sti ll a pp a ren t a f ter fif ty y ea rs I pressions tha t a re ga thered lightly a re soon ob li tera ted Only d eep i p ression s ca n b e re One inten se c a lled a t will Henry Wa rd B eecher sa id orwe To e h our will do ore tha n drea y yea rs id ea s a nd words conc entra te on the unti l they a re fixed fir ly a nd d eep ly in yo ur ind a nd a ccord to the their ’ . . , . m . . m m , m m m m . : mm m ' 348 THE ART OF PU B LIC S P E AKING m f n p oints wi th obj ec ts in the roo S p ea king on Pea c e yo u ay wi sh to dwell on the co st the c ruel ty a nd the f a i lure of wa r a nd so lea d to the r r O f t a t n r u s t ic e a bi io B e fo e going on the pl a tfo r if j yo u will a ssocia te fo ur divi sions of yo ur outline wi th fo ur Ob j ec ts in the ro o thi s a ssoci a tion a y h elp yo u to re c a ll the You a y b e p ron e to fo rg et yo ur third p oin t b ut yo u re e b er th a t onc e wh en yo u were sp ea king the el ec tric l ig h ts f a i l e d so a rbi tra rily the el ec tric l ight g l ob e wi ll h elp yo u to re e b er fa i lure S u ch a ssocia tion s b eing u nique tend to stick in the ind While rec ently sp ea k ing on the six kind s of i a gin a tion the p resen t w ri ter — fo r ed the in to a n a cro stic visua l a uditory otor t a r i u s t o r o a c t o a n d a c t l f u r ni h e d t h non n t s e e s e se f g y y l wo rd v a got b ut the six p oin ts were ea si ly re e b ered I n the sa e wa y tha t Children a re ta ught to re e b er — the sp ell ing of tea sing wo rd s sepa ra te co es fro s epa r obile d river re e b ers tha t two C s a nd a nd a s a n a u to th en two H s l ea d hi into Ca stor Ro a d Co tt a n S treet Ha yn es S treet a nd H en ry S treet so i p o rta n t p oin ts in yo ur a ddress a y b e fix ed in ind by a rbi tra ry sy bols invented by yo urself The very wo rk of devising the The p syc h o l ogic a l p roc ess o ry a c tion sc he e is a e is si pl e : it is one Of no ting in ten tly the step s by which a fa c t or a tru th or even a word ha s co e to you Ta ke a dva n ta g e of thi s tend ency Of the ind to re e b er by a ssocia tion Repetition is a p o werful a id to e o ry Thurlow Weed the j o urna li st a nd p olitica l lea der wa s tro ub led b eca use he so ea sily fo rgo t the na es Of p ersons he et a ssocia ting ' the dif ere t , m . , , m , . m m m m mm mm , . , , m , m m m m m , . . m ’ , , , . . , m m mm mm m m . . , , , , m m mm m , . m mm mm m m mm m m m m , , , , , ’ m . , Y TRAININ G ME M OR m 34 9 fro day to da y He correc ted the wea kn ess rela tes Ja es b y for ing the ha bit of a tten d Professo r Willia ing ca refully to na es he ha d hea rd during the da y a nd D o ub t to his wif e every ev ening then rep ea ting the less Mrs Weed wa s heroica lly longsuffering but the devic e w ork ed a d irab ly Af ter rea ding a p a ssa g e y o u w oul d re e be r cl o se the — boo k reflec t a nd rep ea t the conten ts a lo ud if po ssib l e Rea ding thou ghtfully a loud has b een foun d b y a ny to e ory p ra ctise b e a help ful Write wha t you wish to re e ber This is si p ly one ore way of increa sin g the nu b er a nd the strength Of your enta l i p ressio n s b y utilizing a ll y our a venues of It w ill help to fix a sp eech in y o ur ind if i p ressio n yo u sp ea k it a lo ud li sten to it wri te it out a nd l ook a t it in tently You ha ve then i p ressed it o n y o ur in d b y uscul a r a nd v i sua l i p ressio n s ea n s of voca l a u dito ry ori es ; e S o e folk ha ve p eculia rly distin c t a u ditory uch b etter tha n thing s th ey a re a b l e to rec a ll thing s hea rd seen Others ha ve th e vis ua l e ory ; they a re b est a b l e As y o u reca ll a wa lk y o u ha ve to reca ll sight i p ressions ta k en a re y o u a b l e to re e b er b etter the sights or the Find out wha t kin ds of i p ression s y o ur e ory so unds ? the o st To fix a n i dea in reta ins b est a nd u se the ind use ev ery p o ssible kind Of i p ression ory cul tiva tor L ea rn a D a ily ha bit is a grea t e lesson fro the M a ra thon runner Reg ul ar ex erci se ory in tho ugh n ever so littl e da ily wi ll streng then y o ur e Try to describ e in d eta il the dr ess easure a surp rising l ooks a nd a nn er of the p eople y o u p a ss on the street m mm m m m . , . , . , mm . , mm mm m . m m m m . . m m . , . - , , m mm mm m m m m mm m m m m mm . . . , mm . , , m m m m m , , m m m , , , . , . . . mm , , . K G THE ART OF PU B LIC S PEA IN 3 50 myou Ob serve the r oo c lo se yo ur eyes a nd describ e its con ten ts Vi ew c l o sely the la ndsc a p e a nd wri te out How uch did yo u iss? a d eta i l ed d escrip tion of it No tic e the con ten ts of the S how windows on the street ; a ny fea tures a re you a b l e to rec a ll ? how Con tinua l pra c tise in this fea t ay d evelop in yo u a s re a rk a b le p roficiency a s it did in Rob ert Ho udin a nd his son The da ily e o ri zing of a b ea utiful p a ssag e in litera ory but wi ll ture wi ll not on ly l end streng th to the e ind wi th g e s for qu o ta tion sto re the B ut wh eth er b y little or u ch a dd da ily to yo ur e ory p ower by pra c ti se Me orize out of doors The b uoya ncy of the wood the y night on d eserted streets ay freshen S h o re or the sto r your ind a s it do es the inds of co untl ess o thers Tell yo ursel f th a t yo u ca n a nd L a stly ca st out fea r B y pure exerci se of selfi s a ssert will a nd do re e b er yo ur a stery B e Ob sessed wi th the fea r of forg etting b er Pra c tise the reverse Throw a nd y o u c a nno t re e — yo u a y tu b le onc e a n u sc rip t c ru tc h es a sid e y o u r for yo u a re going to a tters th a t or twic e b ut Wha t l ea rn to wa lk a nd lea p a nd run a re In , , m . . m m , ' ‘ m m mm m m m m m m m mm m mm m m . mm mm , . . m . , . m . , , . . m m ' . . , , . m Me orizing a S peech into pra c tise the foregoing sug g estion s First rerea d this chap ter no ting the nin e ways b y which e orizing a y b e help ed B eech er Th en rea d over the fo ll o wing sel ec tion fro a ny of the sugg estio n s a s a re p ra c tic a b l e a p pl ying so Get the sp iri t of the sel ec tion fir ly in yo ur ind Ma ke Now let . u s try to u t p mm m m , , . m m m . , . THE ART OF PUB LIC S PE 3 52 m oc AKING ic l gisl to i It is t g t b ck g in n xt wint r His cond duty is wh t ? Hi s cond duty is t p ut hi s lf u nd r xt o din ry p rovid nc th t ta k s c th t O f legisla to s s l i i cl of th p op h t nd th l and the Th Old Oil i o u tdon i su bly in u days f r they go t h p oor n d go ho rich ; in fo u yea s th y b co oney n y ll by t u t in th t g c ou s p ovid nc th t t kes c l nd Th i n xt duty ft of l gisl to s l i th t is t s rve the h t t h t y t t n up nd th n if th is nything l ft of p it b l ongs t th co onw lth S o on h s s id v y th n t v ling w ish s t li h hi dinn r h h d wi ly th t if b tt n t go into th kitch n t it is cook d ; if wh n wi h t sp c t n d Ob y th l w h h d b tt n t go t wh th t i cook d t th L gi l tu HE NRY WARD B E E CHE R F o l ctu d liv d in Ex t H ll L ondon 1 886 wh n king his l t tou of G t B it in D e ra t e a se a ra e r e e m m er o e e a ra m m m m e r e , o e a ra r o re s a e o se e re r e m a e e m a a o re s o e e e a s a e a e e e er e e re , a re a e s a e a . a r ’ ea e e er see e a a er e o . . e e , e ere e . ere e , ea o e re e r e e e o a m m mm e a re r i e a a a , e a e es e r . a e r o a sa a r e s se e a e s o s a ’ a , r a o e ra ea e , se e r a ar ra a a e m m m m e e e e ea r , a e rs , a e s a e . s e o . a a a r es o s r m re e ere a I n Ca se e er as r a , , r rea a . Trou ble f o yo u to do if no twi thsta nding all yo ur ind for effo rts yo u sh o ul d fo rg et yo u r p oin ts a nd yo ur inu te b eco es b la nk ? This is a deplo ra b l e condi the ust b e d ea l t wi th Ob tion tha t so eti es a ri ses a nd yo u ca n sit down a nd a d i t d efea t S uch a v iously consu a tion is devo u tly to b e shunned Wa lking slowly a cro ss the pla tfor a y give yo u ti e to g rip yo ursel f co p o se yo ur th o ug hts a nd sta ve ofi di sa ster Perha p s the surest a nd o st pra c tica l ethod is to b egin a new sen tenc e wi th yo ur l a st i p o rta nt wo rd Th i s is not a dvoca ted a s a eth od of co p o sing a sp eech it is erel y a n ex tre a y sa ve yo u in e ea sure wh ich — tig h t circ u sta nc es It is l ike the fi re d ep a rt en t the l ess yo u ust use it the b etter I f this ethod is followed very l ong you a re likely to find yo urself ta lking a bo ut B ut wha t m a re m , m mm m m m , , , , , . , m m mm m m m m m m m mm m m . . . , . m m m . ' . Y TRAININ G ME MOR m m mm 3 53 m plu pudding or Ch inese Gordon in the o st un expec ted a nn er so Of co urse y o u will g et b a ck to y o ur l in es the o ent tha t y our feet have hit the pla tfor ea rl iest — L et us see how this pl a n wo rks Obvio usly yo ur ex te p oriz ed wo rd s will l a ck so ewha t of p oli sh b ut in su ch a p a ss cru di ty is b etter tha n f a ilur e Jo a n Now y o u ha ve co e to a dea d w a ll a fter sa ying : ight of Arc fought for lib erty B y this etho d y o u e t o h i ng l i k t h i t : s e e s g Lib erty is a sa cred p rivil eg e for which a nkin d a lwa y s ha d to fight These struggl es [ Pla titudC b ut p u sh on! fill the p a ges of hi story History records the gra dua l tri u p h of the serf over the l ord the sl a v e ov er the a ster The a ster ha s co n tinu a lly tri ed to u surp un l i ited r P r r o u i ng the edi eva l a g es a ccrued to the w e s w e d o p owner of the la n d wi th a sp ea r a nd a stro ng ca stle ; b ut the strong ca stl e a nd sp ea r w ere of li ttl e a va il a fter the di scovery Of gunp owder Gunp owder wa s the gr ea test boon th a t lib erty ha d ever known Thu s fa r y o u ha ve lin k ed one id ea wi th a n o ther ra ther Obvio u sly b ut y o u a re g etti n g y o ur second wind now a nd a y v e n ture to rel a x y our grip on the too evid en t cha in ; a nd so y o u sa y : With gunp owder the hu bl est serf in a ll the la nd coul d p ut a n end to the life of the tyra nnica l b a ron b ehind the ca stl e w a ll s The struggl e for lib erty wi th gunp owd er a s its a id wreck ed e pires a nd b uilt up a new era for a ll a nk ind I n a o ent ore y o u ha ve gotten b a ck to your o utline a nd the day is sa ved m , . m m m , , . m m m . m b . m m m m . , m . . . m , - m m m mm m . , . . , , . THE ART OF PU B LIC S PE AKIN 3 54 Pra c ti sing G bove will not only fortify yo u a ga in st the dea th of yo ur sp eech when yo ur e ory i sses fire b ut it will a lso provide a n excellent tra ining for fluency in sp ea king S tock up with idea s like the ex ercises mm a ‘ m , . . QUES TIONS mm b ri efly the nine help s to e oriz ing sugg ested in this chap ter 2 Rep ort on wha tever su ccess yo u a y h a ve ha d wi th a ny of the pl a n s for ory culture sugg ested in e thi s c h a p ter Ha v e a ny b een l ess su cc essful tha n o thers? r r n h F l y c i ici of u gg d h od ee t se a t e s es t e e t s 3 y e ory by a ssoci a tion Give a n o rigin a l ex a pl e of 4 Of id ea s L i st in o rder the chief idea s of a ny sp eech in this 5 vo lu e Rep ea t the fro e o ry 6 E t r r xp nd h in o p c h u ing yo u o o d a t e a s e e s w n w s 7 Illustra te p ra c tic a lly wha t wo uld yo u do if in the 8 id st of a sp eech on Progress your e ory fa il ed you a nd yo u sto pp e d su dd en l y on the fo ll owing sen tenc e The l a st c en tury sa w a rv el o u s p rog ress in va ri ed lin es of a c tivi ty a fi i n t h s r H o w a n y q u o t a t ion s t h t t w e ll e p ea k e s 9 ory ? too l c h est ca n y o u rec a ll fro e How u ch ti e 10 M e o ri ze the p o e on p a g e 4 2 do es it require ? I Pick AN D EX ERCI S ES . out a nd sta te m . mm . . m mm . . m . . . m m mmm m . . . . , . m . , mm , m m m . . . mmm m ’ . m m 3 56 THE ART OF PU B LIC S PE AKING fool or the pig is of a different opinion it is only b eca us e th ey k now on ly their own sid e of the question The o ther party to the co p arison k nows bo th sides NOW it is preci sely b ec a use the S ocra tes typ e of p erson lives on the pla n of righ t thinking a nd restra in ed feeling a nd wi ll ing th a t he p refers his sta te to tha t of the a n i a l All tha t a a n is a ll his h a p p i n ess his sorrow his a chie ve a gn eti s his wea k n ess a ll a re en ts his f a i lures his in a n a a zingly la rg e ea sure the direct results of his thinking Th o ugh t a nd hea rt co bin e to p rodu c e right thinking : As a a n th in k eth in his h ea rt so ishe As he do es not think in his heart so he ca n n ever b eco e S inc e th i s is tru e p ersona l i ty ca n b e devel op ed a nd its l a ten t p owers b ro ught out by ca reful cul tiva tion We ha ve long sinc e c ea sed to b elieve tha t we a re living in a rea l of cha nc e S O clea r a nd ex a c t a re na ture s laws th a t we fo rec a st sco res of y ea rs in a dva nc e the a pp ea ra nc e of a c erta in co et a nd foretell to the inute a n eclip se of the S un And we u nd ersta nd thi s la w of ca u se an d effec t in a ll our a teria l rea l s We do not pla nt p o ta to es a nd exp ec t to plu c k h y a cin ths The la w is u niv ersa l : it a ppl i es to our ora li ty to p erson ality en ta l p o wers to q ui te a s uch a s to the h eavenly bodies a nd the gra in of the fi el d s Wha tso ever a a n soweth tha t sha ll he also rea p a nd no th ing el se Ch a ra c ter ha s a lwa y s b een reg a rd ed a s one of the ch ief fa c tors Of the spea k er s p ower Ca to defined the ora tor — a s vir bonus dicendi eritus ea king good n s k i ll e d in s p a a p Phill ip s B rook s sa ys : Nobody ca n truly sta nd a s a n utterer b efore the wo rld unless he b e profo und ly living , m m m m . . , , , “ , , , m m . . m m m , m . m . , . m ’ . m m m m m m , , . . “ . , m . , I , , m . ’ . , m . RI GHT THI NKING A TY AND PE RS ON LI n 3 57 m is ly thinking Cha ra cter sa y s E erso n a na tura l p ower lik e light a nd hea t a nd a ll n a ture co op era tes wi th it The rea son why we feel one a n s n ra r c a n d do n o f l a no t h r 5 i a s s i l e a s g v i t y e s e e t e e e s p p Tru th is the su i t of b eing : justice is the app lica tion of it to a ffa irs All individua l na tures sta nd in a sc a l e The wi ll a cco rding to the p uri ty of this el e en t in the of the pure runs down into o ther na tures a s wa ter runs down fro a higher into a lower vessel Thi s na tura l force is no ore to b e wi thstoo d tha n a ny o ther na tura l fo rc e Cha ra c ter is na ture in the highest for It is a b so lutely i p o ssib l e for i p ure b estia l a nd selfi sh tho ughts to b l o sso into loving a nd a l truistic ha bi ts Thistl e seeds bri n g fo rth only the thistl e Con tra riwi se it is en tirely i p o ssibl e for co ntinua l a l trui stic sy p a th etic a nd serv iceful tho ughts to b ri n g fo rth a low a nd vicio u s cha ra c ter Either thoughts or feelin gs prec ede a nd de ter in e a ll our a c tio n s Ac tio ns d evel op i n to ha bi ts ha bi ts co nsti tu te Cha ra c ter a nd cha ra cter d eter in es d estiny Therefore to g uard our thoughts and contro l is The syll ogis our feeling s is to sha p e our d estinies co p lete a nd ol d a s it is it is still tru e cha ra c ter is na ture in the highest for the S inc e develop ent of cha ra c ter ust p roceed on na tura l li n es The ga rden l eft to i tself wi ll b ring fo rth weed s a nd sc ra w n y r l n u t t h fl o r b d n u r u r d c a t efully wi ll b l o sso a s b e w e e s t e p In to fra gra nc e a n d b ea u ty As the stu dent en tering coll eg e l a rg ely d eter in es his voca tion b y choo si ng fro the different co urses Of the curriculu so do we choo se our cha ra c ters by Choo sing a nd ea r est , m m ’ m . ’ m . , m , , , . m , . m m , “ . m m . m m . , . m m . , , . m m m , . , . m m , . . , m m , . m - , . m , m m 58 THE ART OF PUB LIC S PE AKING ough ts We a re stea dily g oing Up towa rd tha t o st wi sh for or stea di ly si nking to the l evel of which we Wha t we secretly cherish in our hea rts our low d esi res is a sy bo l of wha t w e sh a ll rec eiv e Our tra in s Of th o ugh ts a re hurrying us on to our d esti ny Wh en yo u see the fl a g fl uttering to the S o uth yo u k now the wind is co ing fro the North When yo u see the straws a nd p a p ers b eing ca rri ed to the Northwa rd yo u rea lize the wind is b lowing out of the S o uth It is just a s ea sy to a sc erta in a n s th o ugh ts by Ob servi ng the tend ency of his a cha ra c ter L et it not b e su sp ected for one o ent tha t a ll this is en t on the q u estion of ora ls It is erely a p rea ch — r f r i e o t h b u t u c h o t o u c h e t h h o l s t at e w e an his i a gina tive na ture his a bility to control his feeling s the — p erh a p s o st a stery of his thinking fa c ul ti es a nd — la rg ely his p ower to will a nd to c a rry his volition s in to effec tiv e a c tion Righ t thinking consta ntly a ssu es th a t the will sits ind consci enc e a nd en thron ed to ex ec u te the dic ta tes of h ea rt Never tolera te for a n insta nt the suggestion tha t your will is not a bsolutely efficient The wa y to wi ll is to will a nd the v ery fi rst ti e yo u a re te p ted to b rea k a wo rthy — reso lu tion a nd yo u wi ll b e yo u a y b e c erta in Of th a t You c a nno t a ffo rd to l o se a ke your fi ght then a nd there — You ust win it don t swerv e for a n in sta n t th a t figh t It wi ll not but but k eep th a t reso lution if it ki ll s yo u yo u ust fight just a s tho ugh life dep ended on the vic tory ; a nd ind eed yo u r p erson a l i ty a y a c tua lly lie in the b a la nc es ! our m m th . , . . m . m , . m . ’ mm . m m mm m m . , , m m m , , , m m . , . m m , . m m m . m . ’ , . m , 3 60 THE ART OF PU B LIC S PE Africa AKI NG c tua li ze tha t fa ith he ga ve up a ll Leaving Engl a nd for the interior of the D a rk Con tinen t he stru ck the sl a ve tra d e the d ea th b lo w to E uro p e s p rofi ts f ro Jo a n of Arc ha d grea t self confi dence glorified by a n infini te ca p a city for sa crific e S he drove the Eng lish b eyond the L oire a nd stood b eside Cha rl es while he wa s crowned Th ese a ll rea liz ed th eir strong est d esires The la w is universa l D esire grea tly a nd yo u sha ll a chieve ; sa cri uch a nd yo u sha ll ob tain fi ce ha s b ea u tif ully exp ressed this S ta n ton D a vi s Ki rkha tho ug h t : You a y b e k eep i ng a cco u n ts a nd p resen tl y yo u sha ll wa lk out of the door tha t ha s for so long see ed to you the b a rri er of yo ur id ea l s a nd sh a ll find yo ursel f — b efore a n a u di enc e the p en still b ehind yo ur ea r the ink — a n d th en a nd there sh a ll p o ur out sta in s on yo u r fi ng ers You the to rren t of yo ur in sp i ra tion a y b e d riving — a nd yo u sha ll wa nd er to the ci ty b u colic a nd sh eep op en ou thed ; sha ll wa nder und er the i ntrepid guida nc e of the S p iri t i nto the studio of the a ster a nd a fter a ti e ore to tea ch y ou And now he sh a ll sa y I h a v e no thing yo u ha ve b eco e the a ster who did so recently drea of g rea t thing s while driving sheep You sha ll lay down the sa w a nd the pl a n e to ta k e up on y o urself the reg en era ” tion Of the wo rl d To . a . m ’ . - , . , . . m . , , m “ m . m , , , m . m , - m m , m m , ’ . , m m . . I . 2 . QUE S TI ONS AND EXERCI S E S Wha t in y o ur own wo rds is p erson a lity ? How do es p erson a l i ty in a sp ea k er a ffec t yo u li sten er? , , as a RI GHT 3 . In THI NKING wha t wa ys A TY 36 1 AND PE RS ON LI does personality ow itself in Sh a pea ker? s 4 . D eliver a o p eech on sh rt s The Power ub lic S pea ker D r r e l iv e a s h o t a ddress b a sed on 5 ch oo se fro this cha pter the P . of Will in . m . ntence y ou a ny se CHA P T ER XXX A F TE R D I NN E R A N D OTH E R OCCA S I ONA L - S P E A K IN G The p er c ion Of th lu dic ou i p l dg of nity —RAL PH WAL D O E ME RS ON E ep t r e s s a e sa e . , m An d let hi be — FRANCIS u t l v o th B AC ON E y on s re o ea er e ssa , m o b illi n m en Civ il the a nd i tu ns t r r Mora l ssa ys o S p ea k . . D iscourse . m certa inly the o st en terta ining Of a ll sp eeches a re tho se d eliv ered on a fter dinner a nd o th er sp ecia l occa sions The a ir Of well fed content in the for er a nd of exp ec ta ncy well pri ed in furnishes a n a udienc e which though not the l a tter rea dily won is p rep ared for the b est whil e the sp ea k er hi self is p retty sure to ha v e b een cho sen for his gif ts Of o ra to ry The first essen tia l of good occa sion a l sp ea king is to Preci sely wha t is the Ob j ec t of the stu dy the occ a sion How i p o rta n t is the occ a sion to the a udienc e ? eeting ? How l a rg e wi ll the a u di enc e b e ? Wha t so rt of p eopl e are they ? How la rg e is the a u ditori u ? Wh o sel ec ts the Who el se is to sp ea k ? Wha t a re they sp ea k ers th e es? to sp ea k a bo u t? Preci sely how l ong a I to spea k ? Wh o sp ea k s b efo re I do a nd who fo ll o ws? I f yo u wa nt to hit the na il on the hea d a sk such ques tion s a s these 1 No occ a sion a l a ddress ca n su cc eed u nl ess Perha p s the st r a t, a nd , m m - . , , , m , , . m m . ’ m . s p 1S ee a l o age 205 . m m 6 3 4 TH E ART OF PU B LIC S PE f non mm AKING m nse S o e i prudent so uls see to selec t the o st friendly of a fter dinner occa sIOns for the explosion of a bo b S hell of dispute Aro und the dinn er ta b l e it is of even p olitica l ene l es to b ury their ha tchets the c u sto e conv en ient skull It is a nywhere ra th er th a n in so the heigh t of ba d ta ste to ra i se q uestion s tha t in h ours consecra ted to good will ca n only irrita te Occ a siona l sp eeches offer good cha nc es for hu or p ar ticula rly the fu nny sto ry for hu o r wi th a g en uine p oint is not trivia l B ut do not sp in a who l e sk ein Of hu oro u s ya rns wi th no ore connec tion tha n the ina n e and threa d b a re And tha t re inds e An a n ecdo te wi th o u t b ea ring ay b e funn y but one less funny tha t fi ts the e Th ere is no wa y sh o rt of a nd occ a si on IS fa r p ref era b l e sh eer p ower of sp eec h th a t so surel y l ea d s to the h ea rt of o r The sca ttered a n a u di enc e a s rich a pp rop ri a te hu din ers in a grea t b a nqueting ha ll the a fter dinner lethargy the a nxi ety ov er a pp ro a c h ing l a st tra in ti e the ov er — full list of over full sp ea k ers a ll throw out a cha llenge to the sp ea ker to do his b est to win a n in terested h ea ring And when su cc ess do es co e it is u su a lly due to a h a pp y ix ture of serio u sn ess a nd hu o r for hu o r a l on e rarely bined while the utterly scores so hea vi ly a s the two co gra v e sp eech never do es on such occa sions I f th ere is one pla c e ore tha n a no ther where second h a nd opinion s a nd pl a ti tud es a re unwel co e it is in the Wh ether yo u a re toa st a ster or a f ter dinn er sp ee ch id the l a st sp ea k er to try to h o l d the wa ning c ro wd a t night b e a s origina l a s y o u ca n How is it p o ssib le to a ri z e the q u a l i ti es tha t go to a k e up the good a f ter su m o - se . m m - - . m m . m m - . m , . m , m m m m . . , m , . , m - , - , , - m m m m m m m . , , . - - . m m , . m mm AFTER DINNE R AND OTHE R OCCAS IONAL S PE - AKING 6 3 5 m mm dinner sp eech when we re e b er the ini i tab le serious drollery of Ma rk Twa in the sweet southern eloquenc e of Henry W Gra dy the fun erea l gra vi ty of the hu oro us of Henry Va n D yke Charles B a ttell L oo is the cha r the g enia lity of F Hop kin son S i th a nd the a ll ro und delightfulness of Cha uncey M D ep ew ? A erica is litera lly rich in such gl a dso e sp ea kers who punctua te rea l sense wi th non sense a nd so a k e bo th effec tive ora tive occa sions unveilings co enc e ents e Co dedica tions eulogi es a nd a ll the tra in of sp ecia l p ub lic ga therings offer ra re Op p ortuni ties for the disp la y of ta c t a nd good sen se in h a n dli ng occ a sio n the e a nd a u di When to b e dignified a nd when colloquia l when to enc e b l e a r in a r with y o ur hea rers so a r a nd when to ra when to fla e a nd when to soo the when to i n stru c t a nd a tter Of AP PRO when to a u se in a wo rd the who l e ust co nsta ntly b e in in d lest y ou wri te PRIATE NE S S your sp eech on wa ter Fina lly re e b er the b ea titu d e : B l essed is the an for he sha ll b e invi ted to a k eth sho rt sp eeches tha t sp ea k a g a i n , m , . m m m m m , , . , m - , . m mm , , m mm . , , , , m , , . , , m m m m — m m m m mm , , , , m . m , , . S ELE CTI ONS FOR S TUD Y OF THE CONFEDERAC Y LAS T DA YS r E x t a c t) ( ugg ts noth c n t which llu ion has Oft n b n d inc th w b ut which ill u t tiv l o Of th i I y b p itt d t c ll in thi p i it Of both conn ction In th ll ow twilight of n Ap il d y th tw i w holding th i d d on th Op p o it hill p Ra p ida n The e e S es a r m e ar m ee s es e s m m m e ar . ere e er a e e s, s e a r, a re ss o e er as s ra e a a ra a m , e e r e es o r e s e a s re a s ‘ a e s e o s 6 3 6 TH E ART OP PU B L IC S PE AKI NG m At th cl o bo d ing th v of th p d gnific nt b ss b nd Of th Union y p l y d with g t p i it th H il C olu bi nd Y nk Wh D oo dl p t iotic i up on th F d l t oop ho u t Th p ond d wi th p trioti b nd th n p l y d th oul ti ing t in Of D ixi t a ighty p on c f o t n thou nd S outh n which t oop A f w o nt l t wh n th t h d co ut s w itn nd w h n ll n tu w in h ony th c fo th b nd th Old l ody H o S w t Ho A its f ili nd p th tic not oll d ov th w t nd th ill d th ou gh th ol di s th hill v b t d with p i it Of th thu nd ing f o th unit d voic of both i Wh t p on w th in thi Old Old u ic t O tou ch th cho d of y th i ll th nd c u th f Of b ve n t p thy p i it t bl with otion ? It w th thought Of ho TO thou nd doub tl it w th thought Of th t Et n l Ho t which th n xt b ttl ight b th g t w y TO thou nd Of oth it w th thought Of th i d rthly h o wh l ov d on t th t twilight hou w bow ing ound th f ily lt nd king G od c ov th b s nt ol di boy —G E NE RAL J B G ORD O N C S A r er e ri ra a a rs , m e e m e a a s r m m a r e s ar as a re r e s, e rs a r er s a m e e e r a s ea r r e era e a m m m m m m m es a . s r es s ra er e o . a e sa . ere e s er o s es, e e a s . r . WELCOME ” ea ere er a re a a e r m er a e a e er a e e r as ra e e e ’ e e se a a ar o S as as es e , e re s re e , e o , a o m m m m a e e . er ee er e e re e, sa ar e . s e s a rs e, e r c S e , s r r “ e , a es a a r, a a e s ra as m m r m as e re s ee rr e e s se e e er , es e ss , e a a e S e a e s m sa a s re s so s e r e re , a a s a re a m m mm m m m a er “ - e a ‘ se e a a ra e e e s e a e e a a , s re s r e e sse s a a a re s e . e sa m e ar a e ra e m se e . e a r s er a . . , . . . TO KOS S UTH (E x tra c t) m you a sk e e e ss s m m s a ra s e er e s er a r , a e a m a e se , oo ee e m , or a e e re . m e r o e r e S a a , o o es a or r o e ze s e e e e sa e a re s C a ea s a oo a , r e ze a a or a as e e a er e e r r o oo a e ra r e s re s s ee o ar a , o a r e e e ere s a a wh r rea s a s in rea e e e ee a e st , r o a , e r a , , s a m ra a a e re r r re ss a e a e e es , ee a e o , m e r ar o cont t ha t the e e r s, s o as er a a a e rea to e s a sser e a ee i mgin ich th t B it in h d t d th i ind p nd nc Of G Unit d S t t b n un u cc ful ; th t u i th ough t on l gu of ty nt g in t u h d b n b ok n nd c tt d ; th t th — u nd wh w y d u co uncil g t n wh l d th W hington u F nkl in nd th v n bl p id nt Of th — ic n ong xil s If th h d b n d iv n fo th A C ivili d w o ld h d x i t d t th t d y in ny p t Of th f n t h u d o f ul u b l ic i in i u ion t ing on t t t R w t h w p p n sought t t bli h u wn cou n t y tion of l ib ty w hich ny ho p i t l i ty t h v b n in th t R p ub l ic w o ul d th co di l ny y p thy t d p ny l f th i gl o ious but unfo tun t c u t f v nt t ctiv t b hown to w d Le t a s , oo r ar G 368 THE ART OF PUB LIC S PE AKIN — ity G ROV po a nd E R CL E r sp er S esq ui C nt nni l e - a e 189 6 , VELAND d liv e , ere d inc ton the Pr at e . OF GARFIELD E ULOGY E x r a c t t) ( in lif h w s surp ssingly g t in d th F no c u in th v y f n y Of w ntonn s n d wick dn ss by th r d h nd Of u d h w thrust f o th f ul l tid of this w o l d s int t f o it hop ; it into p ir tions it vic tori th vi ib l p nc of d th nd h did n t qu il N t l on f th n ho rt o nt in which tunn d nd d d h coul d giv up lif ha dl y w Of it linqui h nt b ut th ough d ys of d dl y l ngu o th ough w k Of gony th t w n t l s gony b c u il ntly bo n with cl S ight nd c l cou g h l oo k d into his op n g v Wh t blight nd ruin t his — nguish d y s whos lip ll t wh t b rilli nt b ok n y wh t b ffl d high bition wh t sund ing of t ong pl n w nh ood s fri nd hip wh t bitt nding Of w t h ou s hol d ti ! B hind hi xp ct nt n tion gr t p ou d h o t of u t ining f i nd ch i h d nd h pp y oth w ing th full rich hono s Of h ly toil nd t a s ; th wif of his you th who whol l if l y in hi ; th l ittl boys n t y t g d f o hil dhood d y of f olic ; th f ir young d ught ; th tu dy on j u t p inging into cl o t co p nion ship cl i ing v y d y nd v y d y w ding f th s l ove nd c r ; nd in hi h t a ll d g j oicing p ow t nd rt th B fo d sol tion nd g t d kn s ! And hi oul w hi n t h k n n w th ill d with inst n t p Hi co un t y foun d nd u niv s l sy p thy M t ful in hi ort l w k n n tion s l ov nshrin d in th h b c Of th c n t of w o ld B ut ll th l ov nd ll th sy p thy coul d p y s l on n t h H t od th win p wi th hi his suff ing With unf lt ring f ont h f c d d th With unf iling t nd r n h took l v Of lif Abov th d oni c hiss of th ssin bull t h h d th voic of G d With si p l sig — n tion h bow d t th D ivin d c JAME S G B LAINE d liv d t th ori l s rvic h l d b y th U S S n t nd Hou s Of Rep esent tiv s G rea t e, se , a e e a ere s s e or m er re e e o re se e s e ea r, e e mm s, a ar a e a e e e s m er e r r e m se er a s re e o s s a e o e a a a re a e ss s e ere e re e er e a e r a e e mm o a a e e . e e ro , ea a e e e . as m m e m re s m a e a e a . e e e re . e ree e a a e r o m a e a e e, e e e e e s . e . e ea r e ea e a , a a e m er s s ’ . e a ee o e e a e a er a r a a e o ’ a s er . e e es e re e e e ar rea a r e a ea ea r a er m m . ea ’ a e e e a ssa e e ar ee er , a e r , re r m m r re a s . ers s a er a e a , a , r m m e ses er m e r a r e ea e a ra s e ea , a e ss , s s s a e ’ m a e e s r a e a e, r , s a er ea r C s a e ra re a e es o er er e m m a a , a e a a er s r , e s s, a r e a a r e , as a a s, e a r , e s, a e e s e s a a o . , a . a e e a m m m e s , ’ es s es, a ze a ea r ra s a m s e , e , e e e o s , or . e a e e, r , a , s ee e e s as s re r a r a a re e a es ea m es as e a se s e a a er , r a a z rea e e, ea a r , e s e a m — mm r ’ r e . . e . . e a e a , AFTE R DINNE R AND A AKING 369 OF LEE E ULOGY r E x t c t a ( ) m botto s ion i A OTHE R OCC S ION L S PE - u m c o wn c ific Th wo ld i u p i i u Of v unt d ing xp nd w co know th t B ut wh n th t u h o h he o s t of n l t h i in v ity h ! h w th h h p fo rth t g — o h i f u ll y w l co G od nob l s t w o k th w hi ! h w w p t f l s up ight n In Rob t L w s uch st ong hon o vouchs f d t u nd t nkind nd wh th w b hold a h d clining co nd Of th f d l y t fight th b ttl s hi i i s Of hi wn p op l ; p ocl i ing on the h th a nd t w h ights in f ont of G tty b u g th t th f ul t Of th di hi wn ; l ding ch g s in th c i i Of co b t ; w lking u nd u u of co p l int ; fu ing th yok of conqu st without fo tun t co h nd t in th youth Of hi count y in th — — h d u t y h i s v t s k g nd l f t h s O f ifi in g p H h xhibit d qu liti s n t l w o thy nd h oic sp i it Of confl ict th n thos disp l y d on th b o d nd Op n th t y s of n tion w tch d hi v y ction H in th wh n th cl of civil nd do tic duti nd in th t ying outin po nt t k h liv d lif high wh n d y by d y Of inc h ll d n d l d his thin nd w ting l in s nd l p t by h night up on th fi l d th t w t b d nch d g in in bl ood up on o ow And n w h h s v ni h d f o u fo v And th ll th t is l ft Of hi —thi h ndful Of du t b n th th i thi bl ston ? NO ! th g n w th y is f o th gul f lie th w cks Of kingdo of ti nd t t s hol ding wh th i only t op hi th n s of tho up in th i h nd wh n in th l ov of G d nd in lov nd f h v w ought f unf ing f th i f ll ow n NO ! th p nt nsw b nding th b by hi to b NO ! th futu nsw th of th on ing f n it di nt b ow nd it oul d inks in w t in p i tions f o th lov ly lif of L c ho NO ! think th v y h v n s l t into th i d p ths th wo d of v nt l ov th t voic n t th tingl ing t th h t of ois Co w th n t d y in l oy l l ov t s nctify u k t ong ll good int nt by co union t p u ify u hop s t b ing d d y t sp k th Co with th S p i it Of hi wh At the “ re s e r e s sa m s e r es m a re e m a e re . m m m m m e e e as e ssa a rs a e s e a or m s s ra r a ea r s e r e o e e r e r o , - m s s a r m m a s s a rs a a e s r o, e a s e re e re o e ea r ea e r ra e e m e s ee o e se e e ea s a . a e e rs , er e , e s o ea rea a e m , . m e r o r e . er es a e a e , s e re e rese ers a s e o r ea r e e o e a a s m e a a , e r , m e , ere s e a c er r e a r es, sa cr . e e er a s s e a e e . se , a r e r a s a e e s re a ee e r e a s m , e e e e - e m m m m a es a re s e e . m a e r a e r or s m s as s as e er or re as re e a r ea r o e ere e r e o as e a er er e as e a es, a a as o e e, s e e a a a e e e e . s a ar a a sa s er e r e e a ess a e m a ra , o r a e e rr e e a ee e s e a r es s, r e a er a e m s a se re a a e a e r e e e ee e e e a e a a e e er o r s s e ra e m ree r e ar a a e , s a e a o m mm m mm r s e re a e o e e s o e e era e e e er , a ea . a e ar e ea s o e o ’ r s c o e e a S Its . e, a m m m r e m m ea r s e ser e e r a e a e r o m m m e r as s a o un selfi shne ss s s er ea r e s , a e is s r e e , oi r . rs o er a a , her e e e e er , S r e . ere r Of a ll tr s e , a e mm m m m e . r e , e, THE ART OF PU B L IC S PE 0 7 3 AKING m m m mm mm m m chil d in thy S p otl inn oc nc ; co wo n in thy p urity nh ood in thy co youth in thy p i ; co t ngth co e g in thy rip wisdo ; co iti n ; co oldi ; let os s nd lil i of Jun ound his to b f h like u s st w th xh l d in hi lif N tu b n fi n nd th g av h s th consec t d th t life nd giv n it t u ll ; l t us c own hi to b k th bl Of hi t ngth nd with th l u l with th bl of hi gl o y nd l t th gun who voic s he th kn w Of Old w k th cho s Of th ount ins th t n tu lf y j oin in hi sol n qui Co f h h h sts m m e ss , e, , a e r s , erse e ’ re s a mm e a r e a s On this g e e e re e, s ce e ce , a er or , e r e m m m s, e e, . a a se a m e s a , e, r e ese e s re , e a , or re a e re re e re , m m by thi f i t W s t t d y votiv ton Th t o y y his d ds d u on gon Wh n l ik u ir — J OHN WARWICK D ANIEL on th unv il ing Of L s t tu t Washington nd L Univ ity L xington Vi gini 1883 ree nb ze s a e m e a , s s re a , e o e s e e e e e , a , e ar a mm m e oa a e, es a e, e, C a a e e ra e e e e e e e, m , r , re e e a nk , mm m e e a o - e e a r e o , a s e s a r S a r s rea e, re ee es , o r s ee , , s a re e . e , ee e ee ers QUES TIONS ’ s a e a e , s . Why . di a, . AND EX ERCI S ES ho ul d hu or find s a a e in a fter dinn er - ? ea 2 r , m pl c p king i fly giv yo u im p ion nn dd yo u h v h d i fly o u lin im gin y occ 1 a Br e e ress er a r tha t s Of a ny ress a ea r e no ta b le a fter . ion of n o r a s t 3 y a nd give th ree sub j ec ts a pp ro p ri a te for a ddresses D eliv er one su ch a ddress not to ex ceed ten in u tes 4 in leng th Wha t prop o rtion of e o tion a l idea s do yo u find in 5 the ex tra c ts giv en in this c ha p ter ? 6 Hu o r wa s used in so e of the fo regoing a ddresses — ih wh ich o th ers w o ul d it h a ve b een in a pp rop ri a te? P r r e a n p a e d d el iv er a n a f ter dinn er sp eech suited 7 . Br e t e an a as ar m . . , . . . . m i m m - CHA P T ER XXXI C ON V E RS A TI ON MA K I N G In conv ion void th xt ersa t a e e re E F F E C TI V E mof fo es dn rwa r ve — CATO e ss a n d reser . . C onve i n rsa t o is the l a b ora t ory a nd w o kshop of r —E ME RS ON , u d nt the st e E ssa ys: Circles . . fa ther of W E Gla dston e considered conversa tion to b e bo th a n a rt a nd a n a cco pl i sh en t Aro und the dinner ta b le in his ho e so e topic of loca l or na tiona l interest or so e d eb a ted qu estion wa s consta ntly b eing I n this way a friendly riva lry for supre a cy disc u ssed in conversa tion a ro se a ong the fa ily a nd a n incident ob served in the street a n idea glea ned fro a book a d educ tion fro p ersona l exp eri enc e wa s c a refully stored i ly ex cha ng e Thus his ea rly yea rs a teri a l for the fa as of pra ctise in el ega nt conversa tion p rep a red the y ounger Gl a d ston e for his c a reer a s a l ea d er a nd sp ea ker There is a sen se in which the a bi li ty to converse effec tiv ely is effici en t pub l ic sp ea king for our conversa tion is often h ea rd by a n y a nd occ a siona lly deci sions of grea t o ent hing e up on the ton e a nd qua li ty of wha t we say in p riva te I ndeed conversa tion in the a ggrega te prob ab ly wi el d s ore p ower tha n p ress a nd pla tfor co bined S ocra tes ta ug h t his g rea t tru ths not fro pub lic ro stru s but in p ersona l converse M en a de pilgri ages to Goethe s The . . m , mm mm m m m , . m . m , , m m , , . . m mm , , . m , mm m m m m . , . , ’ AKING M V CON E RS ATION E FFE CTIVE 3 73 m m m library a nd Colerid ge s ho e to b e cha r ed a nd instructed b y their sp eech and the culture of a ny na tions wa s i ea sura bly influenc ed b y the thoughts tha t strea ed out fro tho se rich w ell sp n ng s M o st Of the world oving sp eeches a re a de in the course of conversa tio n Conferenc es of dip lo a ts b usi ness g etting a rgu ents decisions b y bo a rds Of direc tors considera tio n s of corp ora te p o licy a ll of which influence the p o l i tic a l erca n til e a nd eco no ic ap s of the world a l con a re u sua lly the resul ts of c a reful tho ugh info r versa tion a nd the a n who se op inion s weigh in such crises is he who ha s first ca reful ly pondered the words of both a nta gonist a nd p rotagoni st a y b e to a tta in sel f con tro l However i p orta n t it in light socia l converse or a bout the fa ily ta bl e it is undeniab ly vi ta l to ha ve on eself p erfectly in ha nd while ta king p art in a o ento us conference Then the hints tha t we ha ve given on p oi se a l ertn ess p reci sio n Of wo rd clea rness Of sta te ent a nd force Of uttera nc e wi th re sp ec t to p ub l ic sp eech a re equ a lly a pp lic a b l e to con versa tion — — The fo r o f nervo u s ego ti s for it is bo th th a t su dd enly ends in fl usters ju st when the vi ta l wo rd s need to b e u ttered is the S ig n of co ing defea t for a conversa tion is Often a con test If y o u f eel thi s tendenc y e b a rra ss ing y ou b e sure to li sten to Hol es s a dvic e : ’ m m m " , m m m - - . m m m , . - m , , , , m mm , m . m , mm m m , - , . , , , , , , . m m m m . , . m , ’ , n you stick on conv tion l bu s t w you p thw y wi th tho d dful And whe D Here on t ’ ersa r s re b ring y our will a a a r se rea into a ction , for y our , ouble tr urs is . a ART OF PUB LIC S PE THE 3 74 wa ndering m AKING m m ntion You ust force yo ur ind to p er sist a l ong the c h o sen lin e of conversa tion a nd reso lutel y ref use to b e diverted by a ny sub j ec t or ha pp e ng th a t ay un exp ec tedly p o p up to di stra c t yo u To fa i l here is to l o se effec tiven ess u tterly Conc entra tion is the keyno te of conversa tion a l ch ar The h a ph a zard h a bi t of exp ression th a t a nd effi ci ency uses bird S ho t when a b ullet is n eeded insures i ssing the ga e for dipl o a cy of a ll so rts rests up on the p reci se — a pplic a tion Of p reci se wo rd s p articula rly if one ay — p araphra se Tallyra nd in tho se cri ses when la nguage is no longer used to concea l thought We ay frequen tly g a in new light on Old subj ects by l ooking a t word deriva tions Conversa tion signifies in the o rigin a l a turn a bo ut ex ch a ng e of id ea s yet o st p eopl e see to regard it a s a onol ogue B ron son Al co tt used to sa y tha t a ny coul d a rgue but few converse The first thing to re e b er in conv ersa tion then is tha t — — li stening resp ec tful sy pa thetic a l ert listening is not onl y due to our f ellow converser but due to o urselves Ma ny a reply l o ses its p oin t b eca u se the sp ea k er is so uch in terested in wha t he is a bo ut to sa y tha t it is rea lly no reply a t a ll but erely a n irri ta ting a nd hu ilia ting irreleva ncy This expl a in s the S elf exp ression is exhila ra ting etern a l i pulse to d ecora te to te p ol es a nd p a int pic tur es wri te p o etry a nd exp o u nd ph i l o so p hy One of the chi ef delights of conversa tion is the opp ortunity it a ffords for sel f exp ression A good conversa tion a li st who onop o l iz es a ll the conversa tion wi ll b e vo ted a bo re b eca use a tte . m . m . m m . m m - , , m . m - . m - m mm m , m , . . , , , , . m m m . m - m . . , m - . , 76 THE ART OF PUB LIC S PE m m m AKING m for for hi to fla un t his own wo es or the d efor i ty of so e one else s chara c ter The pub lic de a nds plays All the worl d is seeking a nd sto ri es th a t end h a pp i ly happiness They c a nno t long b e in terested in your ill s oub les Georg e Coha n a de hi self a illiona ire a nd tr b efore he wa s thirty by writing cheerful pla ys One of his rul es is g en era lly a pplic a b l e to conversa tion Alwa ys l ea ve the la ughing wh en you say good bye ” D yn a ite the I out of yo ur conversa tion Not one a n in nin e hundred a nd sev en ca n ta lk a bo u t h i sel f The a n who ca n p erfo r wi th o u t b eing a bore th a t fea t ca n a chi eve a rvels wi th out ta lking a bo ut hi self ” I is not p er issib le even in his ta lk so the etern a l I f yo u h a bi tua lly b ui ld your conversa tion a round yo ur own in terests it a y p rov e v ery tireso e to y o u r l i sten er He ay b e think ing of bird dog s or dry fly fi shing whi l e yo u a re discussing the fourth di en sion or the eri ts of b er l o tion The Cha r ing conversa tiona list is a c u cu p rep a red to ta lk in ter s of his listen er s in terest I f his l i sten er sp ends his sp a re ti e inv estig a ting Guern sey c a ttle or a gita ting socia l refor s the discri ina ting con Richa rd a rk s a cco rding ly v ersa tiona list sha p es his re Wa shb urn Chil d sa y s he knows a a n of ediocre a bility uch a b ler th a n hi self when he who ca n Cha r en di scusses electric lighting Thi s sa e a n prob a b ly wo ul d bo re a nd b e bored if he were forc ed to converse a bo u t usic or Ma da ga sc a r Avoid pla ti tu des a nd ha ck n ey ed p hra ses I f yo u eet a fri end fro Keo kuk on S ta te S treet or on Pik e s Pea k it is not n ec essa ry to Ob serv e : How s a ll thi s bad m , ’ . . m m m . . . m m m : . “ . m m m . “ m m m m m , . m m . m m m m m m m m m m m mm m mm , . ’ . , . . m , , m , . m . m ’ MAKING worl d is V CON E RS ATI ON EFFE CTIVE 3 77 m fter all ! Thi s ob serva tion wa s doub tless a de This o l d worl d prior to the for a tion of Pik e s Pea k Fa r er s wives do not is g etting b etter ev ery day It is not so have to work a s ha rd a s for erly uch S u ch the high co st of living a s the co st of high living Ob serva tion s a s these exci te a bo ut the sa e degree of ira tion a s is dr awn out b y the app eara nce of a 1 90 3 ad odel touring ca r If y ou ha ve nothing fresh or interest ing you ca n a lwa y s re a in silent How woul d y ou like to rea d a n ew sp ap er tha t fla shed out in bol d hea dl in es or da i ly g a ve co lu ns Nic e Wea ther We Are Having a teri a l y o u ha d b een rea ding week a f ter to the sa e old week ? ” m a m ’ . “ m . m . m m 2 . verser Giv e In a . m AND EX E RCI S E S o ch describing few wo rds give y our idea of a . , QUE S TIONS . . m m m I m ’ sh rt sp ee the a conversa tiona l mg con cha r in . h r h W a t q u a l i t i es of t o a to r S ho ul d not b e u sed in e 3 conversa tion Give a sho rt hu oro u s delinea tion of the conversa 4 ora cle tiona l a n a r fi r iv cco u n of y o u ob ving con e t s t d a a t r G se 5 y versa tion a round y ou 6 Give a n a cco un t of one da y s effort to i p rove yo ur own conversa tio n iv e a l i s t of s u b j c t y o u h r d c u d d u i g e G s ea di r n s sse 7 a ny rec en t p erio d y o u a y sel ec t Wha t is ea n t by ela stic touch in conversa tion ? 8 . m . . . . m . ’ . . . . m m “ . 8 37 9 THE ART Ma ke . a li st Of OF PUB LIC S PE AKIN B ro m m id es, as G Gellett B urg ess lls th o se threa dbg re expressions which bore us to ex — itself a B ro ide tinction Wha t ca uses a phra se to b eco e ha ckn eyed ? 10 D efin e the words (a ) tri te ; (b) sol eci s II collo quiali s ; (d) sla ng ; (e) vulgaris ; (f neo logis Wh a t constitutes preten tio us ta lk ? 12 ca . . . . m , “ m m m ° m . THE ART OF PU B L IC S PE mb Is the Presid en tia l S y ste mn a AKIN G mof gov n li m n l for etter er Uni ted S ta tes tha n the Pa r m o ul d l gi l ion h d o d g du l b n onm n of o c iv i o ul d gov nm of h l g ci v d ol ly com m i ion of m o n nin m l c d by vo l g h o ul d n ion l b nk p m i d i u ub j c gov nm n u v on no b d on i g n l ho ul d o m n giv n b llo on p n b i of u f g m oul d p b i uf g ic d hop of mn n o l p c d lu ion o uld i d nd diplo mic e t for the S y ste our d a Sh s e in e the r a nd as s Sh Sh ta a s f ra e the e s e the ra a ta r ff ? ties b e a r er re tha este e en , a r e? be t “ tte er r e p s i si to e t the rese t restr te ? ss e, s tes , a se a ssets ? w Is the at a er era the e not ters a t wa r ap e t ss the e S ent er at to ta x s the p r te t t a te S be s at e the e e e ? Sh a a be e for resent r e p Un te the e t a en ? a s s Of s a e t w S ta tes se f ra r d e ea - a be e a e at s ? rep re ic a n ? S h o ul d the Pow ers of the wo rl d sub sti tu te a n in ter n a tio na l p olic e for nationa l sta nding a r i es? a in ta in the M on ro e S h o ul d the Uni ted S ta tes D oc trin e? S ho ul d the Reca ll Of J u dg es b e a dop ted ? b e a dop ted S ho ul d the I ni ti a tiv e a nd Ref erendu a s a na tio na l p rincip l e ? Is it d esira b l e tha t the n a tion a l gov ern en t S h o ul d own a ll ra i l ro a d s o p era ti ng in in tersta te terri to ry ? Is it d esi ra b l e tha t the n a tio na l gov ern ent sho ul d s? ow n in tersta te tel eg ra p h a nd tel ep hon e sy ste Is the n a tion a l p ro hibi tion of the l iq u o r tra ffi c a n ic n ecessi ty ? econo senta tiv e to the V a t m m m m m m m AP PE NDICE S S ho uld the Uni ted S ta tes 8 1 3 m y ar a nd na vy b e grea tly gthened ? ob ta in in the S ho ul d the sa e sta nda rds of a ltruis rel a tio n s of n a tio n s a s in tho se of in dividua l s ? ore highl y c entra li zed ? S ho ul d our govern ent b e S ho ul d the United S ta tes co ntinue its p olic y of opp o si ng the co bina tion of ra ilro a ds? I n ca se of p erso n a l i njury to a work a n a ri sing out Of his e p l o y en t sho ul d his e p l o y er b e li a b l e for n n r e s a t a d b e d n io fo bid n e t o s e t u a d equ a te co p p a s a d efenc e a p l ea of co ntrib u to ry n eg lig enc e on the p a rt of the wo rk a n or the negl ig enc e of a f ellow work a n S houl d a ll corp ora tion s doing a n intersta te b u sin ess b e req uIred to ta k e out a Federa l lic ense ? S ho ul d the a o unt of p rop erty tha t ca n b e tra n s ferred b y inherita nc e b e li i ted b y la w ? S ho ul d equa l co p ensa tion for equ a l la bor b etween en u niversa lly p rev a i l ? wo en a nd D o es equa l suffra g e tend to l essen the in terest of wo a n in her ho e ? S ho ul d the Uni ted S ta tes ta k e a dva n ta g e of the co ercia l a nd in du stri a l wea k n ess of fo reign n a tio n s b rought a bo ut b y the wa r b y trying to wrest fro a rk ets in Centra l a nd S o u th A the thei r eric a ? S ho ul d tea chers of s a ll chil dren in the p ub lic a ong o thers? schoo l s b e sel ec ted fro S houl d foo tb a ll b e restric ted to coll eg es for the sa k e of p hy sica l sa fety ? S houl d coll eg e studen ts who rec eive co p en sa tion stren m m m m m m mm m m m m , , . m m m m m m m m m m m mm m , , m m , m , , m THE ART OF PU B LIC S PE m m AKING mm pla ying su er b aseb a ll b e deb a rred fro a a teur sta nding ? S ho ul d da ily sch ool h o urs a nd sc h oo l v a c a tion s bo th b e sh orten ed ? S ho ul d h o e stu dy for pup il s in gra d e sch oo ls b e a bo li sh ed a nd l ong er sch oo l h o ur s su b sti tu ted ? S houl d the h ono r sy ste in ex a in a tion s b e a dop ted in pub lic high schoo ls? S h o uld a ll co ll eg es a dop t the self g ov ern en t syste for its stu d en ts? S ho ul d coll eg es b e c la ssifi ed by n a tion a l la w a nd en tra nc e a nd gra d ua tion sup ervi sion a nd u nifo r req ui re a in ta in ed by ea ch college in a en ts p a rticula r cla ss? S h o ul d ini sters b e required to sp end a ter of yea rs in so e tra de b u siness or profession b efore be co ing p a stors? Is the Y M C A l o sing its spiri tu a l p ower? Is the c hurch l o sing its h o l d on thinking p eo pl e? Are the p eopl e of the United S ta tes ore devo ted to rel igion tha n ev er? a g a zin es con trib u te to in tel D o es the rea ding Of l ec tua l sha llown ess? for - m - m m - - - m m m m m , , . . . m m m , , . m m m 3 84 THE ART OF PU B L IC S PE TH E PROB LE M OF OLD AGE “ Old Ag e D ef erred AKING . Arno l d Lo ra nd ” , . WH O IS THE TRAMP ? Artic l e in Century 2 8 : 4 1 Two M E N I NS IDE “ D r J ekyll a nd Mr Hyde R L S teven son TH E OVE RTH ROW OF POVE RTY “ The Pa n a c ea for Pov erty Ma dison Peters M ORAL S AND MANNE RS “ A Chri sti a n s Ha bi ts Rob ert E S p eer E A N D H R I T A W C S I N J J esus the Jew Ha rol d Wein stock ED U CATION AND THE M OVIN G PICTURE Articl e by J B erg E senwein in The Th ea tre of S ci enc e Rob ert Gra u B OOK S A s FOOD B oo k s a nd Rea ding R C Ga g e a nd Alfred Ha rco urt WHAT I s A NOVE L ? “ The Techniq u e of the Novel Ch a rl es F Ho rn e M ODE RN FICTION AND M ODE RN LIFE Artic l e in Lippincott s Oc tob er 1 90 7 OU R PROB LE M IN M E XI CO “ The Rea l M exico Ha i l ton Fyf e TH E JOY OF RE CE IVING Artic l e in Wo a n s Ho e Co pa nion D ec e b er , . . . . . , . . . . , ’ . , . . . , . . . , . . , . . . , . . ’ . , , m . , mm m 1 9 4 m . ’ 1 . , . PH Y S ICA L TRAININ G Articl e VS COLLE GE ATHL E TICS . in Litera ry Digest , m b Nove er 2 8, 1 9 1 4 . . , APPE NDICE S CH EE R UP “ 385 . The S ci enc e of Happ iness Jea n Fino t . , TH E S Q U ARE PE G IN TH E ROUND HOLE Job the Ma n a nd the B o ss Ka therine B la ckfo rd a nd Arthur Newco b THE D E CAY OF ACTIN G Article in Current Opinion Nove b er 1 9 1 4 TH E YOUN G MAN AND THE CHU RCH A Yo ung a n s Rel igio n N M cGee Wa ters INHE RITING S U CCE S S Articl e in Current Opinion Nove b er 1 9 1 4 TH E INDIAN IN OKLAH OMA Articl e in Litera ry D igest Nove b er 2 8 1 9 1 4 HATE AND THE NATION Articl e in Litera ry Dig est Nove b er 1 4 1 9 1 4 “ The , m m , , . . , “ m . , . ’ , , . , . , . . m m m . , , . , . APPEND IX C S U GGE S TIV E S U B JE CT S FOR S PEE CHE S 1 m Wi th Occa ion l Hint on T ea t nt a s MOVI E S MORALS AND r s e . THE TRU TH AB OU T LYIN G The essenc e of tru th telling a nd lying L ies th a t a re not so con sidered The sub tl eties of di stinc tion s Exa ples Of i pl ied a nd a c ted lies required B E NE FIT S THAT F OLL OW D I S A S TE RS B en efi ts th a t ha ve a ri sen out Of fl ood s fi res earth qua kes wa rs etc HA S TE F OR LE I S URE How the speed a nia is bo rn of a va in desire to enj oy a l ei sure th a t n ev er co es or on the con tra ry how the see ing h a ste of the worl d ha s given en ore ti e for rest study sh o rter h o urs of l a bo r a nd a nd pl ea sure S T PAUL S ME S S AGE To NE W YORK Tru th s fro the Epi stl es p ertin en t to the grea t ci ti es of toda y EDUCATION AND CRIME Loss 1 3 THE MOTHE R OF GAIN How a ny en ha ve b een con ten t until l o sing a ll th ey ex erted th ei r b est efforts to rega in su cc ess a nd su cc eed ed ore la rg ely tha n b efore . - . m m . . . . , , , . , m m . m m m m , , , , . ’ . m . . . mm m 1 It sarily s ms u t erv e be re mm d e for the title be re . tha t the . , , , . p h si g ra n of the sub e ct j will not ne ces 388 TH E ART OF PUB LIC S PE TH E E G OIS TIC AL TRUI S T Herb ert S p enc er of Ethic s How s . heory t disc ussed in as The D a ta . CITY m ic p THE E cono ’ AKING ME NACE S m TH E NATION . ils in a ssed p opula tion S how a lso the o ther sid e S ign s of the p rob l e s b eing so lved THE ROB U S T NOTE IN MODE RN POE TRY A co p a ri son of the wo rk Of Ga l sworthy Ma sefi eld a nd Kipling wi th tha t Of so e ea rl i er p o ets THE IDE AL S OF S OCIALI S M TH E FU TU RE OF TH E S MALL CITY How en a re co ing to see the econo ic a dva n tages unicip a lities Of s a ll er CE N S ORS HIP F OR THE THE ATRE Its rel a tion to o ra ls a nd a rt Its difii culties a nd its b enefits FOR S U CH A TIME As THI S Mo rd ec a i s exp ression a nd its a pplic a tion to op por od ern wo a n s life tunities in Is THE PRE S S V E NAL ? S AF E TY F IRS T ME NE S AND E XTRE ME S RUB ICONS AND PONTOONS How grea t en n ot on ly o ento us decision s a de b ut c rea ted out A sp eech full ea n s to c a rry th e of historic a l ex a ples E CONOMY A RE VE NUE THE PATRI OTIS M OF PROTE S T AGAIN S T POPU LAR IDOL S S AVONAROLA THE D IVINE OU T CA S T er m . ’ . m . . m , . . m m m m m m . . . . . . ’ m m ’ . . . m m m m mm m . . . . . , . APPE NDICE S THE TRU E POL ITI CIAN Revert origina l the sp eech a ro un d on e to the COL ONEL S L ea der ship m ng of m ci S H E LL S AND 389 . ea ni o rd the w an as the h ef ex a B uil d ml . p e . . —a r ca nnon fo dder o t g in a es t a s t p its effec t on the co wa r on p eop le WHY Is A MILITANT ? A di sp a ssio na te ex a in a tion Of the cl a i s of the B ri tish il ita nt suffra g ette ART AND M ORAL S The differenc e b etween the nu d e a nd the n a k ed in a rt CAN MY COUN TRY B E WRON G ? Fa l se p a trio ti s a nd tru e wi th ex a p l es of l r r O u a h a t e d a t io ts p p p y GOVE RN ME N T B Y PARTY An a na ly si s of our p resent p o li tic a l sy ste a nd the ove ent towa rd refor TH E EFFE CT S OF FICTI ON ON HI S T ORY THE EFFE CT S OF HI S T ORY ON FICTI ON THE INF LUE NCE OF WAR ON LITE RA TU RE m m m m a nd m . m . . . m m , - . m . m mm . . . . CHINE S E GORD ON A ulog y e . . HI GHE R EDU CATION m TAX E S AN D S h oul d a ll m . co p elled to contribute to the supp o rt of u niversi ti es a nd p rof ession a l sch oo l s? PRIZE CATTLE v s PRI ZE B AB IE S Is E ug enic s a sci enc e? And is it p ra c tica b l e? B E NE VOLE NT AU T OCRACY Is a stro ng ly p a tern a l govern en t b etter for the a sses tha n a uch larger freedo for the individua l ? en be . . . m m m m THE ART OF PU B LIC S PE ° 39 45 , S E COND - HAND OPINI ONS AKING m . The tendency to swa llow views instea d of for ing re on e s own views PARE NTAGE OR POWE R? A stu dy of which for of a ri stocracy ust eventua lly preva il tha t of b lood or tha t Of ta lent TH E B LE S S IN G OF D I S CON TE NT a ny ex a ples Of wha t ha s b een a cco B a sed on i h o h n h l e d by t h o s e w a V e ot let well eno ugh s p a l on e CORRUPT AND CONTE NTE D A stu dy of the rel a tion of the a p a th etic vo ter to vicio us govern ent THE MOL OCH OF CHILD LAB OR EVE RY MAN HAS A RI GH T To WORK CH ARI TY THAT POS TE RS PAUPE RIS M “ NOT IN OUR S TARS B U T IN OU RS E LVE S D estiny vs c h oic e E NV IRONME NT v s HE RE DITY THE B RA VE RY OF D OU B T Tru e gro unds for do ub t D o ub t not ere u nb el i ef Wha t do ub t ha s led to Exa pl es The wea kn ess of ere do ub t The a ttitude of the wholeso e doub ter versus tha t of the who lesa le do ub ter THE S PIRI T OF M ONTICELL O A essa g e fro the l if e of Tho a s J efferson NARROWN E S S IN S PE CIALIS M The da ng ers of sp ecia l i zing wi th o u t first p o ssessing b ro a d knowledg e The eye too c lo se to one obj ec t B a l a nc e is a vi ta l p rerequi site for S p ecia liza tion ’ . m m , . m m , m . “ - . . m . - . . . . . . . . m m . m . . . m . . . m m . m . . . . . TH E ART OF P U B LI C S PE 2 39 RI GHT MAKE S MIGHT ROOMIN G WI TH A GH OS T AKING . m . I nfluenc e of the wo a n gra dua te of fifty yea rs b efore on the colleg e girl who lives in the roo onc e occu pi ed by the di stinguished Old gra d No FACT I s A S IN GLE FACT The i p o rta nc e of w eighing f a c ts r el a tiv ely Is CLA S S ICAL EDU CATI ON D E AD To RI S E NO M ORE ? INVE CTIVE AGAINS T NIE TS CHE s PHI LOS OPHY WHY HAVE WE B ossE s? A fa i r ind ed exa in a tion of the u ses a nd a b u ses of lea der the p o l i tic a l A PLE A F OR S E TTLE ME NT WORK CRE DU LITY v s FAITH WHA T I s HUMOR? US E AND AB U S E OF TH E CART OON TH E PU LPI T IN POL ITICS ARE COLLE GE S GROWIN G Too LARGE ? THE D OOM OF AB S OLU TI S M S HALL WOMAN HE LP KEEP HOU S E F OR TOWN CITY S TATE AND NATI ON ? THE EDU CATIONA L TE S T FOR S U FFRAGE THE PROPE RTY TE S T F OR S U FFRAGE THE ME NACE OF THE PLU TOCRAT THE COS T OF HIGH LIVING TH E COS T OF CONVE NIE NCE S WA S TE IN AMERICAN LIFE LE GITI TH E E FFE CT OF THE PH OT OPLAY ON THE MA TE TH E ATRE ROOM F OR THE KICKE R m . m . . ’ . - m m . . . . . . . , , . . . . . . . 90 . . , APPE NDICE S NEE D F OR 3 93 TRAI NE D D IPL OMAT S TH E S HAD OW OF THE TH E TYRRANY OF TH E IRON . CH ANCELL OR CROWD . . JU RY S ATIS FACTORY ? THE HI GH COS T OF S E CU RIN G JU S TICE TH E NE E D F OR S PEE DIE R COU RT TRIAL S TRIU MP H S OF TH E AME RICAN EN GINE E R GOE THAL S AND GORGA S PU B LIC EDU CATION MAKE S S E RVI CE To THE PUB LIC A D U TY MAN OwE s HIS LIFE 1 0 THE COMMON GOOD Is OU R TRIAL BY . . . . . 1 00 . . APPEND IX D S PE E CHE S S TUDY F OR PRACTIS E AND NE WELL D WI GH T HI LLIS AVE LITTLE B E L GIUM D liv d in Ply outh Chu ch B ooklyn N Y Octob r 18 19 14 U ed b y p ission L ong g Pl to d distinction b tw n th occa sions of nd th Th occ ions of w r li up on th w c u of w nd know n nd d Of ll n whil th c uses Of su f c b dd d in ci l nt goni in p ol itic l n d w r N tiv hi to ri n s p o rt y th occ asion no ic cont ov i of w ; p hil O Op hi hi to i n th c t nd hidd n c u s Thu th th t f ll i th occ ion Of n xp l o ion p k Of fi l tion b tw n ch co l nit r b ut th c u Of th h voc i th nd ltp t Th occ ion of th Civil W w th fi ing up on Th c u w th coll i ion b tw n th id l of Fo t S u t th Union p nt d by D ni l W b t nd th s c sion t ught by C lh oun Th occ ion Of th A ic n R volution w s th c u w th conviction on th p rt of ur St ; th p T fo f th th t n wh h d f do in w o hip c rri d l o th c p ci ty f lf gov n nt Th occ ion Of th F nch di ond n ckl c f Q u n R volution w th p u ch Of M i Antoin tt t ti wh n th t u y w s xh ust d ; Of th volution w f u d li N t o th wi th th c u th w occ ion of th g t conflict th t is n w h king u in tion Of n Au t i n boy nd gi l b ut th c u i th b dd d in ci l nt goni nd cono ic co p tition d si t obt in th A f Ru i th c u Of th w w sh dfr B o p ho u — nd n op n Off p o t which i th p i ny A f Au t i th c us Of th w r h tt ck up on G f Of th g owing p ow Of th B lk n S t t s nd th i h f F t h og iv l icing y i o y A nc f h t t w O p c us of th w i th instinc t of lf p v tion th t si ts ny th c us is h r d p s t d n inv din g h o t AS f G conviction th t v y count y h o l ight t th outh Of it g t t riv ; u n b l t co p t wi th E ngl nd by ou nd bout s out s nd Ki l C n l h w nts t us th out th t n tu digg d f h th ough th outh of th Rhin As f E ngl nd th oth l nd is fighting t cov h s n Of curity D u ing th N p ol onic w s th s cond Willia Pitt xp l in d th qu d ru p l ing Of th t x th inc Of th n vy nd th nding Of n E ngli h r y g in t F nc by th sta t d w r is th Pr s rv ent th t j u stific tion Of th i p op o BR m m e re e r s a a o e ar a a m m r a a re e a S s e S e er e . e a a or se ar e e as m e a ssa ss e s s s r er a a a a ea r s ea a a or a e e , a m , a a e m or r e e s r a, e er a , as a a s , a e ra r s s a r e m a e s, a se m r e r e a a er e . e e e s rea se ra e s ea e - , e e re e e a e e er o e, ee o re e a , a , s . ra o se a e e a e ar e a a e as e re or a o e se , a a e S . er a a e e e r ee a o a e e a re or r ze a r e se r - e a a a r err re e e e o e e e se a e a a . e e er re se a r r , er m m m m er er e re a e s a or e r ea r o s se a s e e , er e a r a or s a . a r . S o er o e a e e ar a e a . a er s ar a s a a e e a m sea s a o e r S e a r rea s e s a se a e e e s a er re ss r e a er a ss a , or s a e a a e e ea s e as a s r a a ra e e a , , e e a a a a e es rs . as re a e e e e re se a a e e a se r e a s er a . r e ee ree er e as se s ar ee e a e a e a o - as er s e ar e eco e m m m m m m m mm e as se a a s a a e e e e ra e e e a as e as a e e as e , e a e ax e rs se a e s, e re a as e . re a s a se re s . , e a e s a a e . re se a a e m m m r s, a s s s r a e a e re se e er sa e c a a ee m m a a rra . ar a rea ra e rs es ar a e e , as e . a e r e ar . . e a a re e, a . , er ses a m r , m se e e, e e e a 39 6 AKING ART OF PU B LI C S PE THE m Th gol d i in th h a t of h v b en d ni d h p op l c o p u d nt indu triou nd th ifty NO o th l nd h ol d It is l nd wh v ybody wo ks In th wint wh n th n t i until h lf p t s v n th B lgi n cott g h v u n do light in th i window t fi nd th p op l dy f n a l v n ho u d y A ul ll hil d n w o k ft 12 y s of x qui it p oint d l c th t h s d B lg iu f ous Th g n wh fulfill th t ks Of th hou hol d ful is w ou ght b y w o fi ll d by A ic n w o n nd th n b gin th i t sk up on th x qui it l c th t h v nt th i n nd f th ou ghou t l w th i wo k h d b u t th i lif Th i w g th w o l d c ful nd p o p ou th t f w B lgi n v ig t i p Of l t th y h v d th i duc tion t fo ign cou nt i It i do ub tful wh th co p ul o y th i chool f ny o th count y h d g t ucc s Of th i y t Of t n p o t Y u will p y 5 0 c nt t j o u n y o il s tion tw n ty odd Ro lyn on u L ong I l nd il o d b u t in B l giu ut t co ut j ou n y tw nty il in t th f cto y nd b ck g in v y night nd k th i doubl d ily j ou n y s t n nti cost Of 37 c nt p w k l th n th ount th t you p y lik di t nc in thi count y Out th j ou n y n w y f f B l giu th on y t Of thi h s co Sh h p o p i ty b uy good f o o th count i s n d sh h th p op ty t xp o t t fo ign l nd L t y th Unit d S t t s with its illions Of p op l i p o t d l s th n hu nd d nd xp o t d If u p op l h d b n s p o p B l giu c p it d f o oth w w oul d h v p u ch u p count i wo th of good nd xp o t d th t ny S O l g ly h v w b n d p nd nt up on B l giu ngin u d in digging th P n C n l c f o th Of th ngin s C ock ill w o k th t p odu c tw tho u nd s of th s v y y in Li g It is Oft n s id th t th B lgi n h v th b t cou t in xi t nc Th S up C ou t of Li ttl B lgiu Without w i ting f n p p l j u t oon h b u t n J u tic d ci ion h b n ch d by l ow C ou t whil th tt s ind nd ll th wi tn s nd f cts dily h in till f ob t in bl thi S up Justic vi w ll th Obj ctions i d on ith id nd without otion f o nyon p ss s on th d ci ion of th inf io cou t On th o th h nd th l ow cou t di t s ttl nt of di p ut s b tw n n i Op n t nd fi h n n l o t d ily th w g n d n w boy n going t th ju dg f d ci ion g ding di p ut ov Wh n th j u dg h c o qu tion d both fi t n c nt nc Of tto n ys o r th n c ity Of rv S id with out th p ing p oc s i ing doll nd qu t s h th p oo st ight d It i s id th t n t ne Of th p oo h v th i w ong d ci ion ut of n hund d is pp l d thus c lling f th xi t nc Of n tto n y ha e er e a m r s e r e s so o m e s r m m r e s m s er a e o ee or a ’ e r er re r e s a s r as . a as e ar es e a e e e s e as o s e s a re er s e a e se e e e r s s e a o e a se e re se a e e r ar a re . e ar as r ea e ss e - e m as s a er rea e , e e er m e e ee s s es a er e e e e ss se e re , re e a a e ra se a a m e e e a s , r a a re a e . a s s a r er , a e a e re , a s r r e e s a s a e er r e e er s e a e e or a e e r r e s a a e a e a e er er e , a m mm e . r s e e e a r s e . o a r ea e o , e a , s a e o er e e sse e e r r r a . a a e a er e re e e s , o r ra s e e s e r e a e e es , a r e or a a o a o or e r e rs , a e ea r re e er e e ee a re m m m mm a a a e r e e a a e a r s a re v e re s s e a a m e a e a a r a a r a a a as m m a re a a sa o e . a e, a e e e a s a as e s a e . ee res a e mm m m m as s e er e a s e r s e r . es e e er a s e a e m e ra e ra r e a e e e e e er , e r e s ea r as a ee e r , s e r a r e r e e r e se r er e e a e e er a e e e r e a s e a , se ar . e , e s a o a a e a ea r e, a a e r a , e ea r e . e r a a er a or a er e e e e s e s o e ss , a a s e ra e s x r es e r e m mm m m m m m m m m e r s o . . es re rea e es r e er s o s . e e a e e a es e e a e e r a r e s a es e o re a e s e a a r a er e a e r s e r e , er s r s e e s e o s a as a er s e a e r m % m m m m m m r e or a e ree e o a er re a , er e s a s o e r e re a , . e a a o . o m e e er e r s , as r s r r es a e s a re a e , C e se a a re e o e e r . e e a e a . ea a es a e e e er e r e , v e, a mm s a s e e . as a . e r s a a r - e r er e e r e s re e r se o s e . s a ra e re es e e er a a a s e e e o or o e APPE NDICE S 3 97 m m oth in titution o g ni d in th int t of th w g n h b n dd d th n tion l ving b nk y t th t k lo n t n of ll n th t n bl th f nd littl g d n nd buil d hou whil th w o king n t b uy in u ing th wo king n g in t ccid nt nd t th ti ickn B lgiu i n count y it h b n id p oo b c u in titution h v b n d ini t d in th int t of th n of ll ff i a ll To er s s r a ze m m m m m mm m mm m m m ea r er as a es a a o e s r e a e sa a s ess e ea a s s a a rs a r e s, a e a ee s s e es e ar a a ’ a s s a a e a , er a a as , s ere a se , a r a e a s e r e a sa ar e r s a a a o s a e s e s e e e . se a e ee e re s e e e a ee sa , ere s e e . AT B L G U M PLAIN IN HI TORY B u t th in titutions of B lgiu nd th indu t i l p o p ity n t qu l t th of h p op l lon xp l n tion of h uniqu h oi L ong g in hi Co nt i Jul ius C id th t inh bit d by th t ib th B lg th Aquit ni G ul w th B l g Of who w th b v t Hi to y w ill th C l t cou g th i n tiv ight f onl y S how th t B lgi n h v u viv d Th outh t n p t of B lgiu th b v coul d h v i of ock p l in nd if th p l in h v b n h good i fo tun in ti of p c th y h v fu ni h d th b ttl fi l d of W t n Eu op f tw thou nd y No th n F nc nd W t n G ny ough j gg d nd w ood d b ut th B l gi n p l in w id l b ttl fi ld F thi on th g n l of G ny nd of F nc h v u u lly t n d t uggl d f th t y on th wid B l gi n p l in On n of th g ound Jul iu C w n th fi t b ttl th t i co d d Th n King Cl ovi n d th F nch wi th th i c c p ign ; t ow d th l o th S c n w hu ying wh n ult d by p l in M t l On th B lgi n p l in th D u tch bu gh Ch l nd th S p ni h r i l d by B l oody Alv fought u t th i b ttl Hith t c t ound of W t l oo N p ol on n d th g i th onu nt t th D uk of W llington victo y It w t th B lgi n p l in l o th t th G n g n l l t Au gu t u h d hi t oop E v y coll g nd v y city ch f o l v l p ot of l nd wh th cont t b tw n Op p o ing t nd f o th n tw thou nd y th y b h ld B l gi n p l in h b n th c n of th g t b ttl b tw n th in g n tion of W t n Eu op w N w u t of ll th colli ion th h co c h dy inu d t p il ich in fo titud l oy lty p ti nc th ift lf li nc nd p v ing f ith F fi hund d y th B lgi n chil d n nd youth h v b n b ought up up on th d d of nobl If Jul iu C nown chi v d by th i nc to w h tod y h w oul d w B l giu b v y lik b ight w o d gi d d t hi thigh An d wh n thi b v l ittl p op l wi th t nding y of fo ty tw thou nd n ingl h nd d d fi d tw illion of G n it t ll u th t Aj x h co b ck onc o t d fy th god of lightning THE G RE er m e s e a a ra e m m m m e e s er a e ra s or r a e r e er a er a a a r es e m m ar e s a e a es , e e a mm m mm er , s oo , a e o s r s e e e s e e e ea s e a a a o re a a s er , a m m m e e s . ar r s re es e r er o a e m es e m e o - a e s, ’ s s s a , m e e s e a , a s . e s e e a ers a a a as , s a as es , or s ea rs e ee e e ar e, r , e a rs e e e s m ee sa r s . as . e a r e er ee e e, - e e r m s . ar r es re er ra ra sa e a v e rs s sa as a e . a ssa e r ea e ese se a r r e r a ea r er ee e r o e re or . r a e ra e . e, e s es a s o er e e s e e e r ’ e s r m a a e r e e e e o er re e s e a a e m or e se e rse e m e e a e rea e e a , a s re a s a a , . s e ra m m rr e r , s e e re e er e e r ere ee ‘ a a a a , a a re e er a e a re o as s a s re a s or . er e a, . , r . e ee e m or , e , r ar e s a a a a o e s . a a a e r s , s es a e rs re s, a s e o , re e a e e e s e e . ” a a e e e e S e a rr s e e o a r ra a ra . a e ae ea s e r e a rs a o ra r er er e e r e a , a e e s . s r ae sa r sa e sa e s a s a e as r s a e se ra e se aesa r e ere e ea a s er m ae o a e s, ese e, a re e re r s, a or s s e r ea a s e a es e s er e r e e e a r es, e e s r a e o ree a e s a s a ser e s r s a e a s e s, e e m a a e o o, a as e e a re S m m m e . a I s e er E ra se a e e re r e, , e re r e a s a m e e e a e o e APTE R F ROM A TH RIL L ING CH B E L G IUM ’ m m mm HIS TORY S m m ch p t s to n f o th p g s of B lgiu s i o y ill n bl u t und st nd h p nt d y h ois n ju t gold n bough p lu ck d f o th fo e t will xp l in ichn s of th u tu n Y u b th t V nic w s th onc th fin nci l c nt of th wo l d Th n wh n th ba nk l o t confid nc in th n vy of V nic th y p ut th i j w ls nd gol d into ddl b g nd ov d th fin ncia l c nt of the wo l d t Nu bu g b c u it w ll w v n f t thick nd tw nty f t high L t bout 1500 A D th di cov y of th N w W o ld tu n d ll th p op l into c Of going folk nd th E ngl i h n d D utch c p t in vi d with th il o s of S p in nd Po rtug l N c p t ins w o p o p ous th n th in s of Antw p In 1568 th w 500 bl n ion in this B l giu city on th M u b c c k t fill d with j w ls Th n it w s th t S p in tu n d cov tou y s no thw d S t d with hi p l u b ok n by indulg nc nd p ion th E ign d his gol d nd th on t his n Ch l s th Fifth p King Philip Finding hi coff d p l t d Philip nt th D uke Of Al v w ith S p ni h oldi s u t on l ootin g xp dition h r Th ir pp o c h fi ll d Antw p wi th con te n tion f ch nt w bu y with co c nd n t with w Th ck of Antw p by th S p ni d k s up volting p g in n wo d y n nd chil dr n w e hi to ry Within th s c d nd th S p ni h soldi s d unk with win nd bl ood h ck d d own d nd b u n d l ik fi nds th t th y W Th bl sid nc w du c d B l gi n hi to i n t ll u th t 500 k th v nt st nd ut t b l ck n d u in s On incid nt will wea lthy b u gh r Wh n the S p ni ds p p o ch d th city D u ing th c r ri g ony h st n d th d y of his on down th g t of th city nd c oss d th th sol di s b ok ich n s hou Wh n th y h d strip p d th thr shol d of th gu t of th i p u s nd g s un ti fi d th y kill d th b rid g oo l w th i d th b id ut into th night n nd ca o ning young wo n c d nd h lf cl d w s Th n xt found in th st t ching ong th d d bodi s At l st found youth who h d h lift d up on h r kn s ov r sh young oth ooth s he b a b e s song which h c oon d h e e t h S ing by h u i l i t d by t c c l o d d A S p ni h offi c p p i ry nd p ut th gi l ut of h sol di t u his d gg Perha p s h st r w s as o e e a e s a m sa re r ee s e a e o er e a s m m er a e re s s . as a re e r , s a o e e a r a e r e a ar a e er e r r e e , s e e r e ree e e a , a s a a , r e er s er e , , r e e ’ e re ar se e s e r a se a r s, a es e re re o r a r e m e e e e e e , e e a ee a er . m r r e, se INQ U IS ITION m e , r e e a , . e o . a a . e e a e a e TH E e e e e er s er a . a e ea a THE HORRORS OF e re e e , e e a e S ea er , e o ra ze , a se e e r e sa rr e a e . e r . e a e e e , or , e a e . e . a a e ’ , a e a e e , e ar a e s a a e . so o a a re a e e m e , e e e a e . se o er e r r a s a ss a e r a s ar , e ar e r e ar a a a a a ss se o e er e s er s e e a e s s r es e r e o , s a a m m es s e a e a e e er e e r e s e e ar s e e r a s a a a e e a r , e as e e . e - m mm m m mm m m m m m m m m s e e a e r a a ers e a er a e e er ar ers e a e e a er e s re e , s sea er e s e s r e e er e ere a sa a ere s r a e a er e sa re re s a, ee e e . e a e e , m m m m m m r e er e r es ra e a r er a , a r s e ere se e - e e e re a re s , e e . e re se . e s a e . a ea s a r a e re e es a se ar e e o s a e . e e a r . a . e ror s e er e e se a a r a er , a a r r a s a e a , . er e a er . e e r m m a e e o o e es er a s e a e e r e tw o one or ’ . m loot d Antw p th t ea su ch st of B lgiu th n s of se c u g S p ni d t up th Inqui ition s n o g ni d n n h s h S o y ng f c t h t t ni d x c l d I t t t t i p p p l n n c u l ty oth n tion h v xc ll d in t sci nc ne n d th ich J ws fo tion S p in c u l ty t th M oo of the bl ck t ch p t in hi to ry Inqui ito s b c fi nds Ha ving ar a r r er e . er e s a s ra . as a a er ’ s es r e a s e o a , e rs a a s e s se r e e e a e e rs a e s e r a ze e a a re . or ar ri e e r e e a e m m e or i e e r s a e , ea ar a e r e i v e s o e . D EATH THE m m m m T OF E GMON mm o of you will s y th t th B lgi n p op l ust h v xc ss nd th t h d th y in d b n b ls nd guilty of so qui sc nt n d n t fo nt d t on th t no such f t coul d t th h nds of S p in h v ov t k n th V y well I will youth wh t th b ginning b li v d in Ch l th Fifth t k n wh w as t u t his id l s th n dl t th p ol B l oody C ou ncil d c d th d th of E g ont On d y th I di t ly ft w d th D uk of Alv s nt n nd H o n invit tion t E g ont t b th gu st of hono t b nqu t in A v nt f o th p l c th t night d liv d his wn h ous t th C o u nt lip of p p cont ining w ning t t k th nd fl th city nd f o th t o nt n t t t fl t t ho ll this E g ont Sl t his h nd T p w ith out p i tol on t v liv d wh coul d with n invit tion p n d d th t no n th of ho p it lity t ick p t iot Lik b v C o u nt H fo u nd th gu t b l d b ut w nt t th D uk p l c wh n h h d h nd d hi h t nd cl o k t th s v nt Alv g v ign nd f o b hind th cu t in c S p nish u sq u t nd d his swo d F in t d of b nqu t h ll th wh d C o unt w t k n t c ll fitt d up dung on Al dy H h d u d hi hip E g on t h d ll b u t di d f his cou nt y ighting th p op l w ong H w his t d his gol d f n of l g f ily— wif nd l v n chil d n— nd p op l l ov d hi idol t y B ut Alv w in x o bl H h d t d up hi ind th t th ch nt nd bu gh s h d till uch hidd n gold nd if h kill d th i b v st nd b t t o w oul d f ll u p on ll l ik d d woul d b nd th t th gol d h n fo thco ing Th t ll th p op l ight witn th sc n h too k hi p i on d th in th t B u s l n d d cid d t b h h t t t t h u b l ic q u v ning g on c iv d no ic I n h E t t p A S c ff ol d w s hi h d w oul d b c hopp d Off th n x t d y ct d in th p ublic qu l tt Th t v ning h w o t th t is v l Of t int n d thi v ning th s nt nc which you S i —I h v l Al thou gh I j ty h b n p l d t p onounc up on h v n ve h d thou ght n d b l i v y lf n v t h v don t th d d which woul d t nd t th p j udic of you s vic d t i nt Of t u ligion n v th l s I t k p ti nc t b I h t T th t which it h t l d good i fo h G d s t p p j ty t h v co p ion on y p oo wif y p y yo u chil d n nd y v nt h ving g d t y p st vic In which hop I n w co nd ys lf t th cy of G d Fro B u ls dy t d i this 5th of Jun 1568 L AMORAL D E GMONT Thu di d did s u ch p ob bly f Holl nd a s n wh S F nc John E liot f E ngl nd ul L f y tt f Ad s f thi s yo ung p u b l ic B ut re ee a o a , er a e m a r e . o a e o o ea ” e s e s s a r , o ’ e e s a a e a S a e s a , r e o a ra a e as a a a e ar e as e a a o a s e , a a a r s a re s s ea e re a ar m m re ee as e r ea r e a e r r re a e re ser sse rea , s a o m or e or a e e e e e e o a a s, a s a e err r , e e, e e a e e a a r e m e e ea e er e a m re a e e se ar a a o or m a a . e e o e, se r er o m m re , ere r e ea r o e e . o e o er e , or er a e a e a o m m m m e a o o . er r r e e e . . . “ re e e . es e e, , e er . e m a ss e e, a e e e es er e a as a a ee o a e m m mm , m s, e e ss e re e e o re a s S a e e e e o ea e a es e e e r a , m m e o a as ra s e ea se ee a . e . e e a r re s ra e ra e e e , . . ra e re a re s r r e a se s a e e s as m m e e re a a . e s e , a , a e e s e s a e , e r e e e e a a a ’ a e , e eers , e e e re a a . e r e e, a e e a a es e r e a e o er e a . m e a e rs m . a a . s r a e r e a a er e e e o ea o a a r e a as a e e re a e s s a sse e e or r o e s ea a r, e a ra . a e , a or e , a e e a e o o s or a ar e r a m e m mm m mm m m a a . a o e a a a o e e r . . a e e , e o e a e . e e ea a r er ee e a a a e e, a e e a e . r a e re a r es - e a , e er e , a a r a m m m m m m m m m m e er , s er e a e r ee m a e a e e a a e . as ar m e a e e a a , e ree er e ! a e a a a a , se r ee rea s e o e a , e a e . rse a ee e s o e a s e or r m m m e a o a as o a e s e o, a a e e e e e e a a a e e a e e e a e s ’ . r or a or a ra e, or a m e AP PE NDICE S WOE THE m 40 1 OF B EL GIUM m m m of all this glo ious p ast co s the w of B l giu lik th whirlwind nd d truction lik D sol tion ha s co nd B l gi u w s B ut nin ty da ys g to n do h d th h v t songs S udd nl y du stry nd in th fi l d w ny struck B lgiu Th whol w o l d has b ut n voic G r inn oc nt h nds S h w s l d lik l b t th h B lgiu Wh n th l ov of G ny i k d t xp l in Sla ught ny s b ea kin g Of h ol n t ty up on th n ut lity of Ge n st nds du b nd p chl ss M ch nts th G B l giu T u citi ns consid th ir hono th ir w itt n obl ig tion good th ir bond ; G ny g v t ty nd in th wo d n h w t t nc of G d d civi l i d o l d n d in t o o l n s s p T th nd of ti cov n nt with B lgiu n ut th G e xp ct this t unt s worthl s s G n t ty S c c ly th l ss bl ck th tw known x p l of c u lty w ought up on non isting B lgi ns In B ooklyn liv B lgia n wo n tu n ho in l t Jul y t vi it f th wh h d S h p l nn d t d p lysis n g d oth nd si t wh nu s d both suff Wh n th G ns d cid d t bu n th t vill g in E t n th y did n t wi h t b u n l iv this Old n d h lp l ess B el giu n nd w o n nd th th ol d n s th y b yon tt d t d d th th t nu the d ught Thi is th L t u s j u dg n t th t w b n t j u dg d n x p l of t ocity th t you nd I ight b bl p on lly t n in th count y n k nsw r B ut v ry l oya l G p ov dr unk with win nd blood S uch n w Th s sol di is p es nts G ny nd h oldi Th b a king t oci ty of G ny s t ty wi th B lgiu nt th di hono of p nd n t th p rfi dy of of p op l W ilit y ring nt b p o tp on d until ll th f ct in B ut sk th t ju dg nwhil th n wh l ov hi f ll ow t idnight in his dr s w lk c o th fi lds of b ok n B lgiu All th ough co th s b Of R ch l w p ing f h th night i th n t In chil d n b c us th y ood of bitt n of doubt H w coul d t c i s ut ju t G d p r it nd d p i th h ? N n knows su ch c u l ty up on inn oc nt B l giu Cl ou d nd d kn ss ound bout G od s th on Th sp i it of vil c us d this w b ut th S p i it of G d y b ing good ut of it ju t s th u n v g s Of wint M nwhil p ir th B u B l giu F l th thi d ost th h rt b l ds f L ouv in onc ich with its lib a b utiful city in E u op ! F i s c th d ls st tu p inting i l nu c ip ts—n w uin Al s ! f th uin d h v ts nd th okin g vill ges ! h p nd th lib y th t is a Al s f th C th dr l th t i Wh th ng l of h p p in s w s th t lk F ruin in nd D th G on th L nd of G otius ! P i h d th p in tings of Rub ns ! 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WATTERS ON HE NRY AME RICANIS M (Ab idg d ) tood wh E ight y I st nding n w g tonight th young G o gi n wh n t without on cogni d th nd in w o d s wh o ignific nc of his p s nc h l c ll p p l d f o th N w S outh I c nno t hop t qu n unit d count y t N w E ngl nd f hi lif w s it h v n bo n H i gon n w B ut ho t i ion w ful fill d ; th d li d ; Of his c hil dhood w f h h d b n p p oint d by G d t c y of p a c ss g n nd thi don h v ni h d f o on th good will t th o t l y v n s th dov f o th k S ight Of nd to l d u s t ul y of th t typ ic l A G dy tol d u ric n in D T l g ind s y w co ing but wh in wh ctu lity h d l dy co c nt Ab h L incol n In so tu di into th c of th t n I h v ncount d ny tion of this j u dg nt ; nd f o th t rugged st tlin g confi f o gn l d oot int lock d t u nk d wing it su t n nc Sp y nd Pu it n b nch d p b n th th with C v l i — soil h ll S p ing i inging h l y t sy t ic in ll p p its p t —u nd ing bough thi n tion h ll h v wh o S h lt do Lincoln p o i d it n d nkind th th n w b i th of f fug which w s ought by th fo fath wh n th y fl d f o th gibb t op p ion Th nk G d th nd th st k h v l t us hop h d th i d y t k p co p ny Th y h v gon wi th th l o t on t t d th t g t w ongs ts It h s b n d d d nd g t fo chi v d without th b y b h dding of n d o p of hu n blood ; th t v ng nc do s n t nd th t tol nc which in p iv t ; p u ify b u t b u t li t n ction i ckon d vi tu b co s in p ublic ff i dog of th o t f ing st t s n hip TH E NE W r ea rs a e a “ s e a e m r a ” s o e as ss e ere , , e e r S a , e . a rea s o re a or a m m ere o re e a e o, , e e e re s , a ce o o e a m as rea o re , ze r , ea e r a r e se e e o e . s e a s ea m , e r - a s re a ze m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m or e a ea r ee o , r a s, o, r s ’ es r r a , s a er a re , ress e s a e o r ra , sa a e s a s e a s re s e re e se r a ze s e a r se e - a r e, a e e o e a s e e r e a a e rea r e e ea e a e e e, o a e a rs a r a . a ee a a a a e e e e e a a a e ra a a e ea s a s ra e e e e , er a e, s s, e r , e a a ee e rs e re ere s e ee r r es e e re e r ra re e, rea a a o, r s e a e . a er e a x, , e . e e ar e a a , a . e a r e e resse e , r o . ar s re e s a . e r a ree a e r e r , a rea r se r e a s s er e a a e a as e a e e a e, a a s ra r e , s e a s a e ar , s s ar s e a s a e r e e ' ’ e s a e, e ’ a ra , s , a a reer e ar e a a rr o r a a , a a . o e e s, e e ra ra e a AR T OF PU B L IC S PE TH E 40 4 o AKING m m o im o n o ld m ov m n l und d m o im o n n ing im o ing m di qui ing i io of J n O u o i y st e the e t of the a st h re p rta t w r re the a a z B ut is it e a rs p rta t tha , , p s s et appar t n ap a ? a n d p erha p s n e a th r t R ss a es e e t the Fa r E a st a nd p she s sts tha t whe the Pa to the rt th r e ree her r t e r at t e, the st fa r rea h a ts Of tha t wa s one er h st r , the e e s st e s a p e E r p e a ll her p er ep t tho it a s f ze a a rs the L e a t the Who ca n sa y ? p rses the su n we re ee e e re en Ma d ta e the L ther , Ca v i , K ea s res h st r ea s re ; 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he ha e re see tha t his e p er ul e a rs te his a r e a t Ph l a e p h a his t es his Le — the a r e st en d w the e e tr a pp a es to d a y e s e e e tr ll r t D a t a t h e r t h e s t e F w ; p he ers a rr e ha e he a r p a sse the U te S ta te s he ul e e tr t r p we r a ea r ; ha e rea z e a ll the re st s ta e our t e the a a he re w he ha e ee a st ul S t ll e a n d e a te ha e rese e , t the e a ll a a es a te r a , pr r e stre th tha t p l t a str t re wh h he ha d so ra a sha re re a r I t th s er re where we a re th s a ter sh ra t swep t w a e a ter w a e ; E r sh tra ts , a r E Vr we er the r e r, g n itera t re , ha ts r ts , or S a t Ir sh , r ; S U ster s r r s an a ; Ca th we C e tra Pe ther S Ire a S the r a n d E a st C e tra ; n ew h sts r E r pe e er J l Th s is not the F rth B ut p e p e s h it is l w l a re e tha t it is e e rh e t r era s e r tr th to sa y tha t the p erse er r a s rp t a nd e ts s e e a ll th s ea se ess t rre t heter e p ora tion i t on e nite s , a nd p a S ta te is a n sta e str a h e e a e t tha t e ther the R a E p re n o r the R t h a r e s t h e Ch r h e the r B za t e E ss a n o C r r e n o R , p a e or a p G rea t nor Cha r es the F fth no r Na p e e er r p roa ched We a re s a a p t to e se the s wer ra te l era p r ress ou r Old r t e a rr e rs tra st the str e institu s r a , s e t e s s a a hr p re t a ll so st he s see a re a te r te , e e whe the ra a nd r e , r an se a e w r w th the p e a n d the n e w Ye t a t r t e s we re a t e a st a s for id a ffi b le a s th se the er za t s t w h se r t ul he r ta e ha e e tere th s a t U e w a s the e e ss t ta s rp ra t e rs a ths the a ss at pe p e —how to a n d ra e A se ffi e st l t wa s re r a e re t a nd w r a p we r as a nd w ea th s h a s ste S ta te to e the e tra ze w th a ert a e era s ste ep e e e , a n d to ra e te e e er e t w th the e e t al ree Th s a st ff t tha t ha e so s e ss l up to now s r te , a t the p re se t h r r ts the ther tr , - mm m m m m _ . , , , - m m m m ' , . m m m . , m ’ m m m . m m - . m m , m , m m m , , . u u lly x cu lo of ib l og in Wo ld by con ing ob u c iv b i of judic u viv l ol ci m n c oni mconv n ion m ion ob in ly oo d v n n b nc b b ok n in old o ld i o n di ng g d g ound of in f c you di cul i l o of ol d civili ion in o o f ui f i g you v n d niqu n c i y of i gig n ic k of inco o ion i il ion of o l of div f i c cond di cul y o fo id bl i l m c o k o ful l y on uc y co bin c n li d conc of f d l y mi l oc l ind nd nc uni coll c iv n gy i ncou g n of individu f do i l di icul y you v u cc ful y u ou n d n ou conf on o coun y , , , , m , , . m . , m . m m m . m m m 40 6 PUB LIC ART or THE E S P AKIN G m m m m m m m m d p ly p rp l x s h st t n Lib rty nd union h v b n c ll d th tw in id of A ic S t th y th t B ri t in ; ltho p on i twin id l of ll n in G p on ib l ong th s lv t th f t p th on which n diff bl on go l nd th th di iding oc n t t v l to w d th co in oth r w ys s u ch u f i nd int p o f u cas of n i l nd S t t th f g oup of isl nd S t t obst cl f o contin nt l S t t lik you i h pp ily ltog th f which in S o of th N obody b l i v th t no diffi culti ob iou B ut th co on n th ixtu of p ti nc nd d t in tion th t h conq u d i k nd i chi f in th y b t u t d with th futu p t t B S t ng nd d vio u th t h s of h i o y o d nd p y t iou ly ilt d up H w ny ti shining c h nn l g t d gl o iou high o d p ov no o th n ul wh t t ck cul d fl hing bo st Think of C nning cognition of th S p ni h p ublics in wh n h in i t d on th — ic th t h h d c ll d n w w o l d into xi t nc S o uth A d s th b l nc of th ol d Thi i n of th s ying — f t ny noth ight b found—th t k the fortun which o t nd t of h to ici n y t t nd ill th w of ti fi d ci t n u Th n w w o l d th t C nning c ll d into x i t nc h f tu n d u t sc n of ingul di nch nt nt nd on occ ion of th t h oi Th n t wi thou t gl i p n cou g nd v n wi do th t th tt ib ut s of l ot b nt u ch t l of n chy nd t th w o t th t l h di t till l ing ho st of p p l xiti s f t t s n both in ic nd E u op It h l ft l o t tud nt of p hil o op hic A t b o t int ting of ll th p obl tu n of ind n of th found in th whol fi l d of oci l ccl i tic l ligious nd ci l ov nt Why i it th t w do n t find in th outh s — i ph w find in th no rth of thi h tion p o w rful f d g t S p ni h A ic n p op l t tching f o th Ri G nd n w th t qu tion woul d b t h d t C p Ho n ? T fl ood of light up on ny d p hi to ic fo c in th Old W o ld but of which ft ll th ov nt of th N w p o nif t xt n ion l ng ti n nd Wh t o i p o ing p h no non do s hi tory p s nt t u nd i of S p ni h p ow t th p inn cl of g atn th n th n gl o y in th ixt nth c ntu y ? Th M oh d ns aft of fi c nd tubbo n w d iv n b ck ; th whol p nin tu i b ought und ingl ul with ingl c d ; no ous sul cqui ition f o th N th l nd of N p l S icily th C n i s ; n c d ttl nts d in A i F nc hu b l d E ngl nd ic b co p o s d of n d N o rth n Af ic — S p in in A v t contin nt nd of o th n n chip l go of p l ndid i l nd Y t b fo c ntu y w ov th ov ign j ty of S p in und w nt hug d cl n ion th t ito y und h a nd ee ee a m ea s e ra o er a e s a e m m m m s v , a e e se e ra or e e m m m s a ce a s so ra a er e m o e e rs s e sa s e r , s o e e e ra a e e e o s a rea a er - r e o a s a o a o a er a re a er e r se a r es a a s s ra m m er a e a r e e as r s a e s a . a a e er e a e r m m a e a e e a o ra e e a s o r a s a ess a re a e r ce , e m e r e ree e a es , e a , se e er a as r e e o e e s a e s e err a ar e e s a s e sse e S e a er , a e e ar e e , s o m m mmm m m e , ro re e e a e s re re a e a era e s e a a e s a re e e a , e e e er a e , er e r s m o . o a r, s e re r es e r a s r , s a ar e s a a e r s e es r e s er e a r er a e . a a r s e er e ere a s e e r x e s e o e s ee e e e a e s r es o e or s a e e s e s re a a e es a s e a ee a a e s re e se , e a s e e e e a o s , a a , a s s , s a e r e e a s s e e e s e e a ere s s . a e se e a oo e e e re s a a m a re a er e a mm m m m m m m as as a a ea r ar ee . e a e e a s a r a a a as s . a re e a r s o re e r a . a ea r a a e as a e ea v r ’ a mm m mm m m m mm m m m mm , er e re e se s e e r ‘ e m m a s es e s o e . r e r es a a a , a e s e e e e . . r a r a a s a e e . e a er e . a ea v or o s r a e o e s e a , r s e a a a ar o a r s er ‘ a e re a e a . s - a e e e sa c - re a re r s a re s s s e s r c r e re re s a r e a e m s e a er o re s e e s re ere s re s a es, a e e m m m m m m m m m m se s , s se , as a r rs a re e a e a se - e s e m m a er , e oo , o e a e sa e s a r e o, . o , a e a a or a a es e a ra a a . e er as er r e r o e a es a s e a a rea a o e , o r ra a e e e a e . er e ar e s re s a e e ea s e e a es er e e e e re r a e a es er er 40 8 ART or THE m im W in o c u l E PUB LI C S P AKI NG m m m on d in o o d conflu nc of odern in nsfor tion of thought t e t t p olity Wh t is p og ss ? It is b st t b sl ow in th co p lex rts of s n s t h r w t n t t o l i ic in i id n d s hu rry t d fin t If yo u p i t t h s t hi f s l t i u d no ng upp lying it like d fi ni w nt p O sh ll w sa y th t o st d finitions h ng b tw n p l ti tion sa id th nd p I h v n ver coun t d to dox ? Th tu d d finition of ligion Th ust b a b out s ny b n h Th dl y b f w of lib rty o v n of of p o t y h pp in s n t b ol d nough t try d finition I will n t t y t I ga ug h w f r th dv nc of o l fo c h s k p t p c with t ri l fo c s in th wo l d of which this con th t x t n ion of ll o th b fo b s uch stounding tin nt con p icu ou This of co urs is th qu stion of qu stions b c u s evid nc — t wh o n ill u t iou s E ngl i sh w it by th w y I w as y fri ndship with you found ny l ong y s g — s M tth w ic h it i o a l id th t t botto A no l d s id in A d cid th st ndin g f ll ing of st t s nd n tions Without ny S ign of p og ss is t discu ssion t l g op ning thi v — t yond i t k T h c i of s oci t d c t ion of th n b p — i k y of og s s n w fo c in st hundr d fi l d nd p is l ss cqui sc nc bl div ity of fo su Th with i in t iu p h nt w ong Tol tion in ligion h s b n ca ll d n d in sp it of f w th b st fru it of th l t fo u c ntu ri s n d so bigot d su viv ls v n in u Unit d Kingdo s v g o utb ks of h t d h lf ligiou ha lf ci l on th Contin nt of Eu op thi gl orious g in of ti y n w b ta k en s s cur d ic t hu n civili P h p s of ll th con t ib utions of A ign of fo c i n t y t ov nd Th t tion thi s is gr t t int v ls it h s its triu p h nt hou but on j ustic hu nity fight with ucc s th i l ong nd t dy b ttl f wid sw y Of ll th p oint of soci l dv nc in y cou nt y t l st du ing th l st g n tion non is o k d th n th ch ng in th p o ition of wo n in sp ct of right of p op ty of cc s t n w c llings As f th i p ov nt of e du c tion of nd it d ifi u i n ong thos who l b or t i l w ll b ing f cto in its c tion w ight g ow s t d with th i p ri j ubil nt onotony of its figu if w did n t t k good c t b in th x c ll nt wo ds of th P id nt of H v d th t tho g ins lik th p o p ou w o king of you in titu t inci l by ic y u in d in tion s h h t h r nd th w p p o l contributions b ing p rincip l s of son nt r ss nc cou g f ith nd ju tic ov p sion lfi hn s in rt p is ti idity n nd di t u st It i th o l i p ul s th t tt Wh th y f ll is f ti as swell e t the b r a went , 1 776 wa s the tra ha t w a s n ew e . a a re r e e a r . a s e e e r m e s a e o e e e ca m a e a s s . re m r er a e e e m mm m m s as s a e e e er a or a r s e ra ea r ers r r e a r e , s a es s e r e a e ra e s e m m m mm m m m a , e a er a s a e e es a e - o r a re a a se a a e e r e e, a er . e e, , ere a , s a s r a e ” a re sa e , a e e e a a er a ea e a r e er r r a re s sa e e . a ar s a e m m se ra s ar a re , rea , o s r s e a re e e s , se e a e as e e e r er , a e o s . za or a e e . e a e a e, , a e er e, a er , a e or e , e a o ar e s “ ra s o r r r e e a s es r a e a e e e , e e ee e, s o e e , e ra ess , e e e e e re s , er , e s, a a , s ea . rea e e a rea s re s a , e e m mm m m m m a e , o e o a a e a re e rs , a a re a r e e r m r a er . a . a ra a a e a a , e m a a a , e e m m mmm m e re . o a a re e m m e a , a ere s, r e o ea s e re a , ea es m r a a . e a a a r o s e, a er as e a re rea er e ra e e s a a e r e r . a a s e e , e a a r e, se s a re e a e ra e . o a e r a e a e r a s ea r s a e e , a a a ea r o ere , a r , , r m mm m m er m a o e er a e e r es ers , e e e e e a r . ee . r e e e e ra e, e r m a e e er e a e , s r a a a e s e e a m a ere ar o e a o . e , e re o e , . o a a ere . o a - or ere a re a ra e a e o m ere e, a a e se , a e e e o e a . a a e e , es , se e e a , E APPENDI C S 40 9 Wh n thi nd th lik i s id nobody upp os th t th l t b n p ok n t th condition of th p op l ith in wo d h E u op R p ub lic ni m i n t its lf ic f A p n c Of lf it n n ith tifl n th c no ic diffi cul ti pp c nt of oci l di cont nt S l ong it h no oot in u i n y t hi con t n t i t l f tok n of p og di e d y Wh t c i th k p tic wh t h s b comof ll th hop of tood up on th t p of gol d n h o u ? D th ti wh n F nc M u ch h co of th n t l t us f th ch ll ng And ov ti t tu th ol d h op h s b ought of n w Lib li i o ti u p ct d of b in g col d t th n w h op nd you it id th t Lib li i l dy y oft n h Th t d d by S oci li ch ng i p ing ov p ty sup n in Eu op i p l in but you y b u th t no ch ng in n mwill xtingui h th p incip l of oci ty which oot d in th n tu of thing n d cc dit d by th i u cc s ic h v d Lib li in G t B it in Th W Twic A Ind p nd nc in th ight nth c ntu y w th d f t of f u u p ing p ow no l in E ngl nd th n h Th W f Union in th nin t nth c n tu y g v th d ci iv i p ul c itic l t xt n ion of ufi g nd n of p op ul fo in th oth count y Any i sc i ge of d m oc cy h ct g in t t B i t in p og s in G If you k th l ning of m o t od n di p g nt of nt y gov n nt it i no o th n thi p op ul p li m th t no p olitic will ufli of th mlv s t k n tion oul Wh t coul d b o t u ? Wh y it will ? B ut w y d oul will b b t k p t liv in n tion wh p nd up on it th t th th i th high t p op o tion of tho of wh in th p h n ol d w o thy of th v nt nth c ntu y think it p t of n ligion t t it th t hi coun t y b w ll gov n d D oc cy th y t ll u i fflict d by dioc ity nd by st ility B ut h n t d oc cy in y count y in you sho wn b fo n w th t it w ll kn o w h w t choo n ith rul dioc n t il ; o th n th qu l in un lfi hn n in c titud in cl ight in fo c of ny b oluti t t t n th t v in ti c p t ? If I liv f w onths th p t bo it v n f w w k long I hop t h v n o y b — thing of th l ctions n in C n d n in th Unit d King d mnd th oth h With u in p c t of l d hip nd h ight of oci l p on g co p onding tig th p p t f o t th p id nt i s you know th p i m ini t Ou g n r l l ction thi ti owing t p on l ccid nt of th p ing ho u in quit x ctly wh h ll b th p i y n t d t ini t b u t it will d t in th p ty f o which th p i ini t h ll b t k n On no l occ ion u l ction of ini t i as di ct nd p on l you n d in choo ing p i b of P li nt p op l w lly f whol g n tion s a e mm as r er e S ee or a e s e ve v m a s , r es , e e e e ra e s ea r e es e e s era s s es , a a erse a r e r r e e, a m ar a ar a s a e e m mm a es r o se e ra er re e m mm s, s e o e e re re re o or s e r e, a e or a es e e e as a e ee r ee e e e e ar se o a a , ar e r o e e a e e r, er ere s e res s a o s er , s er S e a e r a e e e s er er a e s e ar a e a e a, o e res e e rs e ers r a ar a e re rea m mm e as eS S , e s ers ea a e a , rres r . a ss e e e e r e r r e e s e m m e e a rs , a or a , , e s o er s a es e see a e S r as a s e o S . rs , e rs s er a a e a e a e a e o ar as e a e ra se se s . a a s a s s ere r , er s, a er se e e ers a e o e e a r . re o e, e ’ a e er, e e a e , a e a o, ar s a e a a er a a ra e a o e er a s re s e a re r , e er s rea m m s, e, r o a e a . or e s a r s s, a e es s e ea r e . a e e as . o r a e o e . s e e s e re ar a s r e, , s a rea a ere e s re ea r S er a e er e er e , es e e s r er ra e ese e r ra o . a re r m m m m m m m m m m m mmm m mm m . rs a r e re e s es a ss re a se a e as a ee o e , e r e . . re s se e e se s e es o sa r e e e ra e s e e e ea se m m m mm m er e s e s re e r or o s ce re a e . s ress e a r re ea e a s a ea s r a a e era a e e e a e rea r rea a r or a a r e a a rr a see ’ ee r m ra . re s ere e as e s a e s s e e ra or a e a re ess e ee e a e e er r e a s sa e r a er m m m m m m mm m a e se s, a a a o sa a e e e , re er e a e ea r . s a e s s e e e e s a es or e e e a s ra s e e e as e e r as . es s e a a e e e r a s a a e e a er s as se , o e o . m mm mm m m m e o a ca e e S s s a e s es e se s a s , e . . s ce a o es e o a as e r s e e era TH E ART OF PU B LIC S PE 41 0 m AKING choosing wh th D is li o Gl dston S lisb u ry shoul d b nt h d of th gov n n Th c nt l diff nc b tw n you syst nd o u s is ric n p id nt is in f fi x d ti th t th A wh e th inist d p nd up on th upp o t of th Hou of B iti h p ri on If h l o s th t hi p ow Co tw lv y n t n du onth ; if on th oth h nd h k p s it h y hol d offi c f n t n y s Th ny o int ting i p o a do t nt qu tion in p ol itic l di cu ion th n th qu tion wh th c bin t gov n nt you p id n ti l y t of gov n u nt i th b tt Thi i n t th p l c t gu it — — B tw n 1868 n d n w iod of t h i t y i y s w h v p h d ight Thi w oul d giv ini t i n v g lif of fou nd h lf y s Of th ight gov n nts fi l t d ov r fi y s B o dly p king th n u x cutiv gov n nt h v l t d bout th l ngth of you fix d t ini t s As f sw p t w y by gu t of p ion I n onl y c ll th ov th ow of L o d P l ton in 1 858 f b ing thought t ub vi nt t F nc F lw ys thought th t by its y wn p t I h v f p l y its co p tiv fluidity it p id fl xibility of d p t u c bin t y t h o t t y f i t lf tion Wh th d oc cy will k f p c w ll h v y t t s d oc cy h don littl in E u op t p ot ct u s g inst S f th tu bid Whi lp ool of ilit y g Wh n th vil of iv l nt goni tic c s t ito i l cl i s nd ll th oth st t fo ul of int n tion l conflict f lt t b unb bl nd sch ool f b co g t t b ny l ong b o n th c u t is t p ick up g in th th d of th b st t ch will p h p of th volution M ov nt w it s nd wi s st ul s on th in this gion of hu n things h n t ll b n p og iv If u v y th Eu op n cou ts f o th nd of th S v n Y w k d g owth W do wn t th F nch R volution w no t th of di tinctly int n tion l nd p cific p i it At no in th find ny Eu op n t t s n ft n w wo l d hi t o y t i s t h c good gov n n t of h ic h c b lly n d t h w r p p nt c os t Th t s nti t viol nt nd wh n N p ol on sco u g th w o l d er e er e ea ra e e m m m m m m m m m e e o a e ra e a res er s e ea r ze a r o s e e a e er e a ea r ea r r . as e a a e o a r ar e r e a s e rse s e oo er s ar a r ea s m m e a r e e a o a e ress m ar s a e e e a e o m , e e e . ea rs e ' r e m e ra ea e e e e a er e e . a e . ea ee e, a e r o e r e e r a r re a ee e e e e so e r e a s . a S e a e a ra e re a a e a e e , se r e e a r r er e e e er m m m a r a , o o e . a m e a a s er e e . a o e ca e as a s e a o e a r e e a r r a ve e or e a e r a o er se e, e ev e ea er s a m e re e s r re a mm as e a or r e r a e e ea a re er r e err , a e or a e a o sa ar a es o ’ e m e ar a ra e . s ra , er er oo s e a a or e ea r m e r m re a e a a re r e s er e s x e er e . e s a s a as as ra ers e ra e e , e e ra ca , s e v e e e or ar - a e r e o , a ss o e a a e s e , a ra a er er s or a r r e a e rs . m s r r m es , ea e a er e o e , o , ea o ar e or es s r mm mmm m m m m e re e S a a e m a e e se re a eres e a er e se e a ra re s er a s e e e a e a o , ss o r re r s . . a r ee r e, a a or o s r es e s a s a ee e a o a e e er e m m r e s s , e re a re . a mm mm s e a e ee or a , er e e or e a s es a e er . e e se e . a . e re e s r e r e e a es a ar e er . o . ROB ERT TOOMB S G G FROM THE S E NATE 1861 (Ab idg d ) lli s und th Th su cc ss of th Ab ol itionists nd th i n of th R p ublic n p ty h p odu c d its l ogic l ' ul t l dy Th y h v f l ong y b n sowing d gons t th fin lly g t c op of d n Th Union S i is nd h v dissolv d Th t i n cco p lish d f ct in th p th of this dis ON RE S I NIN , e r m e a e a re a a e e e . a e e . a s a r a a as r ar e e a e a e . e a er e re s s ee ra ee e , e m m m , e a rs or e o a ar a a e r a a e e , r, THE ART 41 2 OF PU B LIC S PE AKI NG ich th ir in titutions xist outsid th p t ti n of f d l l w ; with h ving id d nd b tt d in u ction f o within nd n i n f o without with the Vi w of i n titu tion ting tho nd d ol ting th i ho s nd subv id s F th s c u s th y h v t k n up th ir fi s I h v st t d th t th di cont nt d S t t s of thi U nion h ve d nd d nothing b ut cl distinct un quivoc l w ll — cknowl dg d constitution l right ight ffi d by th high t j u dici l t ib u n l s of th ir co unt y ; rights ol d th n th ight which i ut b l C on stitution ; p l nt d up on th d by p rincip l s of n tu l j u tic ; rights which h v b n ffi th good nd th wi of ll count i n d of ll c ntu i s W d nd no p ow t inj u ny n W d nd no ight t inju u conf d t S t t W d nd no ight t int rf wi th th i in titu tion ith by w o d d d W h v no right t di stu b th i p c th ir t nquill ity th ir cu ity W nd d of th i p ly ol ly nothing l — h v d t giv u s u ity nd t nq uillity nd p c G iv u s th q u lity sto s i ts lf R fus th n d t k wh t yo u n g t Wh t do th b ls d nd ? Fi t th t th p op l of th n qu l ight t ig t nd ttl Unit d S t t s sh ll h v ny futu in th p s nt cqui d T rito i s with wh t v s (inc lu ding l v s) nd b s cu ly y p os p op ty th y c bl nj oy nt until uch T ritory y p ot c t d in it p d itt d s S t t into th Union wi th without l v y b t t t s h d t in on n q u l i t y i t h ll x i ing S w y nd W h v fought f this T ri Th t i u T rito i l d its p ic to y wh n b l ood w W h v p id f it wh n gol d W h v n t p op o d t x clu d you th you w s its p ic h v cont ib ut d v y l i ttl of b l ood on y I f p ci lly nd onl y t go into thos T ito i s to N w E ngl nd W d up on t of qu lity with you qu l in this g t Conf d nj oy th co on p op ty of th whol Union nd y t c iv th p ot ction of th co on gov n nt until th T ito y i c p bl of co ing into th Union ov ign uit its lf S t t wh n it y fi x its wn in titu tion s t cond p op osition i th t p op ty in sl v h ll b Th ntitl d t th nt of th Unit d th gov n p o t c tion f o in ll of it d p t nt v ywh which th C n titu St t tion conf s th p ow up on it t xt nd t ny oth p op ty in cont in d sh ll b con t u d t l i it p ovid d no thing h ight n w b l onging t v y S t t t p ohibit t in th W boli h t b l ish nd p o t ct l v y wi thin its li i ts d nd of th co on gov n nt t u its g nt d p ow t thi p o t ction w p y w ll s you s F p ot c t u p op ty u ch you do Thi v y p op ty i subj ct t t x t on It h s b n t x d by you n d ol d by you f t x s Th title t thou nd s n d t n of thou s nd s of l v s is de in the S ta tes i n wh a ll ec m e ra e o re r re s e m a e e a s e e r a e e er r s m e , ' e r r a e sec r re e a e e s e a s o r e a a e , e e e e e rr a e, e r s e sa r e s e e r or e s a a r o r o e m m as r e e a sa e er s . a a o er as ee e o e a e er a m r a er r o er e s a e s ere . es S a e a e e e e er s r er a e s o o e m er r m , r o , ” e . ra se s r s a a e ers e e e e or s e , e e or . r e , e er e . a e rr m o a a e e m er ” o , re a er , e o s e S a er er as a o e m re a es e re , e er e re er es . er e s, e e ere a e ar er e or re s ra m m r e a e s e e r a e a e s s, se S a e “ e e or e e . e e a er o ea er a s e a a , e e a a a o r e or m as e o , o e a , e s e e a er r se or r o a es, r o e . e e a ere e r or a e . e se e e a e e e e e e r r , a e . a e s , o ra e a e a e . o e e e a er e s er re e e a S a e a se e r e er m m m m m m m m m m m . a , re e . e e . o e e o m a e r ca , r a r r e e se , a e r a a r e e a a ee e a e se rs e e e, e e a e , e e - . a a e er r era c ea ee , e a as r e as ea e or se s e a r s re a e er a r e a a e e a a e or a e e a a , r a a m m m m m m er s e e a a ra e s e a re e e a e, ra e re e r a e a r e . mm m m ea a e r a . er e e r m m m m e s . e . s s e mm m er e ar e a m m e e r es, a a es s, a a re a e ra e e e r a e r a ro e e r r a o e e e a s e se e a re o re s a , a re ra a e a e s a a e e a r o e a a e se e es m es a s e a r e e ea r , e a a e a e s, or . a v as o 1 e m a a a e e s a se er s e o a S a e . a i o a . AP PE NDICE S m m 413 m iv d f o th Unit d S t tes W cl i th t th gov rn nt u p op ty f cogni th p u p os s whil th C on titution of t x tion h ll giv it th you p ot ction th t it giv ? Y u Ev y n of you up on Ou ght it n t t b y no Y o u H ou id no Y ou n to of itt th co y no R p es nt ti es y no Th oughout th l ngth nd b dth of you con p i cy g in t th C on titution th i b ut n cognition of thi ight i th p ic of y hout of no ! Thi Withh ol d it nd you do n t g t y ob di nc Thi l l gia nc d n wh h v p ung up in thi is th p hil o op hy of th t country D you k up p o t gov n nt th t will t nd y bl ood ; th t will d y p op ty ; th t will p lun d ? I w oul d th th p op ul tion of n d will n t p o t ct i t t h h n iv t t l id f b n d t h n y o d t S t h h u l y n h ou u ch gov n nt P ot ction i th p ic su p p o t f in ll coun t i It i th onl y thing of ob di nc v yw h k gov n nt sp ct bl D ny it n d you n n t th t ubj cts citi n ; you y h v l v s h v f nd in th n xt p l c th t p on co itting W d cri g in t sl v p op ty in n S t t nd fl in g t noth d liv d up in th nn on co itting S h ll b p c i s g in t oth p op ty nd th t th l w of th S t t f o which uch p on fl h ll b th t t of cri in lity noth n of th d nd of n xt i t nd bl Th t i t ch ou t th i o th nd B u t th non l v hol ding S t t co p ct h v t dil y fu d if th c i in l onl y tol n g o l v t d liv hi up It was fu d n d th t n g o w qui ition of y wn S t t l ong tw nty tw twic on th It w y fu d by K nt nd by F i fi ld gov no g of M in nd p nting I b li v ch of th th n f d l W pp l d th n t f t nity b u t w ub itt d ; n d p ti b n p ctic lly d d l tt f o thi con ti tution l ight h Th n x t c c up b tw n u nd th th t d y t thi nt nio n to [M S w d! S t t of N w Y o k wh n th p nd h fu d it Why ? H th gov no of th t S t t ; w t l n t g in t th l w of N w Y o k t n g o nd s id it w fo h woul d n t co p ly with th d nd H d th u fu l t V i gini Y t th conf d t ; i il u i t S t t ! Th i th b g in ; th is th thes co p ct Y u h v w o n t it B oth th gov no w o n to f o N w Yo k w o t it Th gov no t it Th of Ohio wo t it wh n h w in ugu t d Y u n n t bind by o th Y t th y t lk t u of t on ; nd I supp os th th y xp ct t whip f n into lo in g uch b th n ! Th y good ti in doing it ! will h v It is n tu l w houl d w nt thi p ovi ion of th Constitution ca r i d ut Th Constitution ys sl v s p op rty ; th S up Th th ft of Court s ys ; th C on titution sa ys s r e r s e e a a a e e m m e sa e e so o o ee sa e a e r e s r a e e er r or o es a a a s a m s, ea rs a o ar es e a . s s a e e er as a m e re ar m re o m a re o e e a e a a m re s a e o e a e se s r r s s er a m m m e s r e e ree a ee s a re ra e m a a er rs e e ra a r m e e . e . ar e m e r , a a e a e a era es ere er o . e rs s e . re er ca r o a s v e r s a r . o er o r o e - e . re a s s o m , r a ese r e e . se e e ar e . as e s e re e ” s a e a . ea a re re a s o s ea e ese a e r o se r e e e o o r e ere a a r se e re a e . s e s e a e e e se s a a es r . e m e o a rese a o sa . . r e s a a se s ea a er , s as m ra e a e e a re o e a e ee o a a , o s a r e, ra er o e , r o re a e e e . a s a r e m m m m m m e e as a , ca re m m ax e a es e er e as . r e as o s o e e , e s S s ers e s . e ee er a s r e a e rs er e o e S a a rea e a a a , se r a a a m e e e s e s . a a e e a e, a a a e, r “ o ea e a . a se re re se re e a e s, a s re e, a a o e e s . e, ee s as a s a e re e s e a , e r e er e e s ea a a a e sa e s a e a er e rs er o s a a r e a er so . e m o a e a e r er e s e er se e r es e s ze r e s a re ere e a e s er a e , a e a or e e e a e er ree s e m m mm m ea e ere , er es a ra ee r s m m m m m m a s s x a rea r e a . se a er e rs r e S a a e m m mm e , e s o r er e e e e e e r m e a e e a r r r o s o e s r e e r es e re o e e . s m m m m e a o a a as o . er e e e ar s or rs sa a e a . a , . e m m s e e r a s re S r a er r sa . a r e r se s ra m o . sa v a z es o re a S , e . e re re e e ra . a e s sa e a s so e s r s a e e a re o r . e e e e AKING ART OF PUB LIC S PE THE 414 m m l v s is c i ; th y ub j ct tt of f l onious a sp t tion B y th t xt n d l tt of th Con titution you g d t giv th up Y u h v w o n t do it nd you h v b ok n you o th Of cou tho wh h v don l ook ut f p N obody xp ct d th t do oth wi t xt I do n t thin k w h ow v I v b l d nd n k d wh coul d n t p ju inv nt o wh coul d n t f p t xt t p ll i t hi c i fift n hilling hi n Old B il y l wy t inv nt o f hi qui nt of th C on titution i noth n of th Y t thi xt md nd of n xt i t nd bl Th n xt tip ul tion i th t f u gitiv l v h ll b u nd d und th p o i ion of th Fugitiv S l v A t of 1850 without b ing ntitl d ith t w it of h b co p u t i l by ju y oth i il ob t uction of l gi l tion in th S t t t which h H is th C on titution y fl N p on h l d t rvic l bo in n S t t un d th l w th of c p in g into noth h ll in con qu nc of ny l w in b di ch g d f o u ch ic g ul tion th l bo b ut h ll b d liv d up on cl i of th p ty t wh o uch vic l bo y b du Thi l ngu g i p l in nd v ybody und st ood it th sa w y f th fi t fo ty y of you gov n nt In 1 793 in W hington ti n d t c y u t thi p o i ion tw p It w dop t d un ni ou ly in th S n t of th Unit d S t t nd n ly in th Hou of R p nt tiv s Nobody th n h d inv nt d p t xt t ho w th t th Con titution did n t n n g o l v It w cl ; it w p l in N t onl y th f d l cou t but ll th l oc l cou t in ll th S t t d cid d th t thi w as con titution l oblig tion H w i it n w ? Th N o th o u ght t v d it ; foll o wing th in tincts of th i n tu l ch ct th y co nc d with th f u dul nt fiction th t fugitiv w ntitl d t h b co p u ntitl d t t i l by j u y in th S t t t which th y fl d Th y p t nd d t b li v th t lv w ntitl d t o ight th n th i whit u f u gi tiv citi n ; p h p th y w ight th y kn ow n noth b tt n wi th t th n I do on f l ony Y u w hi t m y ch g oth c i qui ny t i l by ju y b fo n d yo u do n t in b u t th t h is h i giv n u p ; th i nothing t d t n d th n h i t b l g l ly ch g d with c i n d th t h fl d d liv d up up on d nd Whit p op l d liv d up v y bl ck p op l you y d y in thi w y ; b ut n t l v Sl v h v b n ntitl d t t i l by ju y ; nd in thi w y ch inv nt d t d f t you p l in con titution l oblig tion S n to th C on ti tution i co p ct It cont in s ll u oblig tion nd th duti of th f d l gov n nt I con t nt n d h v v b n cont nt t u t in it Whil I doub t its g od c o p ct nd p rf ction whil I do n t b li v it w s a a e e e r m s a s e re rse , re e re s e e e e a e s a a m or S s s a ser a a or as so ea r m a e ea a e s r a ra er , e r e s s m m a r m m ere e s a re e e e e e a rs , a s a a a e r a , r e e er e e o e e e e e o e ra a a r a o e o s a o e a er or , , re e s o e m m m m e es a s e . , ee e . o a a e o e er sa e, a . e ere a er er e e e e . e a e a a e r e s a e r a a as a e e , s a r e m e ra o s e ee e s e a re a e r a m s a es, a a es , e e s . e es , a s r v o . e er e e o rea s e s es e ra re a . a s e e a a r e ea es m e r e e S a o s re r a . e e o e o e a a a o o r a o e e m re o ar . a re e e e s s, e , s ere e o ar e a a e, a e se rv s e a e e , e . r . e re r e o ar a e er ea s e . o as r s e e a a ere e e a e e es s er e e s m e e a er e a e ea r a o o e S a . or e , o a e, r a rr a e e e re e a a a e es e m m o e e . re se a s a e e e e re r m m e er o e as . rre er S o a s ze e r s, a e S a s e ” e a ss e se re e r e era o e e se , ar r s a e a er as ac S e ea rs e, a . r a a e a a e mm s r o s e m a , or , e r a er , , r e s s , or e re a a rs as a a s e e ’ e or a e or e or , : o se e s er o , s e o a r s a e re o c e ea s or . es S a e m m o e e r o , s a a re o o e o s a ere a e . ” er a ree o e , or e e a m r e S a s se a a r a r, a a s a e so e s m or a a er e es a , or re a s o a e e re re a e e re . e s r ers 0 a e a , a er a e e er ar ee a s e er S or o a s m m e e a r v e er o e s a m er s o e re a s, e r o rer , a - e se e e er e e e s a . s re e e o . e er e m m m S ee e a e a s e a re a s e e . e r sa e r e . e “ a , a r 41 6 THE ART or PUB LIC S PE THE ODORE AKI NG ROOS E VEL T A GU RAL ADDRE S S IN U (1905 ) m — o l on v o c u i id v n ly in ii ng i g i ud bl d i condi i n ic c iv l g u of l ing T n ou No p e p e MY FELL OW CI IZE NS ea rth ha e re a se rs , a nd th s is sa re ere t to b e tha k ul tha no sp r t , our own stre a st l ess th , b ut w th ra t t e to the G Who ha s esse us w th the G er t o s wh h , ha e e a e us to a h e e so a r e a ea s re we l b e a nd ha p p ess To u s a s a p e p e it ha s b ee ra te to la y the at s of e a n ew a at t e t our We a re the he rs the a e s, a nd y et we ha e ha d to p a y few the p e al t es wh h tr es a re e a te b y the ea ha a b e v il za t We ha e not b ee e to ht for our e ste e a a i st ra e ; a n d y et our a ny a e e ha s a ll e for the r a nd eff rt a er a n d ha r rt es w ther a wa w th t whi h the er t s it w U er s h b e our own a t if we a e , e ss wh h we ha e ha d a nd the s the p a st , the s ess whi h we fi e t e e e the t re w sh br a se us , ee a r , b ut ra ther a e ep a n d a rea za t o a ll tha t li e h a s ffere us ; a l a we e t the t wh h is resp s rs ; e e te r a nd a at to S h w er a ree er e t a i ht p e p e ca n thr e b est, tha t e a s re a r the a the th s a nd the th s the s M h ha s b ee e to u s, a nd h wil r ht b e ex us We ha e t es to thers a nd t es to rse es p ected r a n d we c a n S h r e a re a t e ther We ha e b e at , r e t re a t to the ther na its rea t ess the a t t s the ea rth a nd we st b eha e a s esee s a p e p e w th h reS p onsib ilitie s s a , ou r a tt t s, a r e a nd s T wa r a ll ther a t e st r sh p st S h w n ot b e on e a a nd s e re r e We y es r ou r w r s b ut ou r s of ee s tha t we a re ea r est se rn the r a t t wa r the a Sp r t w st a nd s re e er t a ll the r r hts B ut at as an a , st e a n d e er s t a , the str t st whe no t b y the wea b ut sh w the rs, we st b e wr Wh e e er a re ul to re ra r rse e ss e es We w sh s ste t tha t w e a re not wr h r h e e a e t e a e te s t e b u t e s h t h ea e s w w e , ; p p p ess it is r ht, a nd n ot e a se We w sh it b e a se we th a nd st we a re a ra tha t a ts r ht No wea at r sh sh ul str w e l e er e e r ha e a se to ea r , a nd p re ss s e t a b e a e to S e u s out a s a s e t fo r a re Our re a t the w r s with the ther p w ers p rta t ; b ut st ll rse es re s a S ch p rta t a re ou r re a t n f of bo fu n in iv of ood v n bl d in o l ng n d found ion n ion l lif in con in n i of g v of n i ic in ol d coun i x c d d d nd of ygon ci i ion v n oblig d fig xi nc g n li n c l if c d vigo o i ou c nli di vi u i y nd u c condi ion oul d f ul f il d u cc ic v in u cc c con d n ly b li v fu u ill ing oul d c u in no f ling of v ingl o y d biding li i n of f o d fu l ckno l dg n of on ibil i y ic ou fix d d in ion o und f gov n n g y o l iv l ik g d ing of body ing of oul uc n giv n uc l ig fully fo v du i o du i ou lv — ikni v co g n ion fo c d by f c of g n in o l ion o ion of u v b o l i uc o d o n ion l g ll i ud u of co di l inc f i nd i u o onl in od in d d n ly d i ou cu i g i good i ll by c ing o d in i i of j u g n ou cogni ion of i ig j u ic g n o i y in n ion in individu l coun o n o n k by ong il v c f f in f o onging o u no l in i n ong d ou lv i c i c of j u ic c of ig ou n i c u ink ig bc u f id k n ion c ig ly j u ly o d v v c u f no ong o ou d v bl ingl ub j c in ol n gg ion l ion o o of o ld i o n i o i o n l ion ong ou lv u “ m - . . m . . . m m m m m m . m . , . . m . m m mm m m . m m . . . mm m m . . . APPE NDICE S 41 7 g owth in w lth in p op ul tion nd in p ow n tion h s c ntu y n d qu t of it n tion l lif i in it se n du ing bly acco p ni d by lik g owth in th p obl vr which b fo v y n tion th t i t g tn Pow inv i b ly ns both p on ibil ity nd d ng f cd Ou fo f th c t in p il which w h v outg own W n w f c oth p rils i p o ibl th t th y houl d h v y xi t nc of which it w ea r m r e e a a m er e a e er a a s e, ev r re a o a e a ss e ar a er e a a re e s . . . as e e e ss m r m a r re a o a a a e r ses e s r s s e e a r er e a s er er , a s a a , a a re s er a a a ea t r e er re e e a , ers a er e e e e s re e m m lif i both com nd th t ndou p l x n d int n h ng w ought by th xt o din y indust i l d v lop m nt of th h lf c ntu y f lt in v y fib of u oci l nd p olitic l b ing N v b fo h v m n t i d v t nd fo id bl n xp i nt th t of dm ini t ing th ff i of contin nt und th fo mof d m oc tic p ublic Th condition which m h v t ol d f u v l ou t i l w ll b ing which h v d v l op d t v y high d g n gy lf li nc nd u individu l initi tiv l o h v b ought th c nxi ty nd in p bl f om th ccu ul tion of g t w lth in indu t i l c nt ucc of u xp i nt uch d p nd —n t onl y Up on th g d u wn w lf b ut g d th w lf of m nk ind If w f il th c u ff lf gov nm nt th oughout th w o ld i n d th fo u on ib lity is wil l ock t it found tion p h vy t ou lv s t th wo ld it i t d y nd t th g n tion y t u nbo n i no good on why w houl d f th futu but Th v y on why w hould f c it iou ly n ith th i hiding f om ou lv th g vity of th p obl mb fo u n f ing t pp o ch th p obl mwith th unb nding unfl in h ing p u p o t olv th ight ll th th p ob l k t b fo Y t ft n w th th t f om th t k t b fo w h fou nd d n d u diff u f th nd p v d thi R p ublic th p i it in which th t k u t f c d if u duty i t b w ll b und t k n nd th p ob l don m in nti lly unch ng d W know th t lf gov n nt is diffi cult W know th t no p op l n d uch high ct k t gov n it fi i t it of ch th t p op l which n wh d will of th f right th ough th fr ly xp it po h ll n t p ov f l t o i of B ut w h v f ith th t w th ighty p t Th y did th i wo k ; th y l ft us n of th th W in u tu n h v n p l ndid h it g w n w nj oy u d confi d nc th t w h ll b bl t l v thi h it g unw t d nd nl g d t u chil d n chil d n u t ho w n t ly in g t c i but in th T do w v y d y ff i of lif th qu liti of p ctic l int llig nc of cou g of h dihood nd ndu nc nd bov ll th p ow of d votion t l ofty id l which d g t th n wh ore see C . M odern es a e e . er e e e e a e e m er e r a re e e re a as e e e a r s or o r e ree o a e r a s re s o ar a e ro e , r , s r e se a er a er a er ra s se m e e e e S a ss a e e as e o - ra e a e, a e so , e a e e a re e o a r re s a , . r s e e o era a m a rs ar o a e s s e, , a a e e s, or c r o e a s r o m re ’ o s es ea re ra m a , e r es e e r e a s e er e a a e . r se s , re a e, a o r a rs o co e r o e e re ra , ree e e a m m mm s a er a se e s s ee o e r . a e e e se a e s e o e . s as m a e s re e o r o , e e o ea er s se as e e se e , e , e rs , a see a . o o S o , r e e s ar e , re e e re sse e s s e a e as a r r e e e a a e s e e re , e ser e m e S r ee m e re o e a a er e re er e s e e s a e a s a re , er a s . a a . e s se e sse r S e r . a ra a ar ese e s e e a a r as s e m re e, a - a s r a ea r mm e se e o , e o ra e e e er a e es o s r re ser s e, e re o e S e r a r a re a e . rse o a s as re - r ere r re a s er r e , e a ea e a e , se e e s , s ar er re a s s e ea r o s ere e re e er s e a a a e - e - r e s, a a rse o re e S e s o ea se o a e r e a s re a re , e e e . mm er r e a a a rs re a . e a a a er a a o e m m a s e ss as re s e r s o so r e ra e a e s r a er er e e ar s er er e, se , a e e rs e e e ar r e ra e e r a a ra e a a a a o a se e r er a s e a a e e a rea , e e e m e, e er e o 41 8 THE ART or PU B LIC S PE m m AKING founded this Rep ublic in the days of W shing ton ; n who p s rv d this Rep ub lic in g e t th Ab ah Lincol n r a e r a re e e m ic a d d ys of wh h the a a e e . AME RICAN ON m od n indu i coun l nc T MO HE RHOOD (19 05) mm civili tion th r a ny a nd gra ve t ba the sp l ndo s nd the triu p hs da ng s t It is n t a go od thing t s citi s g ow t disp op ortiona te sp d th cou ntry ; f r l tiv l y t th s ll l nd own e s th n wh s nd th wn th ir littl ho fo t very l g ext nt the n wh til l f s th n of th s oil h v hith rt o ad the fo u nd tion of l sting n tion l l if in ev ry S t t ; nd if th fo und tion b co s ith t w k t n ow th sup r s tu e no a tt r h w tt ctiv i s in i n nt d ng r of u iz s jl g B ut f o i p o t nt th n th qu stion of th u tion of u citiz ns is th qu stion of h w th i f ily lif is n u t d tt N wh t th t occ up tion l ong s th is l yb ho nd l ong s thos wh k up th t ho e do th ir duty t ne no th t th i n ighbo s n d t th S t t it is of inor consequ nc wh th th n s t d is p li d in th cou ntry r in th city wh th it c ll s f the wo k of th h nds f th wo k of th h d t ri l growth no b ril N p il d up w lth no S p l ndo of li n of rtistic d v l op nt will p n ntly v il ny p op le unl ss its ho lif is h lthy unl s th v g n p o ss ss s hon sty co u g nd d c ncy u nl co on s n s h w o ks h d n d is will ing t n d t fight h d ; nd u nl ss th v g n is good wif good oth bl nd willing t p wo fo th fi t nd g t st duty of wo nhood bl nd will ing t b nd t b ring up s th y sho ul d b b ou ght up h l thy chil d n ound in body ind nd ch ct nd nu rou s nough s th t th c h ll inc s nd n t d c c t in ol d t uths which will b tru s l ong s this Th ount of p og ss n lt On nd whic h no w o l d ndu of th is th t uth th t th p i y duty of th husb nd i t b k th b dwinn f his wife nd child n nd th ho n is t b th h lp t the th t th p i ry du ty of th wo oth n houl d h v hou s wif a nd Th wo p l e du c s th n ti n l dv n t g s ; b u t s v in x c p tion l c u st d n t b nd g n lly ought n t t b t in d b nd h n f lif l ong c s th f ily b dwinn ; nd th fo In our er e a . ar o a o ar er e ce a e, a ea r , a re e o , o e ra a e re a re e e a - a r a S or a e F ro Cong re e r, a a e ee of coll e ction , er a e s sp s M other in re . on e in a e m W a shing ton Printe to e e e, a o ee ch e df a req ue m ro st . on er , M a r ch p f y era re m . s , a ra e, o ere , o re a a e a e e a e, e f p o m m mm e e a e . re a se sh d b y th er a a e er a ca e e ea e a 1 3 , 19 05 , b e e e a e e rea se er u rni r a o rea e e , a a e e a a e e a e S e , es e o or a r o r o m a . m e o era a co e , a ra a a a rea e a or e . e re e ar e c e or , e rea e a r e ra a a er re a a reer a his m m m m m e a m sp ss a co a a a a e e, e, a 1 a r r a - e e er a mm mm ese e e S res , a e mm , a a a e e e a s , e a e r, a re a e a e e ar o e occ e e a es e, a rs e r ee e a e, e se , a e e o er , e a a a , ea e a a o e e a m m r e , , e r e , a e or a m m m m ra , ra a rr e, a s a ’ a e e r e . a r e er e m m o er ea r e a m m m m oo e a a a e e e e e o e e ’ o e r e e a e e or e , ar e a , e, a ea - ra a r o a e ea e o e e o o re . ee a e oo e e , a m m r a e er a e r ar e a er , e a e as e a e re e , a m r a , r a a a e e e e e a e re e a o o e e , r e or e m m m r e ee a a r e ere a e m m m m m mm m m m m c za e o o o o a o e ' er o o e a str al er ‘ the d re s i e re , Na tiona l en t s for thi TH E ART or PUB LIC S PE 420 AKIN G ct s is no n l ; b ut sh s ntitl d t it onl y b u l ong as h is worthy of it Eff ort nd lf s rifi a nd th n s f th w o n ; th n ith th l w of w o thy l if f th ffo t n lf sa rifi th f th n s f y b th I do n t in th l t b li v n th th oth p ti nt G ri l d of wo n in th w o n wh sub its t g o s nd l ong typ continu d ill t t nt ny o th n I b li v n n wh ly ub it t w ongful gg s ion N w ong doing i t bho nt s w ong doing by n t ow d th wif nd th chil d n wh houl d ous v ry t nd f ling in hi n tu l ck of t nd n s tow d th l ck S lfi hn s t ow d th of con id tion f th bov ll b rut lity n ny fo tow d h oul d ou th h ti st sco n nd indign tion n v y th up ight oul I b li v n th w o n k p ing h lf I b li v p ct j u t in th n doing I b li v n h ights j u t s u ch as I n n d ind b li v in th d littl o ; nd I g d i g ch p tn i in hono p rtn ship in which bound t think of th ight of th oth s w ll of hi h v n o i p ort nt th n wn B u t I think th t th duti th ight ; nd n th l ong un I think th t th w d pl t f duty w ll don th n f th in i t nc up on nd g individu l ight n c y th thi t u t oft n b Y ou duty i h d you t ; b ut g t t of ll is p on ibil ity g you w d I do n t p ity you in th l t On th cont ry If l you p c t nd d i tion f Into th w o n k p ing i co itt d th d tiny of th g n tion t co ft u In b inging up you chil d n you oth ut b th t whil it i nti l t b l oving nti l t b wi nd fi F ooli hn n d t nd it i no l ut n t b t td int ch ng bl t nd ff ction ; id t ining you on n d d ught in th oft nd nd b ild vi tu you u t k t giv th tho t n nd h dy qu liti which in ft lif th y will u ly n d S o child n nd o will go will go w ong in p it of th b t t ining ; ight v n wh n th i u ounding o t unfo tun t ; n v n ount d p nd up on th f ily t ining th l n i oth th ough w kn b ing up you on t b lfi h If you lv you will b u ch n d t think onl y of th p on ib l f dn ong th w o n wh in th futu t b th i wiv g ow up idl p h p und th i If you l t you d u ght ion th t you you lv h v h d t wo k h d t k n p t b nt you th y h ll k now onl y n j oy p p ing th nd T c h boy u l t oth lv nd bu d n t th gi l lik th t th y n t t l ook fo w d t liv p nt in voiding difficulti b ut t liv p nt in ov co ing diffi culti lv nd l o f oth i n t T c h th th t w o k f th cu b u t bl ing ; kt k th h p p y t k th our resp e e e se o a e e i e o se , e ca m m m m m m m m m m m m m m m m m m m m m m m m mm m m m m m m m m m mm m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m so , r e er e se a e a e ra s e ar r s e e se e I so as e a s I a s ar a a re es er S e r a r s s a e es , e a a es ess o r , , re s e s o er es a a re e es S or e se see o a e a e s ar re r ar e es a e e e o s a ea es S o e es a s or a , e rs , o . s e er e s e o . . or er ar er e se o e s re r e ra s a es re a e se o ar es a s er a e r e, er a . s e r e e s a e ess s ea r s o e . e re s , o a ee r e e se s er s rse o ra re e rs ra e as a re e a a es a er es, e r . e r e r r e . e as s o a re ers a er e e se a e e e ss e a rea e s s a re er s a s s e s a rr se er is a r e o e s or ar e ea s ar a e re oo , e r re s e sse e e a o re a ea a r s a e se a re ss o a e e se e ss r e e I r se e s as e e . se e r a a e . e o e r s e e ea er re er rea s as a ar s er a e e ss a S e a re or s, o er o e ar 1 s s e a or s e rs e e, ee es , e e ss a a . a , r e a s ra e e s a re e ess e sse r sa re a e a er a e e s res - r e a es a e s e e e s s r e ’ o e a r s ra a a er er a a a o s es a e ar ea e essa r . s e rs a o s so ee 1 a a - a , r re s e e r er r e I e , e era e ee e s, ar re s a r e r se a or r a e e e r rea e r ee e or a a e a e a se s e I es er , ee a r re ea r er a . a er e e a . S, a e e e r e er e r ar e a a o o , e e a a rr a e e o . a a , a e . e e e or S , e e e o o e ce a re o or e a a ar e I re s - e e o a ac - a e sa e re ar se e e e a r r es s o a a , o S re e e or a ea s e s s a ce e re a rre a e c - , e e or o . a . e or e e a e r a e s a e s o e . APPE NDICE S mm m m 42 I nj oy lif b ut k l o t k th f c lif with th st df st olution t w t ucc f o l bo nd dv ity nd t do n n thu s S u ly h wh th i whol du ty b fo G d nd t on nd h d ught i th ic fo tun t ong w o n t in h ny good p op l wh d ni d th up bl Th ing of chil d n n d f th w h v th p ct n d y p thy lw y du t tho wh f o no f ult of th i wn d ni d ny of th oth g t bl ing of lif B ut th n wo n bl ing wh th f o viciou t ly fo go th wh d l ib n col dn h ll ow h t dn lf indul g nc f ilu t p p ci t ight th diff nc b tw n th ll i p o t nt nd th uni p o t nt why uch c tu it n y vi it d up on th cont p t h ty oldi wh un n wh up on th fu t w o k f th w y in b ttl upp o t of tho d p nd nt up on hi nd wh th bl bodi d t in idl n th b d which oth p ovid i y t con t nt t xi t nc of w o n of thi typ fo n of th o t Th unp l nt nd unwhol o f tu of od n lif If ny t f il t wh t tho ou ghly unl ov l y n i d i of vi ion c tu uch w o n i I wi h th y w oul d d Judg Rob t d p ond iou ly th ch G nt nov l U nl v n d B c t of S l n d think of th f t th t w oul d u ly ov co ny n tion which d v l op d it v g n d typ ic l w o n l ong uch lin Unfo tun t ly it w oul d b unt u t y th t thi typ xi t only in A ic n nov l Th t it l o xi t in A i n l if i d unp l ntly vid nt by th t ti tic s t th It i dwindling f ili in o l oc liti d vid nt in qu lly ini t f hion by th c n u t ti tic t divo c which f i ly pp ll ing ; f y divo c i n w it v h b n b n t ny n tion cu t oci ty n c t th ho n incit nt t i d unh p p in nd t i o lity n nd till n vil thing f o hid ou vil f w o n Th unp l nt t nd nci in u A ic n lif d vid nt by ticl s uch s tho which I ctu lly d n t long c t in p p wh cl gy n w qu ot d ingly g in with p p ov l xp ing th g n l A ic n ttitud wh n h id th t th bition of ny v v y ich n houl d b t tw chil d n only t g v hi c h il d n n o pp o tuni ty t t t f w of th good thing of lif Thi s of ion n d c ll ing h o d h v d h i n w ho u l p o l t ch ctu lly t b fo oth th id l n t of t in ing chil d n t do th i duty n t of nding th fo th with tout h dy ind t win t iu p h f th lv t nd n d th i count y n t of ll owing th th op p o tunity nd giving th th p ivil g of king th i wn p l c in th w o l d b ut fo oo th of k p ing th nu b of chil d n li it d th t th y ight t t f w good thin g ! Th w y t giv chil d f i ch nc in lif i n t t b ing it up in luxu y b ut t s th t see e, e re s re s o e r e e m e re a re a o e ss s sa er s ra a s re er r e a a s a e a se o e ra e mm re o a r s o ea sa a ’ ra a s e a . s e S a ee a , a r a e e s e m r e e a . e ar e re er a o sa a s a er m m m s e . s e e e - ers a r o e o e r e a s a s s e a a ra ea er r e e rs , e a r r e se r e ra er er e a e o o o se as e o e ra , or e a rea e a e a re a , a e see e a . o a e S e a r e ea s or se e r e r o a re e ra r e er e o , e r a e a e r er . , ” a e o S o r e, ” ers s e re re e a e e o as r s e o e o as a a e s e er a e , e e e s e a a ee e i o s e as e a a e ss o r e a e ss a s a , o s s a s as a sa so a s re a e r s er e e r ea r s a r e se e re a , o s re a er , a s s a o re ss se s s s a e , re , er, e . rse es e re as e a es a s e a o e a a as e , e s a a a rr e s a a , a e e er a a o a e . or ea s o a ar o rea r a r e e a e e ea sa e e a or e sa a e s s or o a s e er r a e ra e as a e a s a s es s er ese a e a o r e r ser e e a sa e e, a “ a er a a re a s a e er rea , er e e o a a or re er ” a s s o e rea e e re s s e, m m r a r o e o see e r a e s e or rea se s rea e e m m m mm m m m mm m m mm m m m m m m m m m m m m m mm m m ca a e a e a ee e s a , a . e ss e a re , er e re o ea s e e s a , s s e e s ea e es a o a “ a e s e as e a - , e es e a , e ss e e e re a e e s er a e s, mm e re e - s a e e s e . se o o ca e e r o e mm m m m m mm m s e re s ess , o ea e e rea ea r e or e, e s so e as se e e ss r a ea r a ese m e re s e ar e e as a s a a e - e a s es a re a r a S m a , a e a e e a m m m m mm m m m S r o a re a ers re e ea e a . r e e ss re ess , e ss , a e r o, re a er e o e se or a , a s e e e r a o ers a a a a o h re e e e o , a r e so a r , es e , a e a o ee a THE ART OF PUB LIC S PE 42 2 AKING ki d of ining ill giv ng of c c vn f om vi l qu ion of n ion l l f g ding only ind vidu l in of c ild n lv i n in u n un dfol d o co giv n of l y f ily of l y ind d c il d n ll b oug ll du c d ug y u if lv u i by i ion k i o i ion of u fuln n co o o n lv v c d on v in d i c il d n on lfi o did oy ol of l if good ing in l ig nc of k on i o li y o u di n y n l oc o d v o n k if v g f ily ic c il d n con i d c il d n n ion ol o d d c in o ion i y in g n ion o d v y d v y on oin of x inc ion o l c d on i b lfi doc in o d giving l c o i b v o obu id l o d uc in g bl c ci d u c doc in c c i d c uicid — oul d by conclu iv ly o u fi xi b giv l c o l fo go n i y l of i b ing n ol i l noug i c ind vidu l f l u of o o l of lf ind g nc i fini ly d in ni l y g l u com o kno oil in lo j oy of d du y l don c individu l m u in vi b ly in n ly l ding l bo v id ignobl no o n y o y of n c li n o l ly c fly in void nc of i k oub l l bo v in x c ion l c i o ving in li u id lif o living u lif of o k o y o din i y of o k o o n on lf o n k y no k o doing y doing n don ll co ig oli j oy kno n nkind ving don ll v d o i d in c i u u b nd c il d n o l i o k li fo nd ion of n i n l in g n ll i c l l d it ha s the n tra tha t w e it stre th ha ra ter the ta est E e a p a rt r at a i e , a n d re a r i a tere st the the h re the se e s , ha p p the tr e se se is a h dre re a p t to e ss e to a n y a he a th a n e b er h ea th e e h re , g ht u p , w e e a te r b u t ta ht tha t the we st S h t st win the r own w a y a n d fo r the se e s , the r own e x er s a e th e r o wn p s t se s e ss , tha t it is a p t to se e to th se w h se p a re ts the e s ha e a te a n d ha e re to a ct the r h the se sh a n d s r tra e the r , “ ” e is to ta ste a few tha t the wh e en d th s e te l e the re a r is The a p a r w th its ra t ; e ta r e ta p r st r ess w ul ha e S h w the for the the a era e a in wh h there a re h S p e a e r tha t re re the a t a s a wh ta n e b ut tw o h e w ul e rea se so ra p dl tha t two or thre e e era t s it w ul p p ul a t be the p e se r e dl t e t t er , so tha t the p e p e th s a se a nd se sh tr e w ul be who ha d a te h ers w th r a er a n d re r t st e t o ea s Nor w ul a p a ny wa y re retta e ; for a ra e tha t p ra t se h a re sul t b e s — tha t is , a ra e tha t p ra t se ra e s r e h t e w s s e S h w tha t it w a s n t to e st , a n d tha t it the re e p a e to p e p e who ha d n ot r tte the p r ha d etter ar the r e a ws a tter is S up , the , the w h e h If e ther To su p e e i a f rt e ss re ef a ra e or a n p re e rs the p ea s re e , to the n ul e te e ep e r , the fi te se ea se , e to th se who w the t a n d the hi her p ea s re s tha t ha r t wel e why , tha t wea r e ss , b ut a s the , a st e ta the e n d p a y the p e a t ra e or tha t th a p a nd w a a if e e N0 a n a n d of ea the a e ca n a re fo r the fe S p e t s e or w rth reall a e r s e a nd a r Sa e a nd tr hie the a fe st b e p a a se s the p r ze s w rth ha ep t a e st b e a e w r for a w rth e w rth for, a n d the re for for e s se r ar l w r thers tha en d , a nd — n is ea s is ot ea s ta s w rth a s ta s The w e to her e it, there S ha it, a n d whe S he ha s b u t in e a est w to the h hest a n d h ; a n d ha S r p t re ; for her it , S he sha ha e the rewa r p r p hes e re , ye s , a n d a ll p e p e who real ze tha t h h s a a n d he r ha pp ess a n d es a t the u at a ll at o a her w r rea t ess , S ha r se u p a nd a l her b esse m m m m m m m m m m m m - , , m m mm m m . m m . . m m m . m . - m m m . , m m . m m ’ m ’ m . . TH E ART 424 OF PU B LIC S PE AKING WOODROW WIL S ON NOMI NATING m m mm ion l D oc tic C onv ntion B lti o e M yl nd Ju n 1 9 12 y d l g tion i co is ion d t p nt th Th N w J g t c us of D oc cy and t Off you it ilit nt nd chol n t c h l t n ; n nt t iu p h nt l e d t t doct in i ; p ofound l wy n t p litt of l g l h i ; cono i t n t n goti tic l th o i t ; c ic l t p ol itic l p t o l i t ici n w h c n u c t odifi t in i h o u t di u b w t t p nc nd d t u ction ; i tl db t nd con u t t of t t nt n t op hi t ; hu nit i n n t n d l iv df of h ct n wh o ind i t onc ; co op olit n nd co p o it of A ic ; g ntl n of unp of G d in hi h t n d th l ov of t nti u h bit wi th th f nk ind xhibit d in v y t of hi lif ; bov ll p ublic v nt wh h b n t i d t th utt o t nd n ve found t chl unconqu r bl th ulti t D oc t w nting— Wood ow Wil on yh on f h cou N w J L t u s n t b d c iv d in u p i C ti n co up tion n d f l p ign of ilifi Th volution of n tion l p t nc h v l o t th i u fuln n g y i t ow d o int llig nt o lity in p olitic nd in ll oth l tions Th itu tion d it of no co p o i e nd p u p o of th A ic n p ublic will tol t Th t p no oth Vi w Th indiff nc of th A ic n p op l t di p p d Any p l tfo nd n y c ndid t n t p ol itic s h confo ing t thi v t oci l n d co ci l b h t will go down t igno iniou d f t t th p oll M n known by wh t th y y nd do Th y known M ny y by tho wh h t n d op p o th g W ood o w n d no Wil on id N n is g t w h thin ks hi lf nd do n t t y t cu th h p p in n i good w h fo t f oth Th i i th c t of hi lif Th d d of this o l nd int ll ctu l gi nt known t ll n Th y cco d h nd f l of p olitic bu t k n t w ith th p t nc n tion l h ony with th il lion of p t iot d t in d t t bl i h th co ct th w ong of p lutoc cy n d xi s of A ic n lib ty in ll th i gn nt b uty nd p ctic l ff ti n y l ov s W ood ow Wil on n t f th n i N w J h h d N w J y l ov hi f wh t h i N w J y gu th t W ood ow Wil on i th only c ndid t wh n n t onl y k D oc tic u cc c t inty but cu th l cto l vot of l o t v y S t t in th Union N w J y will indo hi no in tion by j o ity Of of h lib t d citi n W n t b u il ding f d y v n g n tion b ut f ll ti N w J s y b li v s th t At the Na t a e ra ar m rea e a a re r a a a a mm m m a o s a e er a s e s o se r m m ee s erse e r o . re re e se s a e a . s e s er m m m e re a er e e r s s a re m m sa s ers ” . S e v e ar es e rse e . a e r a a e ra e a e e e ra e ra e , ea e ss a er a e e or a s . s a e . e e e se . a m a er e ec es e rse e e o e re r or a o e e o ca a e a e a re a e . , o a or e e e e o , a ra a s ze s s m m r a e er a e s co e . s r r ee s a or a a s ee e . e a s er so , s, s rse er e s a er se e or e ra e e s es o r o e ss a a es r e e rse e . e s a e a re se o a e r re a e ea rs a re a o es e . re ra er a e a a re e a a e e e . . . o se a a o a se s m m mm as e e s a a er a a re a e ra a s e s r er sa a a e e e se s a r e e ss e r o e a se a a r r ea ar a r re er e e o m s m m a a es rr , s a a se a o o ra m o , s a r “ er e e a a o e e s e a a ra e a a e ea e ra a s e m m m m m m m m m m m m m m m m mm m m e e re as m r e o , e e . o . a se e a re o se S e sa ca e ss e e . o e v e e a a e . a e e a e rse s se e, o , re e a s a e s a a a er r a e ea r e e er e a m m s ar a mm s or a . as r m m s a s e a re a er o e r s a ar er a r e a s re a s a a rs s se o ac a o , ra a a a a a m m m er a er ess , a r e er e e a s a ea r e as o a e s, e a es s a a a e rs a a ra C e re s a o , s, a e r s re s ra e a er e , re s e a s a es S e s a a e ss re s s as a s e es , a e o o re , ar a er , a e er a s, es r a s er e a o , s r o o a s , a e r a e a r, r . s o er a S a m m s a ra e a r e e , a , e, m m m m m m m m e rse e e a e e a , a APPE NDICE S 42 5 m o ni ci nc in n ion l in inc in inc cn Wood o Wil on b n in oli ic l lif l n y no o g ni ion o y c ic l id l b li n of qu l o o u i y d d lon i o l o d lon on li y lon c l o lon co b n d co l n ion l m fi confid nc in v y c i i volv i ci cu nc v volv d Wood o Wil on o ou W uni in J y l i conv n ion giv n ion Wood o Wil on m o n g of o uni y v y nd n nd chil d und u fl g by fo ing bu wo by t ching th in hi tchl t l th i wo d th n gi int llig ntly th t p c ju tic nd p o p ity y ign N w J y j oic th ough h f ly cho n p t n f th p id ncy of th Unit d S t t th nt ti t Wood ow Wil on P inc ton chool Tha t st st t t s e e at a there is a n e t a e ss r w s He ha s ee e te rs in p za t nl a p ra t a r a tha tw o e a rs He ha s ha d ; e a Not his ee s ea — the re esta sh e t p p rt n t a t a e, e n o t his r ta w r s a e , n ot his p e rs a i e at a e , b u t a ll n o t hi s a t h e ss p w ers a pe a ste r hi E er r s s e es its a th a n d e e s r w Th e e a nd r sta e ha e e e T hi Ne w e st te N rth , the S th , the E a st , a n d the e t to e th e at r w e rse a p p e a s to th s t to e e r an , s ay Op p rt , tha t h e p e the a te s . m m m m m . . m mm m m m m m . . . . . m a e re es re v es , a r a o a e r o re e a se er a se ree e s W “ r s a e re es a e re e . GRA D Y . RA CE TH E e er r HENRY liv c n s se s , a s, r r a s er , s e e ss e, re s e r re , a es , or e a ea re e rse e . s a , m r o , e e ” se e ea er e m m m er a , P ROB LE M m m nnu l b nqu t of th B o ton M oci ion t B o ton M D c b 12 1889 — M R PR DE NT B idd n by you invit tion t di cu ion — c p obl fo bidd n by occ ion t k p olitic l Of th — in t ying t concil o d with p p ch I app ci t t h i t id wh bidd n t l n t y p p l xity of th l ittl p w swi N w go y t dju d y d ling ; h ng you cl o th on hicko y li b nd don t go n th w t i ion y Th tout t p o tl of th C hu ch th y y i th m nd th i ion y wh v h unfu l hi fl g will n v find hi lf in d p n d Of unction nd dd th n I bidd n t night t p l nt th oc t in B o ton t nd d of S o ut h n D b nqu t h ll nd t di cu th p obl of th c in th ho of Phill ip n d of S um n id nt if p u p o t P B ut M ity ; if n t und t nd n d in c p k in p f ct f nk n ing of th v t int t involv d ; if con c ting n of wh t t ng di t nt ; i und t nding n d y fo ll o w fu th if th ch nd t dy u ndi ci p l in d p y b count d up on t — t t i I h ll find th cou g ngth n n unt i d th n t p oc d H p py m I th t thi i ion h b ought y f t t l t t N w E ngl nd hi to ic oil n d y y t th know l dg p of h b uty n d h th ift H within touch of Ply outh Rock n d B u nk Hill—wh W b t thund d n d L ong — f ll ow ng Emon thought nd Ch nning p ch d h in th c dl Of A ic n l tt ic n lib ty nd hn t of A d De ere a t the at ha ts Ass ’ e ra S r e re m , as r a m m e s es se o o e a ar ee - er , ere m m e a sa s e r e se o s re o r e ee a re ss r e a r e a ea a m m m s s er ra , e m r e e a r e s er e rs a a a os s e se o ers a es se se e s ra S ee ee a e ere m e a ra as m e e o e a rea er m a e e a o m ’ e ere . e s e es , er , a , m m a a e es r e ar ra a S o es ss , se ra S r, a e re e rs er s r , ea r o e s as ss a ea r ers a e s e er s ro r re ss res a a . e ra . e a ” , s ss e rs m m e ar er sa sa o s ea s ’ S er e a a e e re s s r , e ss a . e er e ra . er a er e s a a r . , e ar r s e r o, e e a e , a ss er a er ar s a a r er o , er o a as e a o as a ee e s a er e ea m m s e e , a ea r e s a s , , ’ e . re o e o , a a r , s a ss e a e a , a ss , e re e r r e, m a e e e e er e , a a s a , e ee r e a m ESI . a e a e re , er , THE ART 42 6 OF PUB LIC S PE AKIN G m m m n k ob i nc v y ic n o ngl nd nfi nd uncov d in ig y n —c v d f o ng i ion i n uniqu oc n ld n j y kindli g g o ing id o of i of u il l gl oo b ok n b u y di cl o d in un in oic ok d b — i l d king o g d ld fo u d ouc of i n ul c on bl k u nkno n o ou d v co bodi d g niu of u n gov n n f c d od l u n ib y bl o y of o i o l o k o fo un of i iving on u in i on of i ndi o k y ok o o d in ok c ug n ion of o d i v don v y v y od nu d cl n n n vo d univ lly ov d ou li co d nc b go n by c l g ly on ibl nc nig oul d di ono y lf if b y d confid nc by u in nc od by i ol ding nil l n of u o o of i l co id n b fo i of ngl nd di d on li li v b odu c of n l if oc ion of v n n ou nd on oc ny y undi ini d by d un c ui d by b conv ion v c d ov i ugg d i l c i oc ic b lo gon b ck o y i un g n n ig bo k d co d of ny ou nd ublic n j o i y of l l oic l i u dy ib inc ou id n dfo i c ion l in onc d fin d in i ibl dif nc onc cd in f icid l bl ood nk v ng do li f i ic do n of i o of b v o i bl o l cn d l o u k nd f c cl i bov f il oil yi l d u b nd n v y odu c on by nig co on i n b n by l ock un in in b dd f fi ld cl ov l f g nc of nd ob cco c c quick o of in oun in o d i x u l u fo v i vl iv u bling loi ing n on n i li of indu i co on i on ood gion y con ol co on fix d ono oly i on ov n u cy b v u ly of ublic o i u d nn e sa I ha ste to a e the e tha t e er A er a wes New rst he sta a s E whe her ere ht p rese ce e a pp a r t ! Th s ster a nd S tra e fi g u re ar e r — n d t h e w i er the ea a ess its a est n a nd r w — r s w n e a the st t r a nd wa rs nt a t a st the its ea t s se the s wa s r e sh e , a n d the her w r e rs re ste a t its a se wh l e sta rt e s a nd e p er rs a rv e e a nd tha t r the r a ze e t h th s ha df ea a a nd a st w sh re S h l ha e e the e e s h a e er e t a n d the p er e te e Of a l ert ! 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Th G d wh g v it int its r The w r s S a e or a re . s - e r o m m s e s e rea er a o as e e e s er r a , a a e rr a s s a as ree r a e m er r e as se , a za r s e e as ee a r e a a e e er a er a a re r e e a s o S r a s ee a r r o e e , . a rr o s e s ar . es ra a a r es ra s e r e a r a e e s a a e e e re re e rse , ra se e e er S o o o r " a , e . e r a a e e o a s e se er e a e a as er e e a o a . s a o e e r a , e a a a es e e e ers a a r, e rsa a e r ra e er a a . e s er se a a a a e e er a o s so . a a e re ra a er e a a , o e r e e er s e s e e s e a o e rre a er a e a e e s a as a s a a a ee e . e o r rea s e e e rs e a re s e v ere a , o ee sa e e a es , ra e s a . e as a o e as ere s r, s a e s, a r e s re er a e e r o o se e es a e a a e rs a . e r . e e ze e a rs er e s r a o e e e er ss ee s , e se e a er , a e a e, S e r a a a e a a mm s r v er e, a e m e a e er era o r e re , er a ss s er a e as e s er e e e re o a ea as c e a a e rs . e s re e ra a a a or e a s e e r m ea a e . o e e re . e a , a , r a a re s e o o e ze s a . m m m m m m m m m m m m m m m m m mm m m m m m m m m as s o e s s s e e e a s a o e o a ers , e a re ee e ra e re se r s a s , as a e re e . re a er e e er e se r v r s a . e re s er e e as a e e o s a sa e sa s a e a s as S a es e a e a s a a a se e a a r ra a r, ea re e s r e rse es er, S r, er a ra s a e ss e se a re a o ra e ree m a s . e a a a e e se , e se es a a er or a e s or e e e e e r s ar e r e e s a m m m mm mm m ss a o m e e or , s a . er r s, rese se a a e rs s ra s e r re e a e a s a o . o a as e s e . ea r r er re r o , m m m m a e or e e, a ree e r a m m m e a a e e a re e e S a s sa r e o er e e e e sa o . . e o o e s ra a e S e a e o APPE NDICE S 42 9 nd H l on n know B ut thi th w k t nd wi t of us do know w c nnot olv it with l th n you tol nt — y p thy with l th n th knowl dg th t th n d p ti nt blood th t un in you v in i u blood— nd th t wh n w w n w h ll th i u b l o t t w h th u b h v don f l you t ong bout u nd h th b ting of you t ! p p oving h olut cl h d d b o d ind d n of th S outh Th —th g niu d gl o iou v y p g of th fi t n w ho — v nty y of A ic n hi to y who cou g nd fo titud — you t t d in fi y of th fi c t w who n gy h d b ick without t w nd p d p l ndo i d th h — h th n w thi of th i w w t d o in p obl nd b in b y d y nd by night Th y li th i h t you c nnot wh t thi p obl n —wh t th y w t thi kindl y n d d p nd nt c —th u of th i d bt t th d p it th y d f nd d n d m in t in d l v y w o l d in w ho hind d in it und g ow th nd th i An d though th i f t ch cu b d with it bu d n th y h v lo t n ith th h h n i nc f o h ic co c l n t f i t h f o ic w h t w h p i w h n in p co cou g N ion t o nt i di clos d t th th t v gu nd wful h dow with it lu id by n d it c i on t in into which I p y G d th y y n v go th y t u ck wi th o of p p h n ion th n i n d d t co p l t th i con c tion ! of y p op l B ut wh t of th p obl S u c h i th t p it lf ? 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I h ll n th in u th fi t ti p o t t g in t p ti n y th t f hi to y in ti of p c h t p d with th g t l of u gov n nt tig up on th p op l of g t nd l oy l ha ou r s, e ca e a s e a a m m a r a e ea r s m se m er es e - a e es e e ea s e e e e es ra e e o er e ee s r e e s m a re s . e r e re a s as as e a e r e er e , e a a m m a m a ss a e res re ss , s e a e a o s er e m m m ere r es e , e s a e rea a s a m ea re a ea e, e e ar r a r sa as s a e a s m r a , e e a a r se se e e es e a e sa e s s r - a e s, a ax r . e ssa e e a re or e es a as a a , as er o s es es ea S r ess er m m m m m m e e s e a re r e a e a r o e a r a e er ra e e s a as a es, a “ e ers a e a a e e e s: s a e r a er e r as re s a re s s e a e e a s ea r a e s r r - . er s e s ee se er or a re a s S e re r e e , ea e e s a ss r s r e s s e e S a m m e e s e se s s, a a sa rre s e ss, a e ar s a ra s a , sre err r e, e e o s s a a es e e e r re m mm m S . a ca r o e r o a e . e e, e a e e re ss a ra e e s a , , . o S a e e ra o o r s r a ee e m mm m m e a ze , a s e a se ra e o s a re e e a es e rea r e S a er e e or as r a e s, e r e e o a s se s a a s r e a re se s r e a a er e as e er e m m e a rs r e r a ss e e s a e e ss , e . s s, e ea r S r, a s , e or , . e sse s a a r es r e e re s e re ar a a re ee ea r a a r e a r a re e e e S , se e e s e e ar e ea e o a ra s m m m m m m m m m m m e r er a e ra e e se r a r re a e se s, s a a es ra , S e , e se a ea e er e s a e or e s e r e e ra m m - r s a r a s e e ses a e ea r e a as e ar ea r s a e r , s ra s e r ss r a ea rs v e r e s e e a rs e ea - a e m m m m mm m ea r e, ess es a s a s a ea r e er e a s o s e e , ar res e a es e e se r s r r ee e ss r s e o e e a r a s a e : s . rs e rea rea a s e o e o a a m ” S e sea a ree a o r o r sec THE ART OF PU B LIC S PE 430 m m m AKING mm m m m m m m ion ; though I g t full y b th t th g t d d ol di wh of S t t f th ight to i t y s of n t u h l d th h l found n d f u ch t p ; nd though th i no tion n v I n t on l c r ific w o ul d k t ov i c u l t h nd r e p unju t i p u t tion on y p op l f o th chiv of y count y ! co d on v y p g of which i p og B u t i b c k d by k n t nd p ctful nsw t th qu tion I v ntu t k d W giv t th w o l d thi y c op of th t n d it b l of cotton w o th c h quiv l nt in n d f u it g in g Thi no ou c op coul d n t h v co f o th h nd of ull n nd di content d l bo It co s f o p c ful fi l d in which l ught nd go ip i bov th hu of indu t y n d cont nt n t un wi th th inging p l ough It i cl i d th t thi igno nt l bo i d f ud d of it ju t hi I p nt th t book of G o gi which how th t th n g o y l v h s in G o gi lon tw nty fi g of d p op ty w o th twic th t u ch D o n t th t co d h ono hi n d vindic t hi n ighbo s ? Wh t p op l p nnil s illit t h don v y w ll ? F Af o A ic n gi t to ti ing th t if in which l on h I n h ow you thou nd n g o h p p y in th ir p o p nd c bin ho till ing th i wn l nd by d y t night t king f o th lip s of th i child n th h lp ful g th i S t t nd th f o th choolhou doo An d th choolhou In G o gi w it lf b t ti ony dd d l t y t th chool fund king tot l of o th n — n d thi s in th n f c of p ju dic t y t conqu d Of th f ct th t th whit df th b l ck f n d y t fo ty nin c nt of th b n fici i s p bl ck chil d n ; nd in th doub t of ny wi n if du c tion h lp n h lp u Ch l ton w ith h p ob l t x b l v lu u t h lf in tw inc 1860 p ys o in p op o tion f Al th ough it i i t p ub l ic c hool th n B o ton giv u ch ut of u ch th n littl ut of littl th S outh with n v nth of th t x bl p op ty of th count y with l ti ly l g d bt h ving c iv d onl y n tw lfth u ch Of t h u b l ic l nd ving b c k of t boo k non of n h i t d p — nd th o u gh it $ 500 000 000 of bond th t n ic h th No t h — nnu lly $26 000 000 t you ction p n ion s y t p y giv n ly n ixth t th p ublic chool fund Th S outh inc 1865 h p nt 8122 du c tion nd thi y i n o f S t t n d city chool lthough p l dg d t 832 th b l ck ly n h l f g t n p y ng n thi ti th of th t x of th fund G into u fi ld n d whit s n d bl ck wo king id by id On u buil ding n th qu d In u hop s t th fo g Oft n th bl ck c ow d th whit f o wo k l o w w g by th i g t n d nd i p l h bits nd y t itt d b c u w w nt t b th f o no v nu p t ra e e a e e er ee a sa e e , ers S r, re e o a re a s a e a es m m m mm ra r e ea r a e rese e a sse sse re r s er er r r e, s ca ers , es r s se o r ea rs es s e e a es a s, or a es o e a a e m e se e ar v e er , or a re a i m m o S e e sa e r er a es , a e a r es , a e r re a er se e a e e a e a e a er r r r a m as e s e a as , s e e e es , s, a ea r e o e - m m m mm a a e s a . es e s ar a er e s ea r s a s e o re a . a e sa o ar e , e - a see ee e , r se I s a e r e s 1 s e re a ax e e e e se s s a se ere e o e e e . e r s a e r or r o e r - o . e e o . er re e a ea r e, r , e r s ea s e r e m e , s, a e a o o e . o e a as . s e , e s o as S e a e e e e e , er a m m m m a , ea r e e a a e re e or e e er r r . a a e e o e s a es e a a , s a a , e e a a a , s S e s, a a m o r o s s s es , r a r o , a e - e e o e . er e ca or e a re e es . re e re a , o s or - e e essa a r s m m e e e . e e e a a sse sse e s r a re a re m e so r r r se a a a as se a e a a re s a e or o a , a a e . e e a r e a . e r a re r a e sa s e a a e r e e a m o e ra e s a e r S rr e r o e se s es e s , e ra e , re ss , r e ss s s r e as s a a e S es , a a a r e r e , r, a a r e, s r r , e a s er a a e a e m o ea r a s e s a o a m s er m r e es e s a s m m m mm mm a r ra ax r e e a r s a a ea rs a v e - s a , a e s e s, e e er re s e re c s ere e ar e . s a e r , o o o s r reco a e er, s ea ea r a r s r s e a e a rea es s e a a r r , ra sse s , es e s e r a re . a e e or s e ear a e or e e a er e o e a s , re r s r o r s r , a a e a r , e e THE ART OF PUB LIC S PE 43 2 AKING m m m x ctn s wh t v touch s th n g o His h lp l s n hi — isol tion hi c ntu y of vitu d th di p o us t ph i nd gnify hi w ong Thi di p o ition infl d by p judic nd p l d t inju tic ti n y h nd d lu ion L wl s n v g county in Iow nd it i cc p t d n incid nt y in th S outh d unk n w i d cl d t b th fi x d h bit Of th co unity R gul to s y whip v g bond in Indi n by p l toon n d it c c ly ts tt ntion— ch nc coll i ion in th S outh ong l tiv ly th cl i g v ly cc p t d vid nc th t n c i d t oying th oth ight W w ll c l i th t th Union w ung t ful t th col o d sol di wh fo ll ow d it fl g b c u y p o t in Conn cticut G nd A cl o d it doo t ngo vt n you t giv ci l f ignific nc t v y incid nt in th S outh cc p t t p ti n l g o u nd th ul of u oci ty I n t n of tho wh b cl ou d A ic n hono with th p d of th out g of ith ction n d b li A ic n ch ct by d cl ing th t b ignific nt nd p nt tiv I p f t int in th t th y n ith n d t nd f nothing b u t th p ion nd in of u p oo f ll n hum nity If oci ty l ik chin w no t ong th n it w k t p t I houl d d p i of both tion B u t kno wing th t oci ty nti nt nd sp on ibl in v y fib nd nd p i until th whol h th t ngth n m Of th b t I d p i of n ith Th g ntl n wh com th y with mh knit into G o gi bu y lif nv w I d t n ou t g co itt d on n g o ! An d if th y did no n of yo u w oul d b w ift t p v nt p uni h It i th ou gh th m n d th n nd w om n wh think with —m th m king nin t nth of v y S outh n co unity—th t c h v b n c i d thu f with l of viol nc th tw th n w oul d h v b n p o ib l nywh l on th And in — th i f i n g nd t df tn o th n in ll nd co u n b ll th b yon t th t u th l w th t n b p d t d—i th h op Of u futu Wh n will th bl ck c t f b ll ot ? Wh n igno nc nywh i n t dom in t d by th will of th int llig nt ; wh n nywh c t vot unhind d by hi bo ; wh n th l bo nywh i n t influ nc d by th p ow of th vot of th p oo ich ; wh n th t ong nd th t df t do n t v ywh th — nd n t th n cont ol th uff g of th w k nd hiftl Th whit p op l till th n will th b ll ot Of th n g o b f of th S outh b nd d M P id nt n t in p j u dic g in t — — hop of m t n t in th h b l c k in c ion l t ng n t n t t — d p nd biding n c ity H p ol itic l do inion b ut in — i thi v t igno nt n d p u c h t bl vo cl nni h c dul ou — i p ul iv nd p ion t t p ting v y t Of th d gogu t t t t m n b u t in n ib l t th l of t h W ong l y d pp in th t it w l d into li n tion f o it n ighbo nd t ught t e a es m m m m a s , a a a ar sa ra a s e a m e a o a a e o o o o e er o r s r er e es e e r e e es a s e s ere a e e r r e e e a a re a s a s s se a ra , e m s e e s e s r e a m se o ra e, a a ss s e as o e . r a a e e a e a e er r e or s . . a a ca a e e s e r e re s ee m a sa e e e a , r o e m s e s a ar e . er ere a o e r r a e e e e a a s e e e e ss a e er , o e er e re o a e ss e . e e e e ss ree e e e S a ra e as e s a e ea e a e s e o e s ra a e a re , e e e s ea a as s ea r , o e e re a e e a e e e re e a e re m e e s re re e s e r a e ere s ea r e ss a e, . as s a ere e as e e a o rer a re s a e or a , S e ss ar as a a ere e se s ea e a r o s a o er e a a sse e e e ss e er a m m m m m e a a rr e ee ra ca a s a e ess a a r e s ee e a e re a e e sec as re o es ar a a er ra a as e se e m m e e e e - e s e s a , e m m a s r ra m e o ra a a ’ o a e x ce re e ese . e a r a e e er a ra e a ss es a r e o e , se , o e S e re a r a e r s e , er e re er as e o e e re o a e ar e o , e se a , or er . s es a es e a e a a ra . ea e a e a s e s a ra e m a . or . a e m m , e a e ra er or a a re a sse r , e rese e re , e s m s a s , r s er re e e r , ca as e o e , er sa e e a . e e ra e a s r r a a r a er, a e r s e r a a a re e e s o ra e er , ra e se a a a m e e e rs e a sse s e e s e a e as a a es r e s as e S s e re e e e s a s ze as a e a m o e . e o e ss , e s e a re a e sa e e ra a er se a a e s a e a rre s re a s r r a s ar e o a s s e a e se o m s se , e a m ro s s s e s e . e se s o e . s a a e s e r e, . e r a e e as e a a , as e s r , e ser r e r e e a a e er a e m . ere re , e a s ar e a s, e, , o APPE NDICE S 433 m ly on th p ot ction of n out id fo c it c nnot b gd tw g t p ti th ough l ogic l cu nts f nd l o t in th tion on which it l ck p olitic l con ic tion nd v n th t inf o — t m conviction u b b d It u t in f ction t ong nough in v y co unity t cont ol on th light t di i ion Und th t di i ion it b co th p y of th Of th whit s n d u n c up ul ou of both p ti It c dul ity i cunning d it cup idity t m i p o d up on its p ti nc infl p t d its — i p ul s i di ct d nd v n it sup tition d t p l y c p ign in which v y int t of oci ty i j p it p t in di d nd v y p p o ch t th b ll ot bo x d b u ch d It — ign s t hi th foll y nd th bitt n ss is g in t su ch c p of which v y S outh n co unity h d unk n d th d ng — d p ly th t th whit p op l of th S outh b nd d tog th Ju t you in M chu tt woul d b b nd d if n — t n h i in und d bl t d h s b ll ot b nd d in c n m in tinct holding g inst you th o y of c ntu y of la v y t ught by you l t conqu o s t dist u t nd Op p o you h d dy t v ti d l gi l tion f o you S t t Hou l n d in v y p ci s of folly vill iny h d w t d you ubst nc nd xh u t d you c dit B ut d itting th ight of th whit t unit g inst this ndou n c w ch ll ng d with th lln of t Thi s h long b n fl ip p ntly ch g d t b vid nc u vo t nd h s n w b n ol nl y nd offici ll y d cl d t b p oof of p olitic l tu p itud nd b n on u p t L t u V i gini — t t n w u nd fi c ult f thi ll g d c i —c t in 1888 v nty fi p c nt Of h vot ; M chu tt th S t t in which I p k ixty p c nt of h vot W it up p ion in V i gini nd n tu l c u in M chu tt ? L t onth V i gini c t ixty nin p c nt of h vot ; n d M chu tt fighting in v y di t ict c t onl y fo ty nin c nt of h If V i gini i cond m n d b c u thi ty n p c nt of h vot w il nt h w h ll thi S t t c p in p which fifty n p c nt w d um b ? L t u nl g thi co p i n Th ixt n S outh n S t t in 88 c t ixty s v n p c nt of th i tot l vot —th i N w Engl nd S t t b ut ixty th c nt of thei ul h ll th tig b B y wh t f i p ction whil th oth c p ? A cong ion l p ut up on n l ction in N w Y o k l t w k with th p olling p l c in touch — nd th of v y vot b ought ut onl y vot of l ck of opp o ition i ign d th n tu l c u In di t ict in y S t t in which n opp o ition p ch h s n t b n h d — t in n y s nd th p olling p l c il p t und th un f i oning of which y ction h b n con t nt victi —th ll vot is ch g d t b p oof of fo cibl upp s ion In V i gini v g j o ity of unl hop l s divi n ion of th ino ity w i dt in Iow in th sa r e re s a rea o v s er e ” e e er se se ar a ze ar a re s er e s a a e a ee e o s re a a , r a a rea e er e a es ra s s re e a e a o r a as e e m as a ssa r er e er o e er rs a er er , as m m m r s ea r e r s a a e a a r as e s er e s a es e m m e a s a s ar e era , e a o e m as e r se s a s r ea r ee er ar s a a r e s re s e es e ss o a e a o a, e e . a es a ee er e a a ee e s a re r a s ra se ra e, re ss a e ar e s e as o - m m es a e r - s - s S a a r r se e se ar e s, a a e es a a , e es a a r re a s e s e ee s a ss a ’ o a e, e s e . e se r s m see as . a ssa a r se a ssa e a e r e e e e s as e a e e . s a e a es o er , e e r e S o , . e se e e e e S x e er e e e er se s s a ar e ss a o e a s r er a r a s a re e a e a m a , a a e e er , se , o or er as ee e e s . , ra se e e - as s e e o S m er e r ar e ra r e e er a r . er e r ree s a as e e s e , e ers - ea a a e e er e e e e er r s o . e a e er e a ssa er s, se . v e - r er so er s ress r ess eo as a a a se a o a e s s es a a s e a as e e o e a a e e se a m s a s a e a re e , e a r e a m m a r a ee r a e a e e e, ee a r as . e o s e . e a e e re s a re r or s . s v re a rea s a e e m m o er r e r e e e a - e e e e s e r a a e m m m o s s r e er a a re se es a er e a ssa es or , es eres s e a e rs e s a a s , er o a e s s e a e as o r a e e r a e e e a s e er a a e a a re ar a a a e e a r s a , e er e e rre a v s s r a s o a m m mm m . r s . a m m m m m e a a se e r e, e es ar m m m a e s a e s a e e m m e . e THE ART OF PUB LIC S PE 434 m m AKIN G w wi p d ut nd n op p o ition l ction j o ity of t bli h d w s Th ch ng of j o ity of vot — t t t in Iow i cc p d p li ic l volu ion in V i gini n inc of on f j o ity i d cl d t b p oof of p olitic l e e a as r a a , es a a r m as e e s a a a o a a sa e s e e o a a e . a e re r s es r s a re e o a a e re a se r a m m m mmm m m m m m m m m m m m m m m m m m m m m m d p lo bl ir th t in both s ction l g p c nt g of vot i n t gu l ly c t b ut o in xp lic bl th t oul d b in N w E ngl nd th n in th S outh Wh t invit th n g o t th b ll ot box ? H know th t Of ll n n i hi t d h i o d o yi l d d l t Hi fi t p p l it h p uff g w th p o i of fo ty c nd ul ; hi t cond th th t th t D oc tic ucc nt hi en l v nt B oth h v b n p ov d f l in hi xp i nc H l o k d n d h g t th F ho d n B nk H fought und f nd in vic to y w d ni d th c u b D is Of th l o f p o i h li d t l t th t hi b t n d d c iv d h u g d f i nds hi n ighbo s wi th wh o hi l t i c t n d wh o s — i h i n d th t h o i y bo u nd in g in d nothing t u h p p sp in p olitic t co p n t th l o of th i confid nc nd y h i t t hi t n d i y l b nd u ng hop And with t h t t p — n d o g i tion nd l cking th olut h oi of ut l ont th t k th i hop l ch y p rty f i nd in V ov th hill s high nd in p i ing p ilg i g —h h wdl y u s th occ ion l git to b l nc hi littl ccount with n d j og s do wn th fu o w l tting tou ch up hi ul p oli tic it will ! d wo ld w g th n n v cont ol in th S outh nd it woul d Th n g o vo t t th No th w o ul d u nd t nd thi I h v b w ll if p ti n n th whit p op l of S t t t bout by bl ck ho ts until d l d B ut i o b v th i f t n b nding E li h th tog th w oul d i s o in b l gu d S i n d to u ching th ir y wi th f ith bid th l ook b o d t fill d with th ch iot of I l nd th ho n th v y ir th of If th i ny hu n fo c th t c nnot b withstood it is th p ow of th b nd d int llig nc nd sp on ibility of f co unity Ag in t it nu b s nd co up tion c nnot It c nnot b fo bidd n in th l w divo c d in fo c p v il — It i th in l i n b l ight of v y f co unity th ju t nd right o u f gu d g in t n igno nt co up t uff g It i on thi s i th t w ly in th S outh N t th cow dl y n c of k shotgun bu t th p c ful j ty of int lli g nc n d p on ibility d nd unifi d f th p ot ction of it ho n d th v tion of it lib ty Th t ir is p u li nc n d u hop nd g in t it ll th p ow s of rth h ll n t p v il It i ju t s c t in th t V i gini w oul d co — t b ck t th unch ll ng d cont ol of h whi c th t b fo th o l nd t i l p ow of h p op l onc o unifi d Op p o ition w o ul d c u b l until its l t d p w s l ft t l d It is the this S h e es ra se e so ra s a re s a ers o r a r e er e m e r e a see e a m e e ere m m . ree a s e m a s sa e e s e e e e a s o r re s a a e a as or o re o e m ra s a S r, a a s s so , . e er s e e ss a e s s e ar re e a rr e , s e re m s mm . e e a er a r e s s er e or er as e es s s ra . ar e era e r a . er e , S e ea e m er re e a e re ea m , a e . a e e e r e ra e r e e e a er a a es er r , r e o a e a rr s er a a or e a rse s m m m a o se e rr , ar a , e . ea a r a re or e a e a , ere a a a e, a e e a ra a sse e a e a ree e a . s a a e m ra sra e e er s e ea r e a re ser e s , , a , e e a r s er , e e a e a a , e r s o e m m m m m a ar e e r ar e a es e e r a r se m a e re s s a a . es a a e as a e a e . a , a e s r, , s a ere m m , a e e s ers a e a . as e a e se es e er e s e es e o a as r a a s a e . r e re s r e ” s r r . r a r, er a sea e e er re e e , e e e er , e o e, a s a sa e a a er ca ar e as r s s as a r e e a e ” er e e a ea e e a a e e e r e e s re . e ze a s r a e a a es s, a ss a a er e a er as e re es za a e rea a e s s s e s sa e a ea s a rs a e a a s . e ss as as e , as r a r e ea ea s e s s a ’ r e o a , o ree e a , s a se e s er r r o e e a e r e a ra e a re s a a a . s ea s r a e e “ e ee e e se co e a e er e e e se r a r er re , - a a e, a r a s e s a a e o a or a see r . as e r ea e e ar re as e , e o a , se r o s s e e as e, s ra e a e , 43 6 THE ART AKING OF PUB LIC S PE mm m m th n cl o t ci l lin s w l co n d in t ll ig n t p on ib l of ny c B y this cou confi d in u j u dg nt nd j ustifi d in th p og s l dy d w hop t p og ss l owly nd b u t u ly t th th t c you c nnot su Th l ov w f l f n I tt t i t h t nd A S h s i r i t of o l d b l c k y h p y p f o h ho up th l ooks down t bl nd th o u gh th u ic of h c ooning s tu ul t of this night st l s th sw t S h h ld s g in h bl ck iling s nd l d thi ty y l p This c n v ni h s s I p k nd I c tch vi sion t of n ol d S outh n ho with its l ofty p ill s nd its whit h tt r w t h t h ig on s flu ing do n o u g gol d n i I s wo n p nd chil d n l rt y t h lp l with st in d nd nxiou s f c s night co down with its d ng s nd its pp h nsions I s big ho ly oo I f l on y tir d h d th tou ch of nd in — l oving h nds n w w o n nd wrinkl d but f i t y t th n ort l wo n nd st ong y t t l d th h nd s of th n — ort l n s th y l y oth s bl s ing th th h nds of — — s t h t s t t I i l k n u l v fo u nd t h t h wh I th nk y f in h s nctu y b c u h sl v ntin l G d th t h i gu d t h ch b doo p ut a b l ck in th S il nt c bin n s l oy lty b tw n h nd d ng — h h c c no t vi ion T c r i s i s of b t t l I t h a a sol di stru ck ing f ll n I s l v cuffi ng through th s ok st gg b ou t th f ll n fo ckl of hurtling windin g hi b l ck d th b nding his tru ty f c t c tch th wo ds th t t bl on th st ick n lip s s w tling nti wi th gony th t h t s st d I se hi by th w oul d l y dow n his lif in his y b d id ini t ring wi th unco p l ining p ti nc w p y ing wi th ll his hu bl h t th t G d will lift hi st up until d th co in cy nd in hono t still th soldi s gony nd l th ol di s l if I hi by th Op n g v ut otionl s uncov d suff ring f th d th of hi wh I s hi in lif fought g in t hi f do ol d wh n th t d of his lif is cl os d tu n w y nd i h p d n d th g nd u nc rt in st p t t u t int o n w n d with downc st y ng fi l d s f lt ing t uggling b ut oving on until his st bling figu is l o t in th light of this b tt r nd b right r h th g v co s voic s ying F oll ow hi ! And f o d y bout hi in his n d v n h p ut hi b out s p ut you And ut into thi n w in B his f i nd s h w s — — t I t h w r h o l d ng s d l ing i l d ing bo t t i b w s — f ll o ! An d fo g o l G d t wh n th y forg t y p p y ru o ra se s e ra a a e es e , rse , . re s r e e a rea e re s r a s e e, e e a o r e o e e r re e , a s m m m m m m m m m m m m mm m m m m m m m m m m m m m m m m m m m m m m m m mm m m m m m m m m m m m m m m m m m m m m m m m m aw m W v f u u m ol d y l od long vi ud f om ic y v n v b n lif d Rom inc y ni n l id ol d u on by n ol di c o of f in ing i — y md b e a ra a ea r o S ee e o a S a ’ a er or a s e s e s es e, ra e e ra , ’ o e a o a re r , e e s , se e a er , , e e, a re e a e a e e a o ra e, s er e e e er ra e , e o e , ’ e ea s ar e r , a o a e a a , a e, e e re , e e a a e ss . e o e a ea e e a a , e e e s r e S r e a e r, ee a . , ea er , or ee a ese e ra o e a e e e . a e r e ree ess e ’ se e , e re o . e . r e ra er e r e e . er a s r r t rea a r ar a a a ’ s re . e o ea r es a e , a a s e a ere e a a se e a s er er , a a e e a ea er e s ee s a re s es sea e e, e a e ea a a s e e, a ea S a e e a a e o , er e e s a a ea r er a o er e , a e e s r e a . e - ar a ea a ar a ee ar a a er a . a e ar ee er , r er , e a a e a e e s a er s a . a rer r e a a , , r a e e a a s sa e e e e ea a ee er er e , a r re a a a e a s a , ee a a o r r a e e a o a s e a e a , e a e a ea a ar a a e er ar S a e a a a r ee e e or co r s e e ra ee er s er a a e e e re e ss , a o e s e ea a ere , . e a e ea r e, ere , e er r or es a . . ee e e e re e e o re s , e , as ” e “ a e a e e s a s o . a zz , e e e e e e e e . t re ay h for the , whether the p ha te er the te a in the ser t e r wh h the ha e e e r ee a s e rs , h the S e th e C re a wa s a p a nd a e to ea r the r ss the a t Chr st whether the APPENDICE S m 43 7 find ho g in in Af ic nd thu h t n th p op h cy of th h h u t id u dd n l y E t hi o i h ll o l d l n i t w h A n d p p — fo v di loc t d nd p t wheth h nd unto G d th n d xi t in w k p op l b t by t ong th y in th j lou y th th n in th con ci nc of Tu k wh liv in thi i cul ou R p ublic th y b k Eu op — wh th c t of tw nty c ntu i nd b lying univ l th ough th ch th full t tu of citi n hip nd in p c in hi to y — h ll giv th utt o t ju tic nd bidin g f i nd t in it w An d wh t v w do into wh t v ing t ng nt hip thi w y b d iv n nothin g h ll di tu b th l ov w b R p ublic itig t u con c tion t it vic I t nd M P id nt t p of no n w loy lty Wh n G n l h h n w L w ho h t w th t l of u h o d o p p w cl oth d with u t ngth n w d hi ll gi nc t thi nt t Ap p o ttox h sp ok f o t t g t h G ov n nd h v y hon t n f o M yl nd t b f l p ok f F o th t d y t thi H il c h nowh in th t T x h t d nc b ut nd v ng S outh w o n young H nn ib l t v ywh t l oy lty nd t lov Witn th v t n t nding of Conf d t onu nt bov th g v of his t th b co d s hi dju ing p ty l v to ing in th Ap il wind th youn g n bout hi t v n t nd l oy l citi n nt g in t which th i f th fought Thi th G ov n g d liv d f o th t c d p nc h gon ho t th h t of h if p hy ic l cou g y f ll ow ! An d i I d cl b lw y qu l t hu n p i tion th t th y w oul d di i if n d b t fought t di olv to thi R p ub lic th i f th S u ch M P id nt i thi p obl w it u ch i th t in which w p p o ch it uch th p og d Wh t p do w k of you ? Fi t p ti nc ; ut of thi lon n co l on n you judg S cond confid nc ; in thi p f ct w o k f i ly Thi d y p thy ; in thi you n h lp u b t F ou th giv u you on Wh n you p l nt you c p it l in ho t g ill ion nd you on th t th y y know h w t u u h rt nd nt un til it n w ll th C u c i n cu y h lp t c y without d ng thi bl ck infu ion Fifth l oy lty t th R p ublic—f th i ction li in l oy lty in t ng nt Thi h ou l ittl n ds th l oy lty th t i l oy l t n ction nd oth in ndu ing u p icion nd t ng nt y t ho l d th G iv u th b o d nd p f c t l oy lty th t l ov n d t u ts — G o gi lik with M chu tt th t know no S outh no No th no E t no W t b ut nd wi th qu l nd p t iotic l ov v y foot of u oil v y S t t of u Union A ighty duty i nd ighty in p i tion i np l v y n Of u t night t l o in p t iotic con c tion wh t v t ng s — wh t v divid W i A ic n nd w t nd f hu n lib ty ! Th up lifting fo c of th A ic n id i und es a s sa r s a re e r r o sa m , e or a rea , a a e m . e a e or , e re , r e r se ee, e as m e a se , a e o as a m r . s e m r o e e ss e e S e or e a a o s a a a a ar m m m mm m m m m m m m m m m m m er e ere a o a a se e ra e s e , er sa e, e r s e a ee e, re re s s e e as r s e . r . e s , r s or s r e s e e s r a r a m m s a as er o e a es r s o , er es er S r, a se o - e , se e a m s r, r e es e a a e e se o o e e e r a s a r r m m a e e s . . s , a r a . ra a e a e s ra es m m o e s ra e r e a re o ca , as , a rre a o m a r r o a a e e . . r a er e . e a se ra a re s e ca s a s e e ca e ea rs er a s a s s e ss s , re ss r a a r e, . s e , s m e see a a ra o . s er e a ssa , s r a ers as a a e a e e , s r, a a e s es o e e a er ca e e e s a e a s se e , e e s as o . e e r a e e a er e e s ee e es o s ere as s s a e a e e e s as a rr a a a e s , , a m m s . s ze a a a e r r a , ere , , r r a r s s a s , s , se ea s rs er e ra e , e a a re e as a e, es ra e r es e, s a e e ra ers a rese re S r, , o er a r sa s a . e r a o re s r , e a s ea r s a e e a e a e a e ea e e ar ere a a , rea oo as e s o r e ss ss o ser e ea r s e e a ere . era e s ee e e o e a e e a se a r e a ea r a a re o e m e ra e e a r es er s a . m m m m s s ea r es , a e e , e e e e . e e a e s ra s ser r m m e r e e e a o re , a r r e e s re m o m r o s a ea e r see e rea a e a se ra r o , e o S e s a , , a s e ersa a , e e e , s ze er e er ea r er as e re s . e e re as e e a a ra e , , s e s r es e s a e e s m s e s e a ra se a er , a er er o a a e s r m m m ra s s as e s er re e e r e a S e se ea er as e e e, e e e r e ea es r s s , er a o s a, a o a , r a a er e s e er e s ra e a er s a ea s o e e , or er R THE A T OF PUB LIC S PE AKING very thron on ea rth Fr nce B il—th se our v icto ri s — h n t h a t d d f o kingc f opp ssion this is ur To t r is ion ! And w h ll n t f il G d h s sown in u soil th d of His ill nni l h rv t nd H will n t l y th ickl t s th rip ning c op u ntil His full nd p rf ct d y has co Our b n const nt nd xp nding i cl f o histo ry si h — n t o wn Ply outh Rock d J ll th w y v n fro y th voic less nd t c l ss oc n th h ou wh n f o n w wo l d d sa il o As w pp o ch th fourth ro s t th S ight of th in sp i — c nt nni l of th t tup ndous d y wh n th old wo l d will co nd t t l n id ur g th d t su s — rv l l t us olv t c own th i cl of u p t with th sp ct cl of R p ub lic co p ct unit d indi solub l in th bonds of l ov loving f o th L k t th G ulf th wounds of w h l d in v ry h rt n v y hill n nd sp l nd nt t th u it of hu n chi v nt nd rthly gl ory bl ing ut th p th nd king cl th w y up which ll th n tions of th rth u t co in G od s p p oint d ti ! m m m m m m m e e re e s s e ee a r, , o a r as m e e e e a e o r e e a , r e e ea a a a as o e a es s e ’ e es e r r o e a e e e e a ere e e r e e r a r e r e rea re e e a e ar e e e m m ea e e s a az , a e e re o . e a a e e, a e m a ea e e a ea e, a as - sere , m m m m m ra e a o e e a . s , o e ea r a ra er e e a , e ra r e s a e a a a e a ea r o e a , e o e . o o a m m s a a a e a e re m m m m m m m re s a e e a a o e a re re o es a e a . , a ee r e o e a es a a e r r e ra z , r e ea ee e a . o e a a e ea e WILLIAM MCKINLE Y L A S T S PE E CH d t th W o ld s F i B uff l o N Y on S p D l iv b 5 1901 th d y b fo h w s ssin t d t I gl d g in t b in th city of B uff l o nd xch ng g tings with h p op l t who g n ous ho p it lity I n d wi th who s good will I h v b ng n p t dl y n t st d T d y I h v ddition l s tisf ction in nd ign ll y hono ting n d giving w l co t th fo ign p s nt tiv s bl d h who p s nc nd p ticip tion in this E p i tion h v con t ib u t d in s k d d g t its int t nd T th co i ion s of th D o inion of C n d nd su cc th F nch C ol oni s th R p ubl ic s of th B iti h C ol oni M xico n d of C nt l nd S outh A ic nd th co i ion of Cub nd Po to Rico wh h with u in thi und ta king up on w giv th h nd of f ll o w hip nd f licit t with th th t iu p hs of t sci nc duc tion nd nuf ctu e which b qu th d t th n w c ntu y th ol d h E xp o itions Th y r co d th th ti n k p s of p og ss nt Th y sti ul t th n gy nt p rise wo l d s dv nc nd int ll c t of th p o p l nd quick n hu Th y go n g niu into th ho Th y b o d n nd b right n th d ily l if of th ighty sto hou s of info tion t th Th y op n p op l tu d nt E v ry xp o sition g ll h h lp d t so t r s onw d t p C o p ri on of id s i lw ys duc tiona l nd s such in st u ts th b in nd h nd of a n F i ndly riva l y foll ows m m e re e er e a a , a a a er a mm s a er , a ra a sse e ss e r r e e m as ’ r e e e e s e r c e e e ee er , a s a a r a e ss s er , e e a a . a e r a , a r e e . e m m os a a e e se e a a m m o e m m m m re e rea a . r re re e e re s a e . ra a a ea e a a e a e e a o , a, a e e e, a r a e s a e re m e a x m a re e, e m ea m a e . e s e s ee re ree e er o s a a a e a a r e e e e e . a m e re e o e ar e a ar re . e s a e o er e , e . e . m ar e m e e e re e e e a a a e a er e e , a ssa a a a - e ea a se , a re a a s ra ar s e . . , a o o a e re e e r e e o . es , a a e e, ss s a e e a e e e o . ers e se e re , e e o e a r a m m m m re e a e a r, e a ee r , ree o e ’ ‘ er e s m e . a e a as e a , e a e er e , r r e e m e o o e , r , THE ART 440 . OE PUB LIC S PE m AKING m m m mm m m m m m bound ri s into th ot st p ts of th a rth V st condu ct d nd int n tion l xcha nges t ns c tion s ad by th tick of the c bl E v ry ev nt of int st is i di t ly bull tin d Th quick g th ing nd tr ns ission of n ws lik t r n id n i of c n o ig i n onl y d p ossible t d t p b y th g niu s of th inv nto r nd th co u g of th inv sto ss ng of th gov n nt with v ry f cility It to ok S p ci l known t th ti e f r p id t v l nin t n d ys t go fro th ss g t G en r l Ci ty of W shington t N w O l e ns with Ja ckson th t th w r with Engl nd h d c s d nd t ty of nt n w ! W ched G n l H w diff p c h d b n ign d bl th ough the il ita ry t le Mil s in Po to Rico nd h w gr p h t stop his y on th fi ring lin with th ss g th t th Unit d S t t s nd S p in h d ign d p otocol susp nding ho til iti s W kn w l o st inst nt r of th fi st ho ts fi d t nd of th S p ni h fo c s nd th sub s qu n t su S ntia go w s kn o wn t W hington within l s th n n hou of its con s fl t h d h dl y gd su tion Th fi t ship of C fro th t historic h bor wh n th f ct w s fl h d t u C p itol nd th swift d tru c tion th t foll ow d w s nnounc d i di t ly th ou gh th w ond f ul diu of t l g p hy S ccusto d r w t s f n d sy co unic tion with di t nt l nds th t its t p o y int rup tion v n in o din ry ti s sults in l o s nd inconv ni nc W S h ll n ve fo g t th d ys of n x iou s w iting nd susp n s wh n no info tion P kin n d th dip l o w s p r itt d t b s nt f o tic p s nt ti s of th n tions in Chin ut off f o ll uni tion in sid of th w ll d c p it l w su ound d nd ou t id by n ng y nd i guid d b th t th t n d th i liv s ; n th j oy th t thrill d th w o l d wh n singl ss g fro th gov n nt of th Unit d S t t s b ought th ough ur inist r th fi st n ws of th s f ty Of th b si g d dip lo ts At th b ginning of th nin t nth c ntu ry th r w s n t a il of st il o d on th gl ob ; n w th nough il s t k its ci cuit ny ti s Th n th w s n t lin of l c t ic t l g p h ; n w w h v v t il g t v sing ll l nd nd s G d nd n h v link d th n tions tog th And s w n l ong nt t ny oth N n tion b indiff b ought o nd o in touch with ch oth r th l ss r occ sion is th f i und t ndings nd th st ong th disp o sition wh n w h v diff nc s t dj u t th in th cou t of bit tion which is th nobl st fo u f th s ttl nt of int n tion l disp ut s My f ll ow ci ti ns t d st tistic indic t th t this cou ntry i in r l ot t t of u n x Th figu p l d p o sp ity ts Th y S h ow th t w r u tili ing u fi l d s nd fo p p ll ing nd in fu ni hing p ofit bl nt t nd th t w p l oy th illions of wo king n throughout the Unit d S t t bring n a tIOna l ra a re a a e s ra ra a e a m m e a a e e s ee e r , a e e a e a e e . a m m m , a ar a e e e o a e a a re a e e ra e - r ee a re a a s ar a e m m m er e e o o a r e “ r as a e s e a a a e e ’ e r a er e rv e ra e e es . a e rea e rre e rs e . ea e e a as a a S a e a e a e r r e a e e e o e o as a e ar e a m m a , o s e re o e a e , e , a a a e e e e ee , a . e a e a a e er r e o a e e e ra e e a re a re a ra e ere a a . a , ra e e a a er o e er e e a e re e a ea e e ar er . a a re , e e e e . a e e e e e re e a r a mm m m m m m m m m m m m m m m m m m m m mm m m m m m m m m m m m m m m m m m m m a es e a e r e s a a e e a e o ve r a or er e r o a e e r s a a a e r a o . er r ar ra a a er e a a a s a e . e s, a e s e e , a r , e e e e o a a . a o e e a ra er a e e r. a e e , r s a e er e e e or r e . e e a er e a o , e o ea o a e re e e e e e . ra e e a a e ers a e a e e e a e ea , ze ere re or e , a e e e as e re e re a ere a a a a ca r e re e re a re e e e re e r e e o . a e e e e e o ca a s e ra se a e ee r a r e e a rr r a e r e co ere , a a e e ra e e o e e r a rea e e a r a a a a e e ea e e e e e r r a r o e e e e e a , a e e e e e s a e e e e . e r . , e a e a e e e a a, c s ra er e e e ea ra r a e a a a e e , a e a a a e e a a e o e s a e e a a a a e re , e er e o a e a , e a re e s a er r e a e r s a e a re s a e a e . o z r a r e e re s a e e e a es, s o APPENDICE S m m m 441 m m m mm nd ing co fort nd h pp in t th i ho king it p os ibl nd di bility Th t ll th p opl t l y by s ving f ol d g ici ing in i g o i t y i n in v y A ic a n t t t h t p p p p co unity nd hown by th no ou nd unp c d nt d nd dep osits in u vings b nk Ou duty in th c curity d p o its nd th i f inv t nt d nd th high t f th int g ity nd th b st busin c p city of thos in ch g of nings th s d p o sito i s of th p op l built up through y W h v v t nd int ic t bu in of toil nd t uggl in which v y p rt of th count y h it it of ith n gl ct of undu l sta k which will n t p ow o did p olicy will ub v it Th g t fi hn N n n d p odu c t skill nd wi do on th p rt of nuf ctu s qui d t hol d nd inc it will b Ou indu t i l nt r t t i ic v g o w n t u c g o o ions ff ct th r w h h h s h p p p n d th nd occ up tions of th w lf of th ho p op l country Ou c p city t p oduc h d v l op d no ou ly s ul tip li d th t th p obl of o nd ur p odu cts h v k t qui s u u g nt nd i di t tt ntion Only b o d nd nl ight n d p olicy will k p wh t w h v N oth I t h n o l icy w i ll t o ti Of v lou bu in s n gy g p t ngth ning th nd g in w o ught t b l oo king t th fu tu in ur indu t i l nd co ci l sy t th t w wea k p la c dy f ny to t in ay b ng nt which will n t int up t u B y s n ibl t d t h t h t ho od u c ion w ll x t nd o u l ts f u inc ing p surp lu utu l xch ng of A y t which p ovid s nif stly s nti l t th continu d nd h lthful diti s is growth of u xp ort t d W ust n t p os in th f nci d n fo v ll v ything nd buy littl se cu ity th t w nothing If such thing w p o sibl it w oul d n t b b t f f th o W houl d t k f o us with wh o w d l u custo s uch of th ir p oduct s w n u without h t u indu t i R cip ocity is th n tu l outg owth nd l bo Of u w ond rful indu tri l d v l op nt und th do tic ly t blish d p olicy n w fi Wh t w p oduc b yond u do tic con u p tion ust h v v nt b o d Th x c u t b l i v d th ough fo ign outl t nd w hould ll v ywh w n nd buy n d p odu ctions wh v th buying will nl g u l nd th by k g t d nd f ho l bo Th p iod of x clu iv n xp n ion of u t d is p t Th n d co c is th p ing p obl Co ci l w unp ofit bl A p olicy of good will nd f i ndl y t d l tions will p v nt in h ony with R cip ocity t ti p i ls th u of t li tion n t If p ; p iri t Of th ti ch nc so Of u t iff s no long n d d f v nu t ncou g nd p ot ct u indu t i t ho why houl d o a s or a ar ess a a s a e ese e r a e e s e e s r a s ess a rr o . es s a e re m re m es m a es e ar e e m a e s a e e se r e e e . er s r a r a rea r r r s e se re rs a rea o or . as r e a rea se r ea rs e er ‘ a a s e ss , a e a e e se e er s r , e . s er o ses , a e e o e, re e a a e s ea r r e er er a re a e e a re e ’ e a a e e m e a e es e ss e as e a r . a e s r e r sa e a r e a s a a s see e e s a . er r s rea r sa e e sa e a s a o o a es , a e r o , e e e a e m mm e e a re e so e e m m m m m m m m m m mm m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m m r . a r a a re e r e e re e a o e s s . o r e s r es a a r r e e er r a er a e e o e r sa e e, e ra e o a r r e ar e e e ss co e a e e or es e a r e r ar a e or o se e r ea e ca e ra er r es e as s e re s a re r re e ere er e sa e s a or e a e e . e e a r r o r e s r es a ra e e re a ar a re ee r a rs a re a ra e s a re er , . er a a a s . re a r e ca r o re a r s es a r o o e a e S r se ea s ar e rea s o . e ss e e es a r a e e o ress . s, a a re e re r . e S a e e e . rea er s er err e s a e e a e a re ea e s er e r e e a a er e e e e or o e s e e a ere a es s e e o e er 0 . o e . . a , e re e r a . o r e re , s re e se re s a s . s e r e a s a . e er e e e a re a e es a r e a e re e er s e a e e re s o a e se r o e a er o o a ra e ca or e e or s ra es e r e . a e a ar a r e a or r s e a r a o e a rra e S e o e s r e es s r a ra e e a a e se or a s e ee o e rea e r e o es e e . e a as e o e a e s re r o r o ar a a e o . or re e, , er e or e s THE ART OF PUBLIC S PE 44 2 m AKING m m mm m m mm m mm m y l oy d x nd o o k bo d n v in d qu i vic lin of i v l dy b n in co i ion b n cific co o of ni d o on w n co of xico n l ou ic o d fo o d i di c i lin b n n co ni d ou ic n o of n d of i di c co ci l lin f o v fi ld of odu c ion fi l d of con ion v b ly o u c d x in dv n g ving ing ll v conv y nc c y b uy u ncou g c n in u v o i y u und ic n b uil nn d o n d by ic n ill o y ofi bl in co ci l n y ill ng of c iy v y go u t buil d th Isth i n c na l which will unit th tw W oc n nd giv st ight lin of w t co unic tion with th w t n co ts of C nt l nd S outh A ric nd M x ico Th const u ction of P cific c bl n n t b l ong r p ostp on d In th fu rth nc of th s Obj cts Of n tion l int t nd conc n you ing n i p o t nt p t This E xp o sition woul d p rfo h v tou ch d th h t of th t A ric n t t n whos ind w s v l t nd thought v con t nt f l g co c nd t u f t nity of th p ublics of th N w W o l d His b o d A ic n p i it i f l t nd nif t d h H n ds no id ntific tion t n s bl g of A ic n nywh f th n of B l in i in p bly soci t d with th P n A ic n ov nt which finds h p ctic l nd ub t nti l xp ssion ly dv nc d by th P n nd whic h w ll ho p will b fi A ic n C ong ss th t bl this utu n in th c p ita l It c n n t b stopp d Of M xico Th good w o k will go on tion of t n d b u ty Tho s b uil ding wi ll dis p p r ; thi c nd indu t y will p ri h f o ight but th i influ nc will in t k it liv b yond it t sho t living with p is s a nd n th nk sgiving n t ll th n w thou ghts th t h v b Wh bitions fi d nd th high a chi v nts th t w k n d th will b w ou ght th ou gh this E xp o sition ? n l t us v b th t u int st is in con G ntl co d n t conflict ; nd th t u l in nce sts in th vic c n t thos of w W hop th t ll wh tori s of p p re t h f f t s h h n d ov d ig nob l f o i s nt d h t b y n t wn nd th w o l d s good nd th t ut of this city y co onl y g t r co c nd t d f r us ll bu t o ss ntia l th n th l tion of utu l p ct confid nc and f i ndship which n st p r y is th t G d will g will d p n n d ndu Ou i u ly vou ch f p ro sp i ty h p p in s nd p c to a ll ur neigh bl ing t ll th p opl s a nd p ow rs of ea rth bo nd l ik to e te a nd p r e te our a r ets a r a ? the not b e e p a e a te stea sh p se r The , too , we ha e e New es ee stea sh p s ha e a rea ss etwee the p ut the U te S ta tes a nd th se a st p rt s Pa the e ste r a nd C e tra a nd S Me th A e r a a sts The se sh ul re t ste a ll we up w th sh p es e tw ee be the we ster te S ta tes a nd S th A e r a p rts a st of the U One the re t ee s the t nie s is er a es r our a st e s to the t e s su tha t we ha e b ut pr pt t he Ne t a a ta e to ha a re the th to se e a e to it to the a rr is to ha e the er We st e ra e our er ha t ar e st ha e We re sh p s er a fl ag ; e r the A The st b e t a nd e a a nd w e A er a s These w not nl b e p r ta e a er a se se ; the e sse w be ers t p ea e a n d a where er the m . . . m m m m m m m m . e s s a ea es e r as r a e a re a m e era e a e e e r a er a r r a e a e e er e a a ” e e e o , e e o e rs , a a m e a a e re e ra a e m a e m e . ea a e e a e ar re a a , e o e re e e e ar ’ r , er e a s a a e ee e e a e a sa e e e ss re er ra s , r ea r o a a o a re re a er e e es a e e or r , e e a er e o a r e a ea a e re e , e r e a a o e e , e e re e o a . e e re r er a a re s o e . o e a r rea o e e er e a o e, a ese , re a s a a m or er - r e e r re e rea e c o a . ee ere , e r oo re e . a , e a e ee s r s a a er e e s a . s s a r er e re s es m e e , e re a r e r ea e r m r e s a e a er a mm m m m m m m m m m m , e r e a a ea o ca . a a sse a e e m m ra . m m m m a e e a e a as a e . e e er e r s r or a es e a e e s a es a s a a e s m . e a e . ar er a ra a re e o e ere a e “ se e a a as e s e a s r o a a m m m m m a e res a o e e e re s e a a e a e a o a a er e ca r a a ra e r er e e ea r e m m mm m a e e r e a a a m m m , a er e ra e a a ra e a . m m e m . . . m m m m . ra o o e e . R THE A T OF PU B LIC S PE 444 AKING . m m m m kind d so ow ! I will n t p k of tho dist nt g ons wh in tion nt into th d il y lif of gov n nt B ut ong th n tion b ound t us by th ti s of f ili int cou s —wh nd ild utoc t wh h d n d n fo g t th t wi s to ? th t nl ight n d nd gn ni th p ou d titl of th l ib ous citi n who F nc still ou ns ? th t b v nd chiv l ou king of It ly wh only liv d f his p op l ? nd s d d t Of h l lif coul d ll th t l ov ly n d o owing m p s wh o xcit d th ni o ity of dem on ? Ag in t th t h d ly h v — d vilish p i it nothing v il n ith i tu n p t ioti youth n con ci nc n p ity W n n t v n n g n f gu d g in t thi b l ful uffici nt y th t du c tion i — vil f ost of th w tch s who cri s h v s hock d nity in c nt y d wh h v hu w n n t unl tt gon f o th co on chools th ough u d t th sc ffol d Th l if of Will i M Kinl y w s f o his bi th t hi d th ic n Th i no nvi on nt I shoul d y typ ic lly A nywh l in th wo l d which coul d p odu c j u t Such H w ch c t bo n into th t w y of lif which l ewh is ca ll d th iddl cl b ut which in this co unt y i n ly univ s l s t k Of oth cl s s n l o t n gligibl qu ntity H w n ith ich n p oo n ith p ou d n hu bl ; h kn w no hung h w n t u of s ti fying no luxu y which coul d n v t ind body Hi p nts w ob G d f ing p op l ; int llig nt nd up ight without p t n ion nd wi thout hu il ity H g w up in th co p ny of boy s l ik hi o h on t lf p cting Th y l ook d down on s l f wh ol nobody ; th y n v f lt it p o ibl th y coul d b look d down up on Th i hous s w th ho s of p obity p i ty p t iot n d in th d i bl school d s of fifty y s Th y l i ons of h oic nd p l ndid lif which h v co down g th l f o th p t Th y d in th i w kly n w p p s th to y of th w o l d s p og s in which th y w g t tk p t n d of th in nd w ong of civili tion with which th y b u n d It w Th boys t do b ttl iou nd thoughtful ti of th t d y f l t di l y but d p ly th t d y of h p truggl nd h igh chi v nt w b fo th Th y l ook d t lif olut y s of young qui in his with th w ond ing y t houl d vigil of co ing wh n t th Th y f l t ti w b dd d th st n d onition of th Ap o tl Q uit you lik n; b st ong living t d y nd w young in 1860 will Th n wh th nd th n v fo g t th gl o y nd gl ou th t fill d th sky wh n th l ong twil ig ht of dou b t n d u nc t inty w s nding nd th ti Lincol n ction h d co f A p c h by Ab h w s an v nt n t only of high o l ignific nc but of f ching i p o t nc ; th d illing of il iti co p ny by E ll wo th tt c t d n tion l tt ntion ; th flu tt ing of th fl g m m a ssa ss r e r e a m e a , a e s or a e a a e e or , re e e r e a er a e re er a ra e a er a as as o m m m er e er e ea r e , e m m e r . s e . o r e r e s a o a a e e a a m m m m m e s ar e e e e er r e e a e e e e er e . o a re e r ra e e re ea e - a e a a r e a e s r o m ar e a r e a . a e s ar es e a re o S e e e, e ea r e s ee ra S e, a a e e a ra a er e a a er a a e e e . e e , ere a e er e s a r a o er a e as e o a a S m ea r e e s a r , a e . m e e s e e ” a s er rea a o e , m m re e e a a er , s e r a , e e e ee . m m m m m mm m m re s e a re e e s a e m e re za ere ea r r e e ee e re e e e se r a s so e m e , s or . , sa , , e e r as a e r a a s s or a e rea r a e e a e . r e e a m m e ra ea a e e r er re sse e a re s - , e a se . s e a re , a o r s r , m m . r s re a re s r s a er e a e s s e e re e . ’ m a ss er as e a re a e e e ss e e . , e ea r s o e r e e o , e a re e er e r, e es e, a se er or e e r a a as a e es e a e s o , e e o o r or e . e s r , s s ere er r a a r ‘ e a m s s a e r e er r e o a e e ca e a ss , a a r e e re ar e r e a c e e . m m m mm , . e se e e s e ss or . se ere es a , a sa e e ea rs a e a e a ar v r e a a a or e e re e e a s e a e e se er e ra r e ear a a e a e . er o e re s , s, a s s a ra e e ar a a s or a e or e r er r e a , a e m mm m m m m mm sa a e s rr a or e r o e e ar e ra e a e ere re i a e e a ra s a m m m o a ze se ea e s a e o ca e r e rs e a a s o rr re e ar s a APPE NDICE S m m m 44 5 m m in th cl ky d w t f o th y of young n P t iot h to ic l xp ion b c ion t which h d b n i p otion in which in tinct l ogic nd f ling w fu d Th count y w w o th ving ; it coul d b v d onl y by fi ; no g t ; th young n of th count y w dy t s c rific w th y w dy w l co w th s c ific ; co f v nt n y s Of g Will i M Kinl y h d this u At on of his count y H w s th ort of youth t who ilit y lif in o din y ti w oul d p o no tt ction Hi n tu w f diff nt f o th t of th o din y oldi H d of lif its p ri s nd p l u th n th t of h d oth ind th ch nd b ttl B u t t hi no choic r w qu tion Th b nn fl o ting in th o ning b w th b ckoning g tu of hi count y Th th ill ing not of th — — n hi d non oth in to th n k H i s t u p t c ll d hi e — i f ili t you ll th hort t in his fi t u nifo po t stoc ky figu ; th qui t thoughtful f c ; th d p d k y s wh n h thought th f c of l d wh coul d n t st y t ho It H w s Of th tuff of which good h w s n d d in th fi l d d H dh b ntny ol d h w oul d h v sol di nt d t th h d Of co p ny nd co u t t th h d of divi ion B ut h did wh t h coul d H nl i t d p iv t ; n d t ob y His iou n ibl w ys hi p o p t l t h l tt ntion of hi up io H w s ffi ci ncy oon tt c t d th f ithful in littl thing th t th y g v hi o nd o t s do H w s unti ing in c p nd on th ch ; wift cool nd f l ss in fight H l ft th y with fi ld nk wh n th w nd d b v tt d by P id nt Lin coln f g ll nt y in b ttl In co ing y wh n n k t d w th o l of u g t t th nothing will d i bl in ll th Civil W th w y in which th gnifi c nt i hi to y of u tw c t cl o Wh n th Conf d t y w th ti w logic of f ct nd c d th y cknowl dg d th p itil h d co fighting Wh n th y of th Union w it w no long n d d without u u qu tion king no t king no tu n in th flu h of victo y nd ful n s of ight it l id down its lt d b ck into th of p c ful citi n nd i no v nt sinc th n tion w bo n which h Th p ov d lf gov n nt B oth ction h its ol id c p city f qu ll y in th t c own of gl o y Th y h d h l d d b t of in co p bl i p o t nc nd h d fought it u t with qu l n gy — ch d nd it i t th v l tin g hono A conclusion h d b n th t they ch kn w wh n th w w s ov nd th Of bo th id hou of l ting p c h d t u ck W th d p te y d i d ring of oth s wh p f nn ihil tion t co p o i b ut th of co on s ns nd I will y of nlight n d p t ioti p l b l ongs t th n lik G nt nd L wh kn w wh n th y h d fought nough f honor nd f country ea r s e s a , e r ea rs re ee a r - r e s es e e a e re ss e e a , ee a as r e a ere e a se e or ‘ oo r e rea ea r r e as re es a ar es e . a r a ee a e a e ere e e a a e o e e as reeze e es e s e ra a . e ee e S ar , e , e e . e e s ea rs e a a e o e er e o ra e e e a a e r a re , e ea rs ea a ar a r e e, ee e s e s a a or a a r a e e e e or a s r e, a e a sa , ra a e . ea or s, a s e a e , o . a ar a e e er . r er a re e r se , e a re a e er a s e s es e e era e a r e . e r s e e a s ze e e a a e se o ee , a er , . e e ea se a s so o e as r s a e e er a rea s a o re er a o a o e sa a ss e . e ea ea e r . a es a rea a er e e a ee as a er e e a a ar a a , as - o e era e a r e r a r se r es es a e ra e o e a ra a a , sa a e e S e e a a ra r or e . r a ess r e a e s s a es a s e e r e , ar e a er e so a e e , re ra e o ar a ar e re e e , r re e . a e . e a se o a e a o rs s ar ra o a e re a e se e r r er e e see o r a or e a r, s e as a s , s s e e s e a e ar res e e e a e e s e a a . e s , se s e e . e a e a e se r . a s e a e ea r e e as o a ee a ere a a e . e res , e m m m m mm m mm m m m m m m m m m m m m mm mm m m m m m m m m mm m m m m m . e o a . ea . ea r e o e a e e ea s s . er. r ar , s s er a o a a a s e e e e rs a re s r rs e e a ra ar e . a a r e r e re a a s s o r e m m . ea r e s o re r ra i IS a ze er ere rea ssess e . ere rea r s e r . a es e a e, es e c es s a oe , a e re e a e . e re rea e , e ar ar er a e a r s a ea se e e e e ee ar e sa sa r as , a ss e a m m mm m m m m m mm m m mm m m m m m m , a r . s e , a 446 R A T OF PU B LIC S PE THE m AKING n tu lly bout th t in 1 876—th b g nn ng of th c cond c ntury of th R p ublic—h b g n by n l ction t his p ol itic l c Th ft f fourteen y s this C ong I u s th w o d dvi dl y ch b w hi ho in N owh in h ony with his nviron nt s h e ; th w o l d w s h nowh l did his ind w o k with such full con ciou n s Of Th i of d b t w s n tiv t hi ; h h d nk it p ow d light of b ttl w ith hi p s In ft d ys wh n h drov by thi t t ly p il occ sions his duty c ll d wh n on hi h h g t d his o l d h unt with th ff ction t t of child of th hou ; du ing ll th l st t n y s of hi lif fill d wi th ctivity nd gl o ry h n v r c s d t b ho th y w thi h ll id ncy th w s t th p sic k f Wh n h c n t d y w h n his cong sion l s r ic w s n t of us t hi P ob b ly no o th id nt h b n in such full nd co di l p co union with C ong s if w xc p t Lincoln lon y M Kinl y k n w th l gi l tiv body tho ou ghl y it co p o i tion its thod it h bit Of th ou ght H h d th p ofound st t h t t c u o i y in fl x ib l b l i f in ul i t f i t s t h r t n d n p ctitud of it p u p o u Ou hi to y how s h w su ly n tiv co u ts di s t n d u in by ing n ttitu d of hostility ssu di t u t t th L gi l tu ; nd on th oth h nd M K in l y f nk n d inc t u st nd confid nc in C ong w D uring tion p id by p o p t nd l oy l up p o t nd coo p — hi nti t of offi c this utu l t u t nd g d s ss n —w s nev sh dow d by singl cl ou d ti l t th p u b l ic w lf Wh n h c t th p id ncy h conf ont d situ tion of th u t o st diffi culty which n of ight w ll h v pp ll d h d b n st t l ss s n nd t nquil s lf nfi d n Th of p ofound co ci l nd indu t i l d p sion f o which id hi l ction would li v th country Our hi f i nd h d l tion w ith th out id w o ld l ft uch t b d si d Th f l ing b tw n th No th n n d S outh n s ctions of th Union y t th w lf w s l cking in th co di l ity which w s n c s of both H w ii h d sk d f nn x tion nd h d b n r j ct d by th p c ding d ini t tion Th w s t t of things in Our th n ntly ndu C ibb n whic h co ul d n t p n ighbo s hous w s on fi g v doub ts s t n d th w i s A n ith w k r u rights n d du ti s in th p sh ith i olut ight h v b ought ruin h d t ong on hi lf nd inc l cul b l h t th cou n try ood Th l of glory t t d i b l fo n of his h b itu l — — nd t t of u cc f ul d h t s w s n v rth l ss conf ss w p up on hi by uncont oll bl v nts H f lt it u t co ; he d p lo d its n c ssity ; h st in d l ost t br a king his l tion s with his f ri nd s in o d fi st t p v nt nd th n t p ost o nt B ut wh n th di w s p on it t th l t t p o ssib l e ca st h la bo d with the u t o st en rgy nd do nd with a n S o it se a a m e r e a ra a a e e e a re er a as s e e e rea . e . e so a e m m m ress , er e a er r e a , or ar e rs . a e m e a r e e s s s a e ere , as e re e s or a o a a res e s, e or e re s r re a a s o s ra re o e r e e a r e a re a o e re s ra r e s re a sa a s ee ee a ar e r r r a e m m m se e a rre s re e s ra e a , e e re a es e er e e a e a a ee r a e a e . re e e o . m m a e . e e e sa r er e e o ee a a a a s a e a e e e re se a re e ea s r ar e o a e e r ra er , e re e e e e re a e e a e . a erre s o o a e e e e a r o r a e e e ea o . a . er e a ar a e a , . e ra a . re e e ere ere o a e , e ere . e r e e a r e e o or a a e m mmm m m m m m m m m m m a e e e e or a er e e e m re s a re , a a a ea s a o e a e ere ar a e re a o ’ er e c , . e e a . re er m a ea e ce ex ec re ss r a a e a e e e . e a er re e e e a s r a r re a a e s ra a , co e r a a re e e e s e . er a s r era s . r e e r a o s e a a e re a o a e e e e e e m m m m e , a e e a a e a - e , , s e e e e a e o e e a m m e er e e m r e e, o S a s a er a re e re a e ere ra S a e s a e s a a r ra e ea e a e e s es a e ze s ee a , e o e e e re s . r ere e r r er a s , e e . e re a e e v a ea r s ea r e o e , s a a s er a e s se s r r s e a m m m m m m ’ e s e e as a s r or e a e e e a e m m a e re s e , re s er a c a re s e m m m r e o a a , e e . e a e a e er a s a . o ra re r a e . a se e a e re e e e a a ee r or e, e a e e e ' s 1 m m se a r ere e se e 1 ar r, a o e e a THE ART OF PUB LIC S PE 448 m m AKING m m m m in th glorious lif w sa w g du lly w ning w s or d i bl nd xe p l ry th n its clos Th g ntl hu nity of his wo ds wh n h s w his ss ila nt in d ng jof su ry D n t l t th hu t hi ; v ng nc his chiv l us c r th t th n ws S houl d b b ok n g ntly t his wife ; th fi n cou t y with w hich h p ol og i d f th d ge which his d th w oul d b ing t th g t E xhibition ; nd th h roic resigna It is G od s w y ; His will n t ou rs b e tion of his fin l w o d s ll th instinctiv don w xp ssions of na tur s l ofty h t t p rid in its nob il ity t onc soft ned nd eu u nd s p sens of l oss Th R p ublic gri v d ov r h nc d th n tion — s n b ut is p o u d fo ev of h ving p odu c d hi su ch After ll in p it of its t gic nding his l if w s xt o din ril y ha p p y H h d ll hi d ys troo p s of fri nd s the ch r of fa e nd f uitful l b o ; a nd he b c e t l st On fo tu ne s c owning sl op Th p ill r of ho p p op l of a wo l d s d si Th c ent Nothing e e e a ra a r ea o e re a re o a o a a s a r e e a r er a m e e a ’ r e e m m e e . r a ee ’ e e s . a e, ’ r re e . J ENNI NGS B RYAN PRINCE OF TH E a e, a WILLIAM o , er e , e ra r a e , a o e r e a e e e e a e a a e e , e , , m a ro a . r ra a , s a e re e a er a a r e a e a e e a , e e , s , ’ e ’ a o or a e a “ a e e a e ze e e . rea e r a r e a e ’ r a m a e e r es e, a e a e m a e e a o ra a e o e, ea e e a e r e PE A 1 CE (1894) m mm m m m m m m m mm m m m mm m m m m m m m m m m m m m m m m m m m m mm m m m m m no p ol ogy f p a king up on ligious th f r it is th o t univ s l of ll th s I int st d in the sci nc f gov n nt but I int t d o in ligion th n in gov rn nt I nj oy king p olitic l S p ch—I h v d good ny nd h ll k o —but I woul d th sp k on ligion th n on p ol i tic s I co nc d S p king on th stu p wh n I nc d S p king in th chu ch si w s onl y tw nty b u t I co — n d I h ll b y s li in th chu ch v n ft I ut I f l su of y g ound wh n I k p olitic l Of p ol i tic s ch b ut I f l v n o c t in of y g ound wh n I k Sp ligious S p ch If I dd t you up on th subj ct of la w I ight int t th l wy s ; if I dis u t th sci nc of dicine I ight int st th p hy ici ns ; in lik nn ch nts ight s in tt s st d in co nt on co c nd f b int gricul tu ; but no n of th s subj cts a pp ls p rt ining t t ll ci nc of gov n nt th b o d th n ny E v n th occup tion do s n t b c th whol su of lif p of ssion n d th o ong th s lv s th t I wh think up on it diff s coul d n t sp k up on th subj ct s t pl s p t of th udi nc without disp l sing oth s Whil t th sci nc of gov n nt is int ns ly a b o bing I cogni th t th ost ofi er I s e er a e er e s a a ea r er ee ee , ee e re s e e re a e o a e a s e or e a se a ea s d by p 1U e o e er ms is ion . e e a ra er o a o as er s r e e , re ea er r a er a e a a e, e e e . e a er e o a e er ar e o a e er o , a e e e e e ea e a e er e e e er o , a e er e , a s e er x e e e o o e e s c r a e re e s e e r er a a e e e e er e r re s a . o a . re re e r e e a ea ea e re e ere e a a e e e o e e er ea e e s e a ra e o a ee a e, e re re re e e e re a . a a re e , . ee a re eres e a e ea r a e . a r a a a a e a , e . a or S a e ea e a ar e e o ze a a e e e e ing mo nm o d n u on APPE NDICE S 449 m m m m in lif li out id of th of gov n nt l f hi lf p nd up on wh t th individu l do wh t th gov rn M n nt do s n do f hi i bl und th b t gov n nt nd th y n b y und th wo t g n n t G ov n nt ff ct but p rt of th lif which w liv h nd do n t d l t ll with th lif b yond whil ligion t ou c h th infinit ci cl of x i t nc ll of w ll s th th t ci cl which w th t th th N g p nd on n ng g fo u tt ntion qu tion of gov n If I di cu nt I u t cu th coop tion of j o ity b fo I n into p cti b ut if in p king on ligion I n p ut y id tou ch n hu n h t f good I h v n t p ok n in v in no tt h w l g th j o ity y b g in t M n i ligiou b ing ; th h rt in tinctiv ly k f G d Wh th h wo hip on th b nk of th G ng p y with h i f c up tu n d t th l tow d M cc u n kn g ding ll p c s t p l co un with th H v nly F th cco ding t th Ch i ti n c d n i nti lly d vout Th inc ity w cogni nd r h on t doub t s who n wh think it t p ct but occ ion lly I find young t b k p tic l ; th y t lk if it w g in n vid nc of l t coff t c d nd t fu t conn ct th lv s t llig n lv Lib l if Ch i ti n wi th c hu ch s Th y c ll th n ow ind d S o go w f t t th t th dv nc d thought of th wo l d h di c d d th id i T th th t th G d young n I d i t dd s Ev n o ol d p op l p of t g d ligion up titi n p don b l in th igno n t b ut unw o thy of th duc t d il d cont p t up on Tho wh h ol d thi i w l ook down with giv t ligion d finit p l c in th i thought nd liv su ch Th y u n int ll ctu l up io ity nd oft n t k littl conc l th u p tion Tol toy d ini t t th p in s t hi ) cul tu d c owd (th w o d quot d s v buk ligiou nti nt ts n t up on s th t th wh n h d cl of th invi ibl fo c of n tu b ut up on n sup stitious f consciou n of hi finit n id n infi nit univ nd of th infuln ; nd thi con ciou n g t p hil o op h hi dd n n n v outg ow Tol toy i ight ; n cogni h w l i it d hi w n p ow s nd h w v t i th univ s th n hi nd h l n up on th th t i st ong M n f ls th w ight of hi in nd l ook f On wh i inl s l tion which R l igion h s b n d fin d by Tol toy th n fix b tw n hi lf nd hi G d nd o lity th outw d nif t tion of thi inw d l tion Ev y n by th ti h ch tu ity h s fi t so l tion b tw n lf nd G d nd no t i l ch ng in this l tion n t k hi i t th rta p a nd tha t tha p ca n b e ha p p re sera e es o es ea e r ov er s a a r e e s e e ea r e mmm m m m m re , ca e a e o s e se r a re ea s o a o er o ar a s a re a ar ere a re s e e s e e ere e es e a ce o s e a a e re a s e o a s a a e s, o m m e a e ee m m m m a e es a ar e e se a ee e es a es rea o a a m mm e s a s a r s ar , a er a a re a x a , e e s o m m ra . re a re a zes er e , s re a a e er re e e e s a as o m ’ a s or e a o m er s e o re ere e . e e rea as r s a es a a o a . erse a s r s a e s a res e er e a e e ss , s s a se ee e a m s s e m . ar m e e re , a re s o a s e rs e ea as a s m m a e e s e a e m a re se a sser o re a r es er s o e s e r s es re a . s r r e e ss a e er s ea er e s a re e s er a s ar e r e s se s e e a e re a a ca a e s r s e ss ar ar ar e r m a e a ss ea r o re m m a s as as . ze as e e ss e e e ss r e e e , or , a ea a e s ra e o era ar es , a e re ” or a s e o e e a re se ” ca ar e so , see e er “ es ca . s e sse a , re a es ree ere er e e ra a e e ee s , e, e s o re r e s v a s s e re a e r s a e e ea e s a rc re e se o ere s r s a e . o re er s e er m m o ea se e a e es a se s e . m e e a s a a o m re a as ree e m m e s a e a ca re e , a e a e re a er a a e o e e, e e a ss e s m o as e a e e se e e e m m m m m m m m o a ss , er a s e r s e . ar , a e as o . ea s e e a o a rr “ s a e S e rs r r e r s r a e e as , or e s , o e e e a er a a ea r er e s re a e e ra se , se . e e . e ra e . e or or e e . a e e S e e a e m er er es a or ca e es e rs e e e er a m m e e e rea e a e e er s e s e a er a e e m m a s er a . s s es as o e ca . e e, ee a e ART OF THE m PU B LIC S PE AKING mm m n f l c without volution in th l tion is th this o t p ot nt infl u nc th t cts up on hu n lif R ligion is th found tion of o lity in the individu l nd in th g oup of individu ls M t i lists h v tt p t d t syst of o lity up on th b is of nl ight n d s lf b uil d up int t Th y woul d h v n figu ut by th tic s th t t it p y s hi b t in f o w ong doing ; th y woul d v n inj ct n l nt of lfi shn ss into lt uis but th o l sy t t i li t h s l bo t d by th v l d f ct Fi t it virtu s bo ow d f o o l yst s b s d up on ligion All tho int llig nt nough t di cu s syst Of wh o lity o ls d iv d f s tu t d wi th th sy t s ting up on ligion th t th y c nnot f yst ting up on on lon S cond s it t up on gu nt th r th n up on utho ity th you ng n t in cc p t p o ition t j ct Ou l w do n t p it young n t di p os Of l t t until h is tw nty n Why thi t int ? B c u s hi on i n t tu ; nd y t n lif i l g ly oul d d by th nvi on nt of hi youth Thi d n n v know j u t h w u ch of his d ci ion is du t on nd h w uch i du t p s ion P sion n d th on th t s l fi sh int st son —w cogni thi in u c i in l l ws W l o cogni th lf int t wh n w xclud f o th j u y v y n b i s of no tt h w on bl up ight h wh h s y b ult of th t i l And fou th n t in th p c uni y int o lity t up on nic c l cul tion of b n fits t b who d sp nd ti figu ing th t h houl d sp nd in ction s cu wh k p book ccount of th i good d ds ldo do Tho nough good t j u tify k p ing book A nobl lif c nnot b built up on n ith tic ; it ust b th lik th S p ing th t f h s nd invigo t s p ou s fo th con t ntly of th t which n; nd ligion M o lity i th p ow of ndu nc in t ngth t whic h t c h p on ibil ity t G d giv p son l o lity Th i p ow ful t ining influ nc in th b li f crutini v y thought nd wo d nd th t n ll s ing y t of th individu l i t ying to n wh nc b tw n th is wid diff Th n confo hi lif t st nd d of o lity bout hi nd th k t k hi lif pp oxi t t divin st nd d wh i i i s h h t t l iv nd d if bov tt t t u t t Th fo p p — n d if h is doing ight only nd do w n t it if it is b l o w hi looking h i u t find ti wh n h thinks wh n o th s v d nd th n h t k v c tion nd f ll On h is u nob n d th inn t ngth which co with th con ciou p nc ti s thu fo tifi d o of p on l G d If tho wh yi ld t t p t tion h w h lp l s nd hop l u t tho b wh ly up on th i wn t ngth l on ! difficulti s t b ncount d in ligion but th Th e a p s e e a e . a o a a e e se ra rr a re o res rea s e r a o r re e rea r es a e s rea s s m e e o o o r e e ra re e se e re s s ar a r ea ra a s e es er a e ac m m m m ere e s r o see s r e e er a e o , a er e ee a s e rs o s e e a e , a s s e e m a e o re ere a re a o m se e o , e r o e s re o e e e , a r a o , e e o se e m . a e r e a ra e a a e a o e e e e r a er . re a e s s re o e a m m m mm m m m m m m m e ee r a ar a es a a a o a es a a s s r e e ss a , e a s e e e e a re . r e o ar a a , a e e o a e s a r a a e re s o a es . o e e a a e e er e , ee e e rea e, . er s ze e a e r . e s re a o o e o e e e e r ra e r s re e e s e a re ser e ar r e e ra ze s e a o a a o s e s s e e s er e res ra e ra e a s e e e a e a s r a a ra e e re re s o e e re re s . e o e e er s e o a ar e r e e e s a o , r re s a e ee - er s s e . a s a e re . a e s a ra a m ee s , . . s ca a a s o a a a rs . e ro a a as r ra a a ’ e re e a o rea s e re s e ee e m m m s e e ar r or e re s s o r a a e s e o a e e e re a s ra a e e s er o a s res ra . r r e a e . e o e era e . e re s se a e e , re s s e s e o ar se a s e res - er a o ze m m se re a a o - e or e re a a e a s e r ra er o e m e a a s a re s a s s a e m m . e e o e , , a e a e e e . as e a a a e ra e re e - ra e o sa a re a er a r e . a re o e e e a e r se a re a ra a r ra e e a e e re a mm m m m m m m m m m m m m m m m m m m m e s a a or , a er a . ra e a a mm m m mm m m mm e re s m a a a s a r e s e e e e e e re a s e s s e . re se e e e se e e e re re , ere THE ART OF PUB LIC S PE AKIN 4 52 G — mini n o y ndoc y do x i l in m in icco yding o y ol d nm ll il m u o of m v l ou civili ion ic bou m c f om y y o v by cc ing i O do oy do x l in o igin W n fol win lo of cd g m of lif b ck lo — fo m in ic foll o u x ci m m — m o f i n li ion c ll find ci n i di o j c id of c ion divid d in o c ool omb li ving fi g m of lif c mf omno l n o olding of on n ou g n ion c c ool n g m n dv nc d by o y c nno g i c o m comll d g i i comll d cc of oi oul d f fi if c g m of lif i l n no c u of ni tha t it is e the D a rw a the r er tha this the r , is a n is the a th r wh e see a t us an a al an h stor a nd p a not th s The a p e , a r to a n a nd y et the a p e is sti an ape the ar e s za t wh h we to essa r ; es e . . e s not es a p e ne ster r , h we er , a ep t th s for it e s not e p a the r of life he the Dar wer has tra e the er e a to the west r wh h it a p p ea rs a n d to w hi one st e e r se re a th tha re g a s for he s tha t s e t sts ffe r Th se who re e t the ea rea t a re e t two s h s, s e e e tha t the rst er e a e r a ther tha t it wa s the resul t sp ta e s p a et a n d thers h e e ra t Ea h s h a swers the a r u e ts a a e the ther a nd a s the a t a ree w th ea h ther , I a no t p e e to a re e w th e ther If I we re to a ep t one these the r es I w pe e we ca n ha se the er e of f th s p a et p re er the rst , fo r a nd g et it ou t i t S p a e w e c a n g e ss the rest the wa y a nd one ca n tra t us b ut we a ep t the tr e sp ta neou s e e ra t we a t e p a why S p ta e s e era t ea se to a ct a ter the rst e r w a s rea te GO a a s fa r a s w e a y , we a n t es a p e r the re a t e a ct a n d it is st a s e a s e to e e e tha t G o d for rea te an s a s he is a s to e e e tha t , ea rs a g o , He rea te a er e a nd e we it w th p we r to e e p i t a ll tha t w e se e to d a y I e t to the D a rw a the r , t re s e pr is p r e , e a se I ea r we sha se the ’ s a e s ess G s p rese e our we ep t st a Sp r t a the the r tha t thr h a ll the a es r e ha s t he the at s the e st e a n or S ha p e B u t there is a ther e t The D a rw a the r rep re se ts his p re se t p er e t the p era t a n a s rea h — er wh h the str the la w a t ess la w r w out h e the a nd If th s is the la w ou r e e ll off the wea p e t the , the h a i the re is a ny tha t ca n t r , we S ha a a s we s st t te the wa r t w a r the ea st p r p rt la w e ra ther tha ha tre is e I p re er to e e e tha t e e the la w e e How ca n ha tre b e the la w p p e t ha e e t whe s ha e a a e a s the at p r p rt e? ep a rte r tha t la w a n d a d p te the la w n ot a ep t the D a rw a the r I B ut , I rep ea t , wh l e I re er to it to re sha l n ot a t it ; I a rre w th h a e or e p a e the ster tha t it e s n ot s s e t e ap r r h a e a e e i t t h e h e s s I a r t h a t s e e p p p r hte us ? the ra e r ra e , b u t why sh ul the e st s the te st And y et I a e to th tha t it is one w th the Chr st a the ’ r , . . . , . no ion c con dic if cc doc in of on g n ion c nno x l in on n ou g n d f fi g c d b ck cn o c fo c iv ju y b li v c d b li v illion of y c d g of lif ndo d i o d v lo n o obj c ini n o y un il o conclu iv oof oduc d b c u f ll l o con ciou n of od nc in d ily lif if u cc oy o ug g no i i u l fo c ou c d lif of d d iny of n ion no obj c ion ini n o y n c ing n f c ion by o ion of of cil by ic ong c o d ki k i of d v lo n n if l ogic bind u n nd ll u n b ck d o d b in o o ion ub i u of l ov f b li v l ov n d of d v l o n d of d v l o n n n ion v dv nc d in o o ion y v d df o o d of l ov i do cc ini n o y l qu l i you bou only f ind you do olv y y of lif x l in u n og f o v cc d in o of c ing f o i cl o d i cl f ig n inclin d ink of qu ion i i in , mm m m , m . - m . m m , m m m m . m . . . m m mmm . . m mm . m m m m m APPENDICE S m m m m m m mm m m m m m m 4 53 m m i c nno dfo i c ou bi ini ion u c ion involv l ou c ng ic ligion o k n con inuing i cl li in i cl i b co ly u n b ing go l i of divin u oiy i cl i qu ion fo i cl Wo d n fi y k o ld do ny ing n do i o fo cl nc ily li d in o c o d fo i qu ion ic giv n o o ub l o v con id d l i c d n in n g iv fo i cl u o in i kno l dg of od l n u o n cl i v i d ny do fo i cl fo ly b c u do kno do find d cid c n don u u ou noug d cl ig v n d do ou nd of y f c con n ly l ning of xi nc of fo c ugg o ibili y oug fo c k o n y i i ic d l v y n f i nc y ig o d v c d d cnuy oi old of ond o king l c ici g kno n lig ning only f i invi ibl cu n g n d by d c in i on d in d i d do bidding of v n bl di n i i ul od oug c n bl d l ook oug b nc ic u o d un il c n ly xclud lig i cl o y iou n ny of ing i ic d l ly di f n i cul ou b of i o y iou n o conc ion i ly u ik u c ion i o y iou n i d c ion c k c nnu l d o i id co d u nd of l i ou o ing univ do u nd ov co of g vi ion v y v y i ov foo lif ig o ily ov co of o univ of n u l l o ld di u b d ci nc ug ny ing d conclud kno v ing lly g unkno n ic ill un x lo d ic v l nd oug inc v nc n go i ci nc di cl o d of c in y of univ ci nc r a ul s; His rth , r the t b e sep a ra te Chr st a e the ir a cu stra t s a n d His re s rre t His , a ll w r s 1n the hu a hea rt s a nd the ha e wh h His re ra E a te the e s a nd Chr st t ra e is a sp e 1 s str p t a e a nd His e e re es a h e a th r t ra e st s: C a n G od p e r r a e ra se s tw o The ” ” “ The rst is ea s to a n a nd , He wa t to ? ul ra e? a He wa ts th a e a w r ca n A G o d wh o c a n swer ira e s is e e ssa r w th it The p wer to p er r to B ut w ul G od wa nt to p er r the p w er to rea te i p e — st Of the i r c l e a a e P th s is the e st wh h ha s re I ha e s ere it the ess n lin e I a tr e The the e a t e To sa y tha t G od would not p er r to a swer re s p a s e a t a te w e e G ra a e is to a ss I ca n a to ha e I w ll not e tha t G od a nd p rp ses tha ra r e a se I e s p er r a e or a y p er on e e re e s it I it S O d ifli cul t to e e n ot w how or why He e n ow tha t I a not p re s s ea h d a y wha t G o d w a ts pt h to a tte p t to e a re wha t G o d ht ha e wa te to e sa s ea rs a g o The a t tha t w e a re sta t th th e e ste e ne w r es s ea r ests the p ss t r e s y et un n w a y Op e ra te thr h to u s a n d tha t G od ea e e r the ste r e s w th w h h w e d a y wa r e tha t a th is a s e e ssa r a s S ht Who w ul ha e re ite a e t r a g o the w er w r ty ? the st r e s tha t a re n ow t e e tr w the ht b ut to ea r it ; now , F or a es a n ha d e rre t is e e ra te a an a e a h e i th s s an a e w re a n d a e to a the pr s e an We a re e e a e to sp e se w th the w re a nd h r w r s thr h sp a e , a nd the X ra y ha s e a e u s to thr h e s wh h we re s p p se , t re e t to e e a ll S u sta , e is not re ster s tha a the ra ht The th s w th wh h a n now ea s—it is si p f ere t The re ster s tha ra Chr st is not a ny ther s irth — n or is the res rre t ep t it is s p nl e it ; of re ster the resu rre t Chr st s tha s whi h yr a ar ea h a a see ti e It is s et e s sa tha t G od ul not s sp e one His a ws w th erse , b ut t st p p the w e n ot s spe or ra e er er e the la w ta t d a y ? E er t e we e a t or t a we ht we te p ra r er e one the st ersal a t ra a ws a nd y et the w r 13 not st r e S e e ha s ta ht u s so a th s tha t w e a re te p te to e tha t we w e eryth b ut there is rea a rea t , re w wh h is st e p a nd tha t wh h we ha e ea r e ht to rea se our re ere e ra ther tha our e ts S e e s ha s se so e the a h er the e erse , b ut s e , , . m . mm . . m m m m m m mm m m mm m m m m m m m m m m m m m m m m m m m m m mm m m m m m m m m m m mm m m m m m m m m m m m m . . . ’ . . . , . - , - , - . - . . - . . . ART OF PUB LI C S PE AKIN THE 4 54 G v l d t u th g t c t—th c t of l if found in v ry bl d of g in v y in ct in v y bir d nd in v y ni l w ll in n S i thousan d y of co d d hi to y n d y t w know no o bout th c t of lif th n th y kn w in th b ginn ing W liv w p l n ; w n d y t in u f s; o nt ch ng u h op h v y co Ov nyon of u nd thi body will b co of lif l s cl y Wh t i it th t h ving w live nd h ving n t w of th c nd th civil i tion th cl od ? Th p og th w o k of n nd w o n wh h v which w n w b hol d y t ry of th ir wn liv n t y t solv d th u t w und t nd it b fo w t it ? If w An d u food fu d t t nything until w coul d und t nd th y t y of its g owth w w oul d di of t v tion B ut y t y do s n t both u s in th dinin g oo ; it i only in th chu ch th t it is a blin g b l ock stu ting l on so onths g n d w I w s p i c of w t uty I took o of th ds nd d i d th st u c k wi th it b nd foun d th t it w oul d quir o fi n d w igh d th ds t w igh p ound ; nd th n I pp li d th th ou nd l on On of th s d p ut into t th t fo ty p ound ti d b y th un nd oi t n d by th in th gr o und wh n w o wh ff it co t n d go s t w o k ; it g th s f o t k s its wn w ight hu nd d th ou nd ti n d fo cin g this tw tiny t const uc ts w t lon It t i l th ou gh r w o n nt th out id with cov rin g of g n ; in id th g n l y r of whit nd within th whit co of d nd it p ut d it c tt d ch n c p bl of continu ll th ou gh th ing th w o k of p odu ction Wh do th t littl dg t ndou p ow ? Wh do s it find it col o ing tt ? its t it coll ct it fl vo ing xt ct ? H w do it b u il d H w do l on ? Until you n xp l in w t l on do n t b w t u th t you n s t li its t th p ow of th Al ighty nd t h w H w oul d do it w oul d do I c nno t s y j u t wh t H xp l in th w t l on b ut I t it nd nj oy it o t univ s l of foods nd its us d t f o Th g g i th o y t iou th n n g g ? Wh n th b ginning b ut wh t is h it is n i p o t nt rticl of ch ndis ; h n n g g is f k t v lu in w k s ti b ut in tw w ks n d t oy its o h n b ing fo th f o it wh t n coul d n t find in it b ut w c nno t xp l in n g g t gg W W t h s b n u d f o th bi th of n ; w l n d ft g th t it is ly ixtu of g s bu t it h d b n u d f o i p ort nt th t w h v w t t drink th n th t it i f w kno w th t it i n t w t lik tory of infinit p ow E v y thing th t g o ws t ll ultitud with Why houl d I d ny th t di in h nd f d illions f d v y f w l o v s nd fi h s wh n I s hund d s of ha s n ot y et It is to b e e s a e m a es r o r a m s r m cs e , e s a es o a m m o e a r m m e er a a er e o a a e ers see r ere s m e a o e er re S ar e r a a e re ar s s a e a s e a e a e a a . a a es m r e a e e e, e a a e o ee o . . a e re a a er e ea r e a a se , a o er a . e a e ’ e re e a er r er r a a a a a e es o a er a er o , e e ee a e . s a r a a a e a or a a a , e e s er r se se e a r ee ee e e e e a er re ree es a r a r s, a e e see e er a a e ca e ea s s re s o ea , a es r ca e , e a er e e e or e . re a a er e e e o a ere m mm es ra a er re s e e a a e e , r s e r a o ere . er a e a s , ea e e ra s ree e a e a e v e s, r , r , a er e e ee s e e s a a as r e e e se o o a a e e e a re o s e s er r e see r e ca s e e e m m mm m m m m m m m m m m m mm m m e e a e ea e e s ca a o . e . e e e a e e , za s er e e e re a o m re a e s s a e e . a s a a re a s e oo s a ass ers a e, a es o e s ar - e re e re e e es e a a s e s r a a e a a e r a e a a , o e rs a a e a s a e a r e, e a e e sa s r r ar re a er a a m e ra e e se re e e er ea r s e a , a , r a o e , x e a . o see sa a e se . m m m m m m m m m m m m m m mm mm m ea e e a e re ss e e a ea er . . s e - . e re a e e e er a m m a s r se re mm mmm m m as a , e e e e , e a re s , o ea se re e a e e e o e o se re ra ss , e s a e rea e as ea r s e e a e r a a re a s e e e . , a r er a e a es , o r e o a e r re m e a er s o e e a ea e re s a e v ee e s a e re a e er e e . a e er 4 56 THE ART OF PU B LIC S PE m AKING m m m m m m m m mm n d o ibl o v b n ci o iy do of c f do of f of con ci nc f gov n n v b n o l d by illing l bo i f ll o ll bl i d i doc in do g d nyon g un cogni uni o n l if in co i on i obl i ic d l find oof d in i g of o in f c ou g o u cnui b n illing if n c y bl ing d ni d ig nj oy d by c il d n c il d n c il d n o ld ing dox v lif ll l o lo lif k ll find c ion id n u u l y giv n i o of i oy o liv only lv liv li l liv o nd dy giv lv dv nc n of ing g n lv find l g lif n y oul d v u nd d W nd ll illi g v x ion id n id W i u d n bn f co c v n u d n ly o ink in o n l g v il n lv in o i o li y i o li y by b ing ou lv by fo g ing ou lv in d vo ion ing l g n ou lv n d of b ng unn u l l n l n of lv ion in fc ony i u n n u und nd ci l ngu g l ov i in uf ing o ld do d onl y n of c ing i d on d only by o y by x i nc oy of lif c ing u ing d n n l d in o v y l ngu g v y ou c d e b y th se who ha e ee a e p ss h a s b ee willing t o sa r Free S p ee h , ree fi ce for p ster t the p ress , ree ree er s e e a nd e t ha e a ll ee do w on fo r those who were w to a r u nselfi shly for the r the w r she is th s tr e tha t We e w s S o w e e sta not re a r z e s h ow l e ss he re re a t e as a e is p rta t his e s w th w h h he w th the p r ea s par s tha t a e the a n wa s a e I his Crea t r pr h t the e t r es a n ha s the a t tha t thr ee w e e e ssa r , tha t ess s e to hi ht b e e to die , e re , his h re s h re a nd the w r his h “ He tha t sa eth his : e s ha The se e se it p a ra ” seth his e fo r it , ha s a n a p p li a nd he tha t y sa e sha e to it ; it is a n e p t at w er tha tha t s a l e Th se w ho e for the se es e h st r tt e e s , b ut rea to e the se es for the a a th se who sta e e t rea te r tha th s the se es a a r er e tha the one ha e s rre e re e e Ph s the w a e e p re ss p “ e a whe ha t he sa , e t e n th e to the sa e e e pr H ow p r e t a t rs of the ra e ha e b ee st en s e e ss ra e s , wh e now a nd the t a a few forg et the se es ” rta t We win rta t , n ot re t e er e s , b ut r ett rse es e t to th rse s a r er rse es tha ei an a t ra p a , the p a sa I ste a at is a a t re a s we e rsta w th h it S a r p er e t ha r a e Of e , a nd Chr st , s f er for t he w r , fi ce is the a ea s rea h the hea rt the Th s ca n b e a p te e p er e stra te n ot the r b ut e , fo r the st r e fer s , His s f s a nd His ea th ha s b ee His e , His tea h tra s a te t e er a a e a nd e er where it ha s t he the hea rt I were to p rese t a n a r e t r B ut a the not e ra t w th e s or ste r Chr st , I w I w e at e e t a s Ca r e e or w th the the r s hi s e t t e T h e F a t r h s e C st S Co p sp te a t tha t Chr st e , he p en cing w th the ts te p a te th s a t w th a t out tha t one t ee tha t to th se n ow He sa s tha t one ca n s e wa y it is re a te i rea Ae a er, Cae sa r or Na p e , a nd not ee tha t it a er ; b ut tha t w he one rea s tha t is a a tter p ers a n d how He e , he ee s tha t e a nd how He e Chr st tha t As s e h w there is a r tha t stre t hes r e to his s s he st e s the ha ra te r es ce r Chr st he e re e His p r t , His for ta v irt e s wh h sta out e e The a th r is rre t a th S p r t , a nd His a th ht a nd e , a nd Chr st p re se ts a n e a p e p rt s o s of his own s a nd r e e er his a n, p er e t m . m . m , , m ’ m m m m m m m mm m m m mm . . . m . m . m . m m m m . m m . . m m . m if going n gu n in f vo of divini y of i oul d b gin i i cl y y i o y of on n ould b gin n gi i on do in book n i l d c of i i undi u d f c i liv d oin c nno con l i f c i ou f ling in o l d o liv ng y d of l x nd of of ol on f l of on l conc n n d i liv d liv d di d f l o o co d c fo lif udi c c of i b co con ciou of in u ic nd in bol d li f uiy giving i i unf o bl l ov u o co c i n x l of u i y in oug lif con ci u i f c ion g i v d ov m m m m m m m m . . , m . m m , m mm . - . . APPE ND ICE S 57 m m m m m m m m m m m m m m m m mm m m m m m m m m m m m m m o co ing finds in p i tion in th f ct th t H w t p t d I n t u in ll p oint lik nd y t without in w hi ch n find ju t h lf w y of d t r ining f b u t th t If th h po th t u Chri ti n in wh th p i it of l n of Ch i t in p i within hi n n t d i t con fo hi lif o n ly t th p f ct x p l h i ind d foll ow ; if on th oth h nd h n t th p oof w hich th h t n t hi w h h u i y of i off f u nd y t C d y t p t b bo n g in o t difficult of ll th vi tu t cul tiv t i th fo giving Th n t i h i i R v ng n u l i u nt t t b t w t h i ; p y It h v n b n p op ul t w nt t g t v n with n n bo t of indictiv n ; it w onc in c ib d on n onu nt th t h h d p id both f i nd nd n i o th n h c iv d Thi w n t th p i it of Ch i t H t ught f h d nd in th t inco p bl p y which H l ft gi n od l f u p tition H d u will ingn t fo giv th u by which w fo giv n H n t onl y t ught y cl i fo giv n b ut H x p lifi d Hi t ching in Hi lif Wh n cut d Hi b ought Hi t th o t di g c ful wh p th o of ll d th Hi p i it of fo giv n o bov Hi uff ings y d F th fo giv th f th y know n t wh t nd H p th y do ! d Th w o ld h d B ut l ov i th fou nd tion of Ch i t c known lov b fo ; p nt h d lov d th i chil dr n nd childr n nts ; hu b nd h d l ov d th ir wiv nd wiv th i p th i nd fri nd h d l ov d f i nd ; b ut J u gv nw hu b nd ; d finition Of lov Hi l ov w wid th ; it li it w y coul d n t t v l b yond its f fl ung th t v n n n bounds Oth t ch ought t gul t th liv of th i fol l ow s by ul nd fo ul b ut Ch i t p l n w t p u ify th t n d th n t l v l ov t di ct th foo t t p h Wh t conclu ion i t b d wn f o th lif th t chings nd d in c p nt hop ; th d th of thi hi to ic figu ? R tu v B ibl lit tu ; with no wi th no knowl dg of l it cqu int nc with p hil o op h living with th w itin g of g d d wh n only bout thi ty y ol d H g th d di cip l bout Hi p o ul g t d high cod of o l th n th w o ld n d p ocl i h d v known b fo d Hi lf th M i h d i cl s f f w b i f onth nd H t ught nd p rfo th n w c ucifi d ; Hi di cip l w sc tt d nd ny of th di p ut d Hi u ction w p u t t d th ; Hi cl i d ni d nd Hi foll ow p cut d ; nd y t f o thi b ginning is ligion p d until hund d of ill ion h v t k n His n with v nc up on th i lip nd illion h v b n willing th t di th n u nd th f ith which H p ut into th ir H w h ll w h rts ccount f Hi ? H is th g t st f ct of hi to y ; h i On wh h s with inc sing p ow f r sh rt s, e as s a a e ss r s r r e a e . as e e e ss re a r e o s ee a r s e e s, a e as erse a a e e r e o er , a s ea e ss r e e e . o e e a e s se a as e o e e or r s e . s ra s s e or o a e s , ar a er e ss r e e ess e o s re . r r ’ a es e o r a , ra a ee r s e e e e r s e s a r s S “ s r r a e s, e e e a e e s o s a e as e r e s, o . a ra e e ra e a e s e e re ra as e ea se e s re e, re s . es e es a a o a e as a se a a s o r a s e ss e r se s e e ss re ea s o a . or o e s e e re e v e e e a a a e e rese , re e see v e a o . e e o a s ea r er e e ers , a s e r a o e or a a er e , r e a . e e res ea r as e s a e S r a a e ere a e s re e er S s r s s e e a re , a sse sse s e ess r ra ca ea er e o s e er e o a e s e a s s a e ar r ea s a a sa es ea a r er e e a m m as e o a o ea a S e re e ra s rea e re s o s a r e s a e r o e ea ar a a er S e era re r e ea rs a er a r ra s a erse s es s rre er s e re e e a s o a m r . s a a s res rre r sa es ess a a , s or e e s a e ere a e e r e e s s a se e ere ere a ra s or a e e r e e a e a ere e, e r . or re e s ere e as e e rs e ers er . re , s s re re , sa s e s e e m m m mm mm m m m m r ea a e a re e a es a e re r a e e s a s e e r a e r e e s e a e era mm , a e e , ra e ’ m re o r s e a o a e e r m s ra o o re e e es e se a e as a a , es r s r es , a e a, e s e m e e e as as m r s ea a e . r e e e rs s ea o e a e e ree e r e e s e a s e a a a a e er . ea r s a . a - er s e e so a re s a re r s a re e e e r e ’ s a a e e e a e ee e e re rea e e rea e er, o 4 58 A ART OF PU B LIC S PE KIN THE m mm G nin t n hund d y s oul d d th h rts th thoughts nd n nd H x rts o influ nc tod y th n v s of th h b fo Wh t think y of Christ ? It is i t b li v Hi divin th n t xp l in in ny oth w y wh t h s id nd did An d I h v g t f ith v n th n b fo inc I nd w s d th successful cont st which h v vi it d th O i nt nd witn ligions nd p hil o op hi s of C hr i ti nity i w ging g inst th e e v e e re “ a s e e e re s rea er e a a a a , e a a a e a o e a e e a m er e e a e re , e S e e e re a s . m . m m m m m m m m a e ea s er e sse a e , e er a r e ea ” a a a the E a st e e e e . s e e , a o e a a , a . e a ea r re e ee e nking y of i c n o c ing of in o ono cl d c ll d g c on good i n ou g ck o cy u d cnui b fo bi c d c ib d inc of c info c oy d o cy found i di ly foll o ing v ic fo go n v ic d cl of inc of c gov n n no i dd ll j u dg o l i ju ic i j u dg n b n ding of i f l of n ion occ ion lly gl oo il o o c d doc in n ion l k indi u of n c i y v i bi i inf ncy i uiy fin l y i d c y d d of gov n n u l gov n n of inc ing c bl dn gov n n of inc c on j u ic v oug of i o cy ny i du ing l y v lc d i ig n o of on ic l d b li v i fully n d ig c ll d inc of il i l in y co o o li d b ing c c individu l if c d n li d i l b ing c o ug o u ill d ny ig c ld nc of c o ld c of c v y v b oug c ny v b n od l oy d cu o v ou g uc i ic v l bo d cu l o ing find c n y bl go y l d b uy y l ik d o v nd vo d uc c i on y l g j o i y v f il d cu on y b n x i nc of o v b n in n ly ucc ful in fin nc y ll oy y n fi lf of i l iv y ng on y f o o l lf y ng k o f o g ing i on y y found c in n i lf o v vn c d on y find di cul y in g ing o l cc i on y kno of no b ndic ion of ic l k ning in i coun y n inc ing nd ncy c u i ni od of on y king ngu in noug a few ea rs a g o the Chr st as whi h was the I w a s thi a nd Hi wh se h r the d a y is a pp r a h e eb ra te “ ” e ssa e , Pea e ea rth , I re a e the w ll to en , a nd hts ra n b a to the p r p he the ttere e t r es y th re His rth , in whi h H e w as e a s the Pr es r e e Pea e r e e I re rea r T o re the p r p he and I y e a te w a erse wh h I had r tte —a erse the re ase His p ea e a nd wh h e a res tha t er e t end An d Isa a h a there sha ll b e s , tha t H e sha e His st e a nd w th e t I ha d ee re a p e p e w th s a nd the r se a n d a l at as a I ha d et a y s p her who p rea he the tr e tha t at s i e ph st ha e the r rth , the r a the r e e ss t v idu a ls , at r t a nd a l the r e a a nd ea th B ut here I re a a — e t tha t is to b e p erp e t a a er re a s er e t — the Pr e sse e ss the er e t e Of Pea e p ea e a n d a n d it is to rest st e I ha e th ht th s p r p he a r th s the e t es the a st few ea rs , a nd I h a e se e te e e e tha t I ht p re se t s e s wh h ea e to the rea s e tha t Chr st ha s ea r e the r ht to b e a e The Pr — re a n d re Pea c a t t e tha t w l the ea rs to e be a h ea rt , a pp e to Hi If he ca n r e a e t o ea h p h e e t h r t the a a nd His ree whe a p p e w l r p Pea e ? ea rth , w ho w e His r ht to b e a l e the Pri e e e h a r t t h a t r ea t r All the w r is in sea r h ea e e e e ; p s e e ha s s ht for p ea e , a n d eth a ha e ee the p to se re it e ha e th ht to p r ha se it w th r hes a nd S ha e a re re w e a th , h p to to se p ea e whe the e Of w ere a e to wha t the whe re the p ea se a nd e , the th se w ho ha e e re to p r ha se p e a e w th ea B ut wha t ha s e ar e ha e a e to se re the a r t e t s ess ee the e p er e e th se who ha e ee e a e? The a ll te the sa e st r , v iz , tha t the sp e t e r the rs a nd the rst ha to g et the r e s tr i e , a nd the a st ha ett the r tr i to e ep thers r e a he e r tha t the e h a e e h h a S e a e e t e r p t t o a e e e the p i t w here the t e tt ffi p p p the e th a the r at e ; a nd I etter i w a wa e e to s r t reas te th s tr tha the h to ze the e e eth I a sa s e a , m mm mm m m m . . - m , m m m . , , , m m . . m mm m m m m . . m m m m mm m m m mm m m . . m m m . m m - . m . 4 60 THE ART or PUB LIC S PE m m m m m m m m m m AKING i ort lity ! Wh will ti t th p c which b li f in futu lif h s b ought t th so owing hea rts of th sons of n ? Y u y t lk t th young bout d th nding ll f lif is full nd hop i t ong b ut p ch n t this doct in t the oth wh sta nd by th d th b d of h b b e t n wh h dow of grea t ffl iction Wh n I w s young i within th n I w ot t C ol on l Ing oll nd k d hi f his vi w s on o t lity His s c t y n w d th t th g t G d nd i infid l w n t t ho cop y of p ch of C l b ut ncl os d Ing oll s which cov d y qu tion I c nn d it with g n n d fo u nd th t h h d t hi lf bout foll ows p I do n t sa y th t th is no G d I i p ly s y I do n t know is no l if b yond th g v I i p ly I do n t y th t th y An d f o k d y lf I do n t kno w th t d y t this I h v th qu tion nd h v b n un b l t nsw it t y wn tis f ction h w coul d nyon find p l u in t king f o n hu h rt living f ith nd ub tituting th fo th cold nd ch les doct in I do n t know o t lity nd it w s w l co Ch i t g v u p oof of i u nc ltho it w oul d h dly n c ss y th t n houl d ri f o th d d t convinc u th t th g v is n t th nd T v y c t d thing G d h s giv n tongu th t p ocl i s futu lif If th F th d ign t tou ch with divin p ow th cold nd h rt of th b u i d co n nd t k it burst forth p ul l f o it p i on w ll will h l v n gl ct d in th rth th soul of n d in th i g of hi C to ? If h toop s t give t th o bu h who with d b l o o flo t up on th utu n th sw t nc of noth S p ringti will H fus b su th w o d s of ho p t th on of n wh n th f o ts of wint r co ? If tt ut nd in ni t th ch ng d by th fo c s of n tu into ultitu d of fo s n n v di will th i n suff nn ihil tion wh n it h s p id bri f p i l p i it of su vi it l ik oy l gu t t this t n nt of cl y ? N I notwith t nding hi p p nt p odig lity c t d th t H wh nothing without p urp os nd w t d n t ingl to in ll d p ov i ion f futu lif in which n s his c tion h s univ l l onging f i o t lity will find its li tion I s u th t w l iv g in I u th t w liv t d y c u d f w g ins of wh t th t h d slu b d In C i o I f o th n thi ty c nturi in n E gyp ti n to b As I l ooked t th into y ind If n of thos g ins thi s thou ght c h d b n p l nt d on th b nk s of th Nil th y ft it g w nd ll its l in l d sc nd nts h d b n p l nt d n d p l nt d f o th t ti until n w its p og ny w oul d t d y b suffi ci ntly nu ous t f d th t ing illions of th wo l d An unb ok n ch in of lif conn cts th li st g ins of wh t with th g ins sib le n th t w h in g in of w t invi w nd h s t h T i p And re a e s s r a e as a e, ’ e rs e ss o ere a a sa o a a es a a o , a s r se m s a see ra o s e e as r a o ra e sa a eer a a e a e o e s o e a se e a a e . o e a a : sa r ar er s e, o e e . o . r a o mm m m m m m a a mm m ee as er re r ea e ea ” rea e er a a o a o a e o e o e a s m m ere r ea ere e a ar e s e ea s e, a r o e s e s a or e or se , e a o a o e , e o o m e s a . res a s e, r s es e a a or e a e ex ee e a a ra r . as e m ere ” o e ere a . e re a r a r er a m e a e o a ers a ea e - e e re a ea e a o ea . ea a , e o r a e e e e rr e a a a o o s o a e o s s r e a er a ss a a o e r a e e es o a e e e r a . a , a re e e . er a m mm se e ss r o ea s r s , a a e a ree ze , s, e se e r s e e s r e a e ea m a as ere e er a s o e er , a e re a S er a r a es a a , e rsa s a re mm m m m or a re a a r ee se a a a er a re a r a a e so e e e o e rea e s a s er e a r a re m m mm s a re ra e a a mm , e ea r . ere e za o - . ere e r re re a r . e ea a e e e a - ra er ea ra a a e o e a . ea r a e a ra ’ a e o e a . : ee rea e , e a a a e re a o, e ea ee a r e e e e e a a a a a rea re e e, a s o or a m m m mm m m r e e a e e e e e e e re r s e o ca , e a a e m o e, as e as e e a m m m m m m s a es a ee e s e e ea a e e e o ss a e e e e r a e a ea a r r r e e a rea mm m e a r s e, a or a e a e, e a rea e s a o, a o e e a e s e a a e a r a e s o a er a m m m m m r e r e ra m er e se , ee e o a ra e , APPENDICE S ing m f om c c o 46 1 m c d body f on body uc ik o ll fo o nvi ibl g of lif in g in of u ni i d oug ou nd u c ion doub oul o cl o i lf i body ui d i nc n ly f c u bl d n o du b li f in i o i y o y con ol in du l x o ful influ nc in b inging c b n c u y ink di bu di i l yi ld o iy ion do inju ic n ig bo n ci cu nc uc o cu i y f o d c ion if lly x c g in liv n lly i o o kno in d f o vil d d by f of n o do kno d in o u n vd if no o o d o u n d lib ly con ciou ly ong no v liv fo v in co ny on ong d v li l n lfi n l id b b li f in i o t lity u t x t p ow ful in flu nc p t in t bli hing ju tic b tw n n nd thu l ying th f und tion f p c Ag in Ch i t d v t b c ll d Th P inc of P c b c u H h giv n u u of g tn which p o ot p c Wh n Hi di cip l qu l d ong th lv t which houl d b g t t in th K ingdo of H v n H buk d th nd id L t hi wh woul d b chi f t ong you b th se v nt of u of g tn ; it l w y S vic i th h b n t u ; it i t u t d y nd it lw y will b t u th t h i g th o t of good An d h w thi old wo ld t t w h do w ill b t n fo d wh n thi t nd d of g tn b co th t nd d of v y l if ! N ly ll of u cont ov i nd b t g ow ut of th f ct th t w t ying t g t om thing f o ch oth —th will b p c wh n u i i t do o thing f ch oth i l g ly f o Ou n ities n d ni n iti — f u fot t g t uch p o ib l ut of th w o l d th will b p c wh n u nd vo i t p ut uch p o ibl into th wo l d Th hu n u of hu n lif i it inco ; th divin fl w—it u of lif i it outgo it nt ib u tion t th w l f of ll Ch i t l o l d th w y t p c by giving u fo ul f th lly d i d N t ll of tho wh h v p op g tion of t uth — t do good h v t h l oy d h i i n od C t t h n t ll Chri p ti n v n In th hi to y of th hu n c b ut tw thod h v b n u d Th fi t i th fo cibl n thod n d it has b o t f qu ntly A n h n id which h thinks p l oy d is go d ; h t ll hi n ighbo bout it nd th y do n t lik it tha t we se e , a nd whi h has p wer to dis a r the so h l e the Old one a new ea r th a nd a ir ashi r If this i s the ther e er tha t we a nn t te the one r e h whea t ca n th s p a ss u the ra p a re thr s , I shall not t tha t has sa res rre t three th y s i e x s te s t e t o t s n e w e whe r t t h e t s e t h a w w e o p st r e i t ra e ha s this ea rth n ot nl s es the div i a , b ut A e e rtal t e r etw ee e in it e erts a p wer p ea e If one a t a ll th s tha t an e s a s the r te div id ua ls re ea s l to the te p ta t to st e e e s, he w l sta e s a re s h as to p r ise r wh e the r to his e h B ut one rea e p e ts to eet a a se r t r ete t , he w th th se wh ws to d a y he is a nd e ete r a rse r ee s the ea r e dl ess re We re stra e e st re for u s or wha t p nish e ts not w wha t rew a r s a re the re w e re a y b e re ser e b ut ther it w ul be s e r s f o r o n w h o e e a te a nd s s wr n i h e t e s p re e r e the a ther to ha e to Of the p ers pa tt e ess a n d se sh e ss a a n d h a e his a re I wr e eth so m . m mm m m m m m m m m m m m m m m m mm m m m m m m . . . - , , . , . re ea e a , es a s s or rea e sa r : a as e “ s s a s e m r e r s ea e e e r . e o o e as r s a s e a a e a re a e e e e m m se ee s e e a r m o o re e a s ov er , s rs . e e e r a rs a se o a e a ra e e as a a e r e re ss s e e ar e s m e r m m r a e rea a o e or e es r e s a e o a s ee ea e a co s co o , e, r s as s a mm m mm r e e es e s a m mm m r s e r e s a s o e as e e s a r se os o re s r a e o s ea a e s e ss m m m s . r e rs e s a e m e r s ess r o a s e . . . s e a e . e o a s e e a o r ea e e ss rea o ea s a ar e r ea re r o s e r e rea se o e re , a e a a re e as a e a a as e e ea r e e e es o r e as e o es es . e a re a a se e a a ea r ea a , e e e s m m m m m o a m a - s s a e . e r o ea r e re er r e e ea s e e e er or ea s e o ea e a r e ss e e m m m e a o e e e rea a rre e er a s m m m re es er e r r o s ra ar a s e e re a e s e o m a e er e a e e er r o ea s es a ee es es s s s m s a s ee e e ser e e e . r s , as a e ea a e r a e e o e . 4 62 THE ART OF PUB LIC S PE AKING m m m m m m m m m m m mm m m m mm m m m m — m m m m m m m m m m m m i k hi ng y ; h think it w oul d b u ch b tt f r if th y w oul d lik it nd i ing club h tt p t t k th lik it B ut n t oubl bout this rul is th t it n st rts u t t co p l hi n ighbo w o k both w y ; wh n h do s h g n lly find th will ing t cc p t th t think ch ll ng nd th y p nd uch ti in t yin g t co c ch oth th t th y h v no ti l ft t do ch ot h good i th B ib l p l n B n t ov co Th o th Of vil b u t il with good An d th ov co w y of ov i no oth —I g t o c dit f r n t co ing vil I uch of f ing th n I d rv nd y littl f c iv o y f dv rti ing th n it i ntitl d t B ut I f nough t know th t if I ut down w d th y will p ing up g in ; nd f nough t know th t if I p l nt o thing th which o vit lity th n th w d I h ll n t only g t id of th h con ta nt cutting b u t h v th b n fit Of th c op b id s In o d th t th ight b no i t k in Hi p l n Of p p g ting th t uth Ch i t w nt into d t il n d l id p h is up on th v lu of x p l S O l iv th t oth ing you good con t in d t gl o ify you F th which i in wo k y b Th i no hu n influ nc good s H v n p o t nt f n up ight l if on y b th t which go ut f o A n w d ; th gu nt p nt d in p ch y b di p ut d — n h t n nw bl b u t no C i i n l if it i th un n w gu nt in f vo of u ligion — It l ow p oc s thi conv ion of th w o l d by th y b — of nobl x p l bu t it is th only su n sil nt infl u nc t n tion w ll t in dividu l Th nd th doc t in p p li G o p l of th P inc of P c g iv s u th onl y hOp th t th — nd it i n inc ing hop — f th ub titution of wo ld h on f th bit nt of fo c in th ttl nt of int n An d u n tion o ught n t t w it f oth ti n l di p u t n tion —it ought t t ke th l d nd p ov it f ith in th o nip ot nc of t uth giv n u fund nt l th t it B u t Ch i t h p l tfo t t ll t W l i d u cc f ull y con ov i in d t n b pp t v l ing l ong in p l tfo ; w tt nd conv ntions o ti di t nc ; w h v w o dy w ov th p h ol ogy of v rious h t t s l n k n g n c i n c u n w t h d t w g p p Th p l tfo ndo nt of th p l tfo giv n t th p o ll o f ching nd t th w o l d by Th P inc of P c i o co p h n iv th n ny p l tfo v w itt n by th con Wh n H cond ns d into nti n of ny p ty in ny co u nt y co nd nt tho of th t n which l t t n s duty n Thou h lt to w d hi f ll ow s n d n j oin d up on u th rul l ov thy n ighbo nt d p l n f th olu H p thy lf tion of ll th p ob l oci ty ft th t n w y h t t h d t di ll i o on of t ri Oth r y p p p y Th s the es a e e a e e s r as o a s a e e er m m m m m m s er e a . c e a r s er ea r e e a e ” e e ere a m m ar e a e a s r e as re a s or o s a m a e e r s e o m ea o e . ro a a r s er or e a se r . ee s a as see a a e e a ers e e e s e s e ra ca r r s as e a s as e as e s e e e a s o e se a e o e ea a a r m e s o r e a re o . e a e s er e o r e s a s a e s, rse o r re o e re o e s e e r s a ea r e e r a r e es e se s o a a a e re a e re se v ex s a e or e, e e s a o “ or e ’ a a e s erea a e e s or a a e e e e e e a - r er r a r rea re e re se a e s e e e re s e e ra o . s , a s . e ” es a e a a e ra se a e e e r as re e a e a re . e e es a a e ea r a s er e se e a r a e e . e a ar a se s a ar a e a e e se , a rs a e rs e s e r e so r o a e e e e v e e ss a a s a e e a es a e s r a er or a e e, . s e e e m m mm m m m m m m m m m m m mm m m m m e e , r e rea s r o a m e . s a a s a ra a s s e e es e e e so e e . es a e a es r a r es a ers r re se r s r o a e e a re ere e e es a a o er e o e r re r e ar a s a a re e re e e o s o a e e er a s r S e a r r e r e s fl e e e ee a e a s e e ar r s er re ar S a s a a e e s ra e ca s a e a . e e er e e er e o e s ar e . er a e a o rs e r e ea er ere a e ar o e a e, o ea a es o s o o ere . a a e e o a r o a s e o s e e e e r s , o s e re a m e e a , er e o so e a , e a ee a s a s o re r e ra s e a er e as e e se a a ar e a e e a . s e a r ” ar a a e e ev er , e e so se z , e o a e a , . e a e e e e a s e r a er se 464 THE ART OF PUB LIC S PE AKIN G m m kn ling in th c nt of th y d nd ng until na th y p th y w d vou d H w h lp l ss th y u ed d nd by v y hu n ul h w hop l ss w s th i c use ! And y t f w dec des th p ow r which th y invok d p ov d wi thin ighti th n th l gion of th nd th f ith in which p o t iu p h nt th y di d w ll th l nd It is s id th t thos ock t th i ufi ing s tu n d king th s lv s wh went t n nd k hi Wh t is it th t n nt into th h rt of th di ? Th y w g t conqu o s in th i d th di th n th y coul d h v b n h d th y p u ch d lif by u nd of th i f ith Wh t woul d h v b n th f t of th chu ch if th ly littl f ith ny of u Ch i ti ns Of Ch i sti n s h d h d t d y? And if th Ch i ti n of t d y h d th f ith Of th ty s h w l ong w oul d it b b fo th fulfil nt of th v y kn h ll b w nd v y tongu conf ? p op h cy th t — I gl d th t H wh i c ll d th P inc of P c wh n b ing p c t v y t oubl d h t nd who t ching nd n b tw n n will b ing p c b tw n p lifi d in l if co un ity nd co unity b tw n S t t nd S t t b tw n n tion nd n tion th oughout th w o l d— I gl d th t H b ing cou g s w ll p c th t tho wh foll ow Hi y ch d y b v ly do th duti th t t th t d y f ll t k up n d o nd o h A th Ch i sti n g ow o l d pp ci t s ti fi th l onging of th with which Ch i t th co p l t n h t c which h nj oy nd f th nd g t ful f th p ngth which h h c iv d h p t th w o d f th g t st chol S i Will i Jon B fo y tic lt h v nly t uth thy nhood I kn lt in youth I kn l in kn l till thi dull fo d c y Thu l t l t h d b b ight n d by thy y And l if e ee e m e re m r a a ca a e as ese a a a m o a e r a e ere ee a ee as a r s , e a a ea a e r ra ea e r e , a a r e so e er s or e m mm m a s re e r s e e e ss e o ca a a se e es re s sa e e , e ee e, e ee e a a a o a es e s e or s a e e s o r e . re re a a e ea s a a o a m m m mm m m s , exe ea a r a e a a a e a e re , ea e e a r, a ee s er a rea e x e es : a re m e a ea e e ee r s e e ea ra a re a r, e , a re m e as e ra e , ee r s e se e e e ss e e ea r ea ea r e r er a r a rre r o e ea r ea a - e r e a a m s m m a e e r a s e r a e r a s , e a e e e a r a e a e a se a o a s o er e, a ee s e, o e e a er e e m m m m er e r a as e m o e a r s a e e e as r a a r a e r ea s , a . ea a e sa a e rea er e a e re e , e r a e o m m m r er er e ar s e a - a a e e e er r a . a r e r s see a m o er a e e e e r e e ’ a o e ra e e e s e e , e e m m as o e o e, e a e o a e er e a re . r a a e re e er e er e a e ee ’ e s ea m e as , s , as r e S e a RUF US r , e a r e , , ra e e . CHOA TE GY OF WEB S TE R D liv d t D rt ou th Coll g July 27 1853 nt of n i p iv cha ct r W b t r p ossess d th l in p iring g d tru t nd d i tion n t un ingl d with lov ch uch s b l ongs only t It h d I think intrin ic lly In its co bin tion with s good nobl nd b utiful n tu u ch f uch fo c of will nd uch int ll ct it fill d cin t d th i gin tion nd h t It w fi t n t nd f in chil dhood nd youth nd it w s o th n v r in th f w l t onths of hi l ong lif It is th univ s l t ti ony th t nts in l g t u hono l ov Ob d nc ; h g v t hi p E UL O m m m mm m m m m m mm m m m m e re e e s e s , s , a e r e e , a e o s a re , ea r re ea s . a e er a e re , e e so r, e , ec 1o so e es e, e . o as a e , o a a a a r es e e e a s a . ra e e . a a e s re , a a e re ss o , ar a a a a as ra . , a e a ea e , so as e e a s e, a a e , , a ar e, e a e re a a 1e a e e a e APPENDICE S 46 5 m co d m mndb o m d duc m m l c of m on of old l ov kind d of qu lly b u i ul f i nd W n m ccu d of lfi n col d n u c l m ly ng l l g i ou of boy ood con ing i ki l d ling d of bo o d com d dm d ciou iv l g du c ion cou g ou ly l di g m c u of bo b o in o ning v iling by i di c ning c ion of m o u nding udi of g ing d d c i g c ool n mn n bol lf of v il g m lv of o o uni y ic l c d i in i c l oving oug lif m ou ing m n d d i lov m o o v y ond f ing o o of om n ll u b nd f of livi g of ly d d f i nd cou l o of m ny y go m full liquid fu ion of o d g ly o i iv f i lf c ic d fi n ic fo d b con c lc d fi g oo co ng a pp r p r a te the rst ea s wh h he ul co tha t he ea er a to rel e e the a ther r the e ts tra te to e a te his r ther a n d h se ; tha t he se e te his rst p a e p ro his i fessiona l p ra t e tha t he i ht s the the age . wa s his e Of a ll his re a nd a ll his s se se sh ess , a nd a r e he I hea r hi a , bad S ee p es s a ll ni ht , n ot w th i a t re , I re a l hi t tea rs h fe rr w th E ze e how the a r esire , th hea rts sh ul be itte to the p as se , a nd he , too , a s pr at s i e es Of e ra e the ; p re p ea n a se th r the rs the r the w se ; p re a s er a ffe t the ther s sp e his st a nd es ee s a n d tea h n s h to ea r the the la w , a nd re ister the se es ea s , for th , a a in the p p rt t wh h the p a re ta se sa crifi ce ha d p a e w th the r rea h ; e, rn hi ea , w th a h hi thr whe e a nd a the s rr w s rr w er w er ul , p a ss w a ; I re ca a ther the a nd the e a r ep a rte , the h s a n , the a ea rs a n d the r e nse r , the y hea rt r w s too a nd for the re ta t w r s e er r e His a fi ectiona te a t re ra ship , a s well a s the in dr e fi u se d tse thr h a ll hi s p r a te , di p rese e to a ll his h sp ta t e s , e, a e s er t n e ss to his ey e his ha a e his rea t e ss a n d wa r th to the p re ss re , the se e s to the p a e ss h h eni s e we ou t ra e ul e r es ul e the p a st or the ea Of a nd p r ise to b e ha p p a e e ts whe i e wa s te t n ow hi e er s s e t h es his r a s the h h e the ha ul e a rth — h rs p a sse t ea rs a g o w th rea t t the a th rs , re a e for the e r a e s wh h the a e y to ersa ti e a nd re e th e s ul And r these s — — r e sh p , an an we t a wa to re Ol d or ll s i e e er one w r r a e es s o n e a a , on e p ht , one e st on e t a st e e M p ure th s , the rea t the p r ress e th s a s rt e , , p a tr t s , an s e ss , or te e , or on e t ast r hte p era E tf ea a . , - , . n u c ving v f i nd nc of k d bl ood i lf oug iv lif g v inc i y o i li i kind u of nd d g n g u unb nd lv l yfuln of c il d ood flo d in g c f o i ind g d of d d incid n nlf young o d y —g v g n ou k c of iv l ig con n ion dd n by ndf of ou d fif y y i g u o c ll d v n l o ion ic n d liv v l in o fo conv on of f i nd i no no young n y b o d of of n n u ion of nd lic cy ou g unb li ving ugg ion doub c on li y of vi u of io i of n u i of og — of doub c on ig ou n nc judg nt t co I h v l n d by vid nc th o t di ct nd ti f cto y th t in th l t onth of his lif th whol ff ction t n s of hi n tu —his con id hi g ntl n hi d ir tion of o th — t k th h p p y nd t th h ppy d t co u t in o nd o b utiful n d h bitu l xp ions th n v b fo f lt t b don ; Th l ong d y p ublic t k w th c un c t inti s th nt l conflict of high p l c s th w nd d ; nd h c cov hi lf f th f w ho t which h y ight till xp ct w oul d b his b fo h shoul d go h nc t b h no o d nd dul y And th I assu , m m m m mm , , , , - mm m m m mm m m m m m m m m mm m m m m m m m m m m m m . , , , e o e a ea r a s o e a . e e s e a e er e e re a re ere e e e er a e e e o e o se e ’ e a s ere e as e e e . a s ere o re ere , e a e e s a e ss , s e es e se e e e a e o e a or re re e o ress e er a r es s a e e re e sa a see a s , e a a ea a a ea rs e e . , re s e rs, a re a e a e e, era a re s e e e s as re o e e e e a e, e 6 6 4 THE ART OF PUB LIC S PE m AKING m m b li v no unb co ing g ts p u u d hi ; no di cont nt d xp ct tion unfulfill d ; no lf p o ch f inj u stic suff nyt hing don nything o itt d by hi lf ; no i it tion f no p vi hn s unw o thy of hi nobl n tu ; b ut in t d l ov hi co u nt y wh n h b c th ub j ct of con f nd h op v s tion nd f ll ound hi th d t nd o t indif ll b thing thing bout hi th ov fl ow of th f nt f nd b n vol nc — kind t h t g owing in g ntl n p t n l ing t b co o natu l w p t i ch l ff ction s unic tiv v y hou S oft nd y t b ight g w nd co n d th l ys ky of p ting d y ; t l ing ing th tint on th o v n th n th gl o i of noon nnounc d h w d ivin w ou ce f o which th y p oc d d ; h w inc p bl t b th on o ning which no night houl d u n h d ; h w c rt in t ri e e e e, or e ere e or re es s ee er a , ere es a m m m a a a r ar e s e re e , e a a e see e e a e a re s r er m e e e a r es a m a e e e a ra m er a ar , r as e e , er e e , s re er a . a e a e e r a s ea e , as , re - rr e s e e o se re ess a e ar e s e S a , e r ea r e e e se s a rea or a , ar or a a , s _ e s r s s a e r or e a ' e m m m m m mm e e or a or a rs re er er , re ra o , e , as m p m uc c c d lov d l ov d o kn in ou of c lm— o co d o — on of g n l ov d m l in n ig bo lov d m id n l id in g v l on om o ld m du c d young m l ov d m m ni of go l g n l in l ig nc of coun y m f l ov d m u y found in c m d by m i lion uc dul ion of o l m uc of m u ic ic ob ublic on of i lf m ny ni y i n o y om o l d m m l of y col d— oli y in g n v yy y c mn n m y c mn y l ov d m b y d nd b n u b nd bo f f i nd n ig bo — l in im l n u l g n ou o i b l l g n in l ov d li l c il d n v ci u bb on i u ion — i cl v un o mM o uly of n v n of g n v l d l ing of ngl nd m ig m id nc oul d c u c b l inging giv c oolboy olid y oul d b ing c il d n f omc ool old m f om c im n y co n g on m di d g un v iling l m n ion fi v ld d l c in of coun ym n i x o din y o of convic ion of o by c you v m m u v y of n of g n g in b gin by d m i ing gg g m d of xc ll nc ium o di ily d m d incom ibl ok i con um bil i y b nc x c ly cco ding m v y ound c non of ic b nc oug dd d ok i con um bili y ju y m x c ly cco ding v y ound c non o lly e e s r r Ollow o e c e , r e a se o a ee e o a a e r o e s . a e to b e e It wa s ha ra ter wa s e Th se a th se who its h r ew a n d sa w it ul rep se His p a e hi e tha t s t ree h rs e hi ; his ra e , How he w a s a a nd o ne sa e the , w he es en s! E a te e hi w r see The i sters te l e e the e era the sp e , the tr , the a sse s e hi Tr e , the ha d n ot his sp ee hes , a a r off l s , so h a at the p e p e ; so rea h re a s s wh h r s the p tse ; so a the p hra se s e ha d t the t a n d p h l a thr p ; a n d s he wa s Of hu a his rea t e ss ; b ut e e r t s ta r e a r the a nd ea re r to hi a n d a s the a e ea re r , the e ea rer a n d a , the hea r how te er the son ha d hi etter ; ee e the r the r , the a the r , the r e e h r ; tha t h s a , a nd , the r e a t ra e e s , h sp ta the hea rt e he wa s p a , s , p e tt e h re a r e r tha the b ra a nd re er ; tha t he the S r p t re s, the S a a th da y , the C st t t e n ce d G o d , a e t hi re tr a n d the la w a nd the r he a rts ar E a the rea t a a ht it b e hi tha e e “ set the h r h e ls r sa tha t his p res e e w a nd , a , w r h re r s h e s h s a h a nd r er , to a ze the h e hi ere he e en r rst re ea e a e ta t s the e ep The rea t a n d a a t i s t e s r a h a t h e h e a r h h e e d p ar You a re n ow to a d d to th s his e tra r in p we r ha e co t s thers sp e e h , a n d fl u en cin g the r l e s h i s rea t e s s A n d h e e a a e t t h s r e t h e a e d e , , p r re a te e e e e s a nd a e up I e a an a r H e S t h e w tr h s r n a e e a t e e , p p p r a s, a s h , a n d y et e a t to a te a t to the e e er e h ht to b e s ta ste a nd eth s , the a r , a nd a re sse s t to the a te a He S p e w th as a r to e e r s a tha t t ta , y et e a t S who h a . . . . . , , , - , . - . . . . . , 4 68 THE ART OF PU B LIC S PE m AKIN G m m m m m m m m m m m m m m m m m m m m m m m mmm m m m m m m m m m m m m m m m mm m mm m m m mm m m mm m m m m m m m m m m m m m m m m m m m m on wisdo g vity n d b uty ch ng d t th t up t con u t n th t l oqu nc —g nd id hu p ibl ; th liq uid i u u infi nitu gu th t Cic o p th tic t st t iu p h of ight h v cogni d ; th n in th st Opp o tu nity Of his nob l p o w S u ch l v tion bov hi s lf in cong s ion l d b t w s ost unco on S o uch th w in th g t di cu ion foll owing th ov l of th d p o its which Of x cu tiv p ow d th will n v fo g t nd so which t in th y wh h onl y B ut th w oth fi l ds of th t dition of h o to y on which und th influ nc of o unco on p rings of insp i tion h x p lifi d in till oth fo n l oqu nc in which I do n t know th t h h s h d up rio ong n ing s s by t ns Of thou nd in th op n i on th Add u g nt p olitic l qu tions of th d y d ign d t l d th dit tions of n hou d vot d t th b nc of so n tion l of so incid nt king th p og ss of th n tion nd lifting hi up t V i w of wh t is nd wh t i p st indi tinct v l tion of th gl o y th t li s in th futu a n d so of so g t hi to ic l n j u t bo n by th n tion t his — o b w h v l n d th t th n nd th t th b of B unk t th co n — ston nd g in wh n f o th Hill b fo w s l id fini h d colu n th c ntu i l ook d on hi ; in F n uil H ll ou ning f thos with whos S p ok n writt n l oqu nc of f do its ch h d oft n ound d ; on th Rock of th C p itol of which th Ply o uth ; b fo h ll n t b n noth b fo hi o y h ll h v c s d t liv ston l f t on —in u ch s c n s unf tt d by th l w of fo n ic p li nt y d b t ul titu d s uncount d lifting up th i y t g t hi to ic l c n of A ic ound ; ll sy bols hi ; o of h gl o y nd t nd p ow nd fo tun th ; voic s of th h t h t n n u d s b c k oning f o f u u t n t n h t u ; p p — th t o ti ighty int ll ct bo n up w d t h ight se n n ill u in tion which w sh ll no o n d kindl d t in n in t nt p ictu of vi ion w ning w ou ght u t s it w s of th n tion ; th cont sts Of its s ; p diction ; th p og otiv s t p trioti ; th xi s n d th h oic d ths ; th d nd y b rt i p i l b y which th gl o ry h s b n g th t f d o nl y h ight n d—w ou ght ut in n inst nt p ictu co d of u ind h ll di wh n ll ins of his o tory it is triking In l oo king ov th p u b l ic t nd k h w v n in th t ost sob nd siv und t ing nd n tu you g th d nd xp ss d th ch ct istic nti nts nd th p ing ti of u A ric It is th st ong ol d k which sc nds b fo you ; y t u soil u h v n fl ow th t coul d g ow tt t d in it s p f c tly s if it w L t in no oth cl i t nd in no oth hou of th y d y inst nc in n thing onl y It is p culi ity of so schools re a s a e rr , s e a a e e ea rers ra r ra e e , e a a , s rea e e a re e re e ea r e r e or e s e s er as e rea r a r o s a e r ar se o , e oa e a es e er a e a re ere a e e e es o e o o a e see re , s ar , ra e a ere a a re a , e ra ra e a o a e e e o ere a r er a e e a a ra , er ar er r e . r e ers a e e e s , as re r o re . e r e a . a a e ar re , a a a e a e a o e , o or ar er a a ss er e a S a a se e a e ee e e s a e o a e o , e ea e s re a a o e e a a , e a e r e e ere e , a e re , a a e e r o er o re e s a e o a e re s r e r a er e a ar a r re a e re , o e re r , a se e a er a a e s a es e e e e a e er a e s s e e r e e ea er e e a ’ or res er a a r e re re a e s e ere , r ere s a a , e e a o e e a e ea ra e , a a a , e e re r s es e a o a e . e e ere , a e s a r e a r, a , e e e e r a s e e e e s e re e e ar e a a , ea r s e a e, o , e e e ar e so er a e e re a , r a es re e e es s, a e e ar ree s s re s e a r es ss er r or , a S ar a a e, s e e e e e e r a e, e ere s o e er , er e a s a e a a rea a , er e a e e ra re e a , er e ra re e e e a r e a o a or s e e s ra a e s , e a e , r sa r or e ra , a e a a e re es a e e re e a r e ere ere a a se re s e e s a , e o ress r . er , e a s er e e o . e s ea r o e er e e er er e e ra a e . e a e e e e a e ze r e ea e a e e re a a , ra re s a , e a ra , , o r ea e a re r a ea r or , a e . e 4 69 APPE NDICE S m m m mm of l oqu nc th t th y body nd utt n t ly th indi vidu l g niu nd ch ct of th p k b ut n tion l con — u n n tion l ood hop d d d p i in which you li t n t th Th p ok n hi to y of th ti n i t loqu nc Of n xp i ing n tion uch dd n th glo iou p ch of D o th n ; uch s b th g nd nd gl oo y f o vi ion of th p op h ts of th l t d y of I l nd Jud h ; uch g v p ll t th xp ion of G tt n nd of K o uth—th w t t n o t ou nful o t wful of th wo d which y — tt u which n l oqu nc of p i hing th y h n tion Th i noth l oqu nc in which th n tion l con ciou n of youn g n w d nd v t t ngth of t u t in d ling c t in nd li itl futu n inw d glo ying in vic to i y t ound ut by voic Of cl ion ch ll nging t con t b w n of th ; uch th t in which th t t f th high t p i l d of I l in it fi t d y hold up t th n w n tion th L nd of P o i ; u ch th t which in th gin d w ll i c tt d by Livy ov th hi to y of th j tic p ch i of victo i n con ciou n of g owing p k th Ro gg ndi nt which hould ub j ct th w o l d ; uch th t t th t ib un of h volution in th bull tin th ough which i ing oldi F nc tol d t th wo l d h d of h gf y An d of thi kind o wh t i ou —c h ful hop ful t u ting b fit youth nd p ing ; th loqu nc of t t b ginning t c nd t th fi t cl of p ow in nc nd con id tion n d con ciou of i t lf It i t no p u p o th t th y t ll y u it i in b d t t ; th t it p t k of og nc n d v nity ; th t t kn ow ding woul d n t know t u n tion l good b wh th th n tion i o l d young ; wh th th tid of b ing in th i fl w cou of th un b b ; wh th th inking lowly t t w i d with j ou n y of thou nd y ju t bounding f o th O i nt unb th d High l w th n tho of t t d t in th con ciou n of n tion High l w th n tho of t t d t in th g n l fo of th xp ion Of th t con ciou n L t th downw d g Of A ic find it o to nd p o t nd ti t t ct it p i it g c nd ooth it dying ; b it ou t go u p with W b t t th Rock th M onu nt th C p itol nd bid th di t nt g n tion h il ! Until th v nth d y of M ch 1850 I think it w oul d h v b n cco d d t hi by n hn t univ l ccl i gn l nd xp iv of p ofound nd int ll ig nt conviction nd of nthu i lov nd t u t v lut d con p icu ou t t s n hip t i d by ny c i of ff i in g t n tion git t d v by p ti s nd wholly f e e a sci o e e s a e s a e ss a a a e sa e e es rea s or a r a e ea r a a e ss a e e r S o e mm ee es s e er s a e , a a e o s a a s r e see e as a ere . s s s a e es e a r es a , as s s a e s , e a a . s a ere er e er a a o o e s , es se r e s ze er r s e rs , o a as e e a a e er e a re s or e m e e re s a r s as e a a ra e e er s ra s rs a o s a e s e se r a ee as e a s as e a er s , e e a e r e r a e , a s , a e as e r se s ree a . e r sa a rs ar a e r s S o e re e “ a a , s er a as e s s a e s rea a , a e e ra a e , s a e m . s r e a s a e ra e a ersa a m e ss , , er . o , os a s s ar sa e e rs e ar r e, a , e . e , e a re a s s e e s rea e e s a a o ress ar e ” a e ss s e , e ra e e e e er s m m m m m or e as e a r e , es e a a o e r , o m rsers a e se r es s er m m m ea r e , or se e er e se er a , era e e , e s e a e e s se a or s a e a m s s r , e, a o s o a er a rr rea e a e er a se r es as e , e a es s r e o ar a a o or m e er , e s a s ea rs , e e . e e r , eer ree e r s rs a ss se s s a r rs e s s s a o as e a e “ e ss r e r re o m m e a - e r e e a e s e o e e s e e m s s e ra s a es a zz e e m s a ess s a o e e r e s s ea s . as a s a s r ” s a as s er s r es , s a a r ar s as e , or a e re r o rs r ar ea r s se r es ra a s a , e r ze m m s a s re re , a es r ee as as sra e a e a e s o e er ea e e, ess or es e m or re a e a ee m mm , rea r r ra r er , s sra e re ss e s s s a s e a a e, a e e s er, ea a , ere o m m m a a mm e e ra as e e s o r e S era , a a e er , a er a ra s e s e a e THE ART OF PU B LIC S PE 4 70 ALB ERT J AS S AKING B E VE RIDGE . TY AROUND D l iv d T p o ry Ch i n of P og s iv N tion l C onv ntion Chic go Ill J u n 19 1 1 nobl r A ric W t nd f n undivid d W st nd f t nd f b o d lib ty full j ustic W Na tion W oci l b oth hood g inst v g individu lis t nd f ckl s c W t nd f n int llig nt coop tion in t d of t t f t i ion nd u u l h lp ful n s in t d of utu l t W p qu l ight s f ct of lif inst d of h t d W t nd f c tch w o d of p olitic W st nd f th rul of th p op l as ningl s p t ns W t nd f p ctic l truth in st d of nt tiv gov n nt th t p nt th p op l W p b ttl f th ctu l ights of n T c y ut u p incip l s w h v p l in p og of con st u ctiv fo W n t t down only th t which i w ong nd ut of d t ; n d wh w t down w nt buil d wh t i right nd fitt d t th ti W h k n t th c ll of th p nt W nt k l w s fi t condition s th y nd t th n ds of th p op l wh on th t d y Th t w y do thi w fou nd p ty th o u gh which ll wh b li v with u n w o k wi th u ; th w d cl u ll gi nc t th p ty which th p op l th lv s h v found d F this p ty co s f o th g ss oo ts It h s g own f o th oil Of th p op l h d n c iti It h th vit l i ty of th p op l s t ong convictions Th p o p l h v w o k t b don nd u p ty i h t do th t w o k Abu will only idicul only h t n it g owth f l hood onl y t ngth n it sp d it victory F y thi s p ty h s b n fo ing P ti s xi t f th p op l ; n t th p op l f p ti s Y t f y d th p op l do th w o k of th p ti th p ol itici n h v in t d of th p rti doing th w o k Of th p op l — nd th Th p op l vot f n p rty nd p ol i tici n s wn th p ti s find th i hop tu n d t sh on th i lip ; nd th n t p unish i i t t y S O t t h t i n th t p ty th y vo t f th o th s p p victo i h v co t b l y th p op l s v ng nc ; nd lw y th c t p ow s h v p l y d th i g Lik oth f p op l o t of u s A ric ns iv p og ction y lib l con v tiv Th n ut l do n t count Y t t d y n ith Of th ol d p ti s i ith wholly n t t s d og iv o ll y c ion y oc ic o l i ici n h t D w p p offic k s y t ction ry D oc tic vot s th t th D oc tic p ty i ction ry nough t xp ction y vi w ; nd th y s y t p og iv D oc ts th t th D o c tic p ty i p og iv nough t xp p rog s iv vi ws P ROS PE RI P e . a re a ra e o a a rr o a r e a e e or e e e a ’ or a s s e a m a r m e rea ar e . re ss e m e s see ra a o e o a a e r er ere e er rea a re ss a e e e re ss m m m m e e . e a e e o e ra ress a o sa ar a ea a e . a re s e o er a a er e a re s m ar ress rea a e re ss r ra s e ra e e a ra o e e e e es ar a e ’ e ea rs or e or o e m e ar e e e . e o . e . m e a ar e ar r . e a m a e r e a re a o ar a r r r s e ser or e e e r s e, s re a ar s es r a se e e o a r e e . o r e , ar a - se ee or e e e . r e e e sa er e m m or e e or a ar - e o a e ra , o e . er re e er e e e e e e a re se a r a e e ar e r ar o a e a e s s o o m e as a e e e e . e e . ea ea r . es or m m ar er , r o e ra e ra e es e se re e r e a rs o e , r es ra e a es ar e a o e r r e e a ar or, a s a a as e or e e e re e . s ea or r s a s ra e . o a re e ess ar r e e e . ar , e a e s e r e a ’ e a e s r o s re r e a e s m m e e s e es e ar ar e s a r e o s ea r e o e s . ee ea ee a e e e e o e e s a a e a e . ea r e re e . e a a o a a rese re se ea e e o a e e . es . e ea s ca a e e e a e e r e re a a . ee e e a re re e e . a s ea e es ea m m m e e a or a a r s e a e . a es a e er sa s a r a o re a a re a a e r a er o a a , . or a s ea a or e e e a e r as a or s or r er e e, e s a . re s , m m mm m m m m m m m s a e rese a . era ea a a r , er e e r - r a a a e er r e s a . re a a r , or a or a e s a a s or a m ra e e s a . m m e or a a s a e a a e as ere e e e e e . ART OF PU B LIC S PE THE 4 72 AKING ci l int sts which suck th p op l s ub t nc Th y Th y u s b oth p rti s bi p ti n t h invi ibl gov n nt b hind u vi ibl gov n nt D oc tic nd b oth offic s of this hidd n p ow R p ub lic n boss s lik noth b fo tt r h w fi c ly th y p t nd t fight n N l ction th y wo k tog th ft l ction And cting s this i s t t t o l i ic l con i cy b l d l y u i l d f o u nd t t s p p nd th d d l w f th p op l s w lf o i y of nd n s r t p p n ct b d l w hurtful t th p op l s hon t b usin s nd v n t iv t hon st bu in ss nd o pp w lf nt which is th a l d ng r t It is this invi ibl gov n It c u d w o k t Chic g o in J un which ric n in titution s A bl t s w no o wick d th n its skill ful th p op l w n d l w ys which th p o p l n t bl t wo k v ywh o ious condition ul ts f o th unn tu l But n v n lign nt of th ol d p a ti s T d y w A ric ns p ol iti c lly sh tt d by s ction li Th o ugh th tw ol d p rti s nd n g th t g dy of u hi to y is continu d ; tg g p hi t d f o l p t of th R p ub l ic is oth p ts of th p R p ubl ic b y n ill ogic l p rti n solid rity n nd w o n g nuin ly p og siv nd Th S outh h oth ction y thos in oth p rt of ur s g nuin ly country Y t f w ll known sons th sinc nd h on t outh n p og iv s nd ction i s vot tog th in ingle iv n ction y Th y vot p ty which is n ith p og d d t dition nd l oc l f n t liv ing conviction nd n th D oc tic p ty b ut g inst ti n l f ith Th y vot n t f f o thi condition ; th R p u b lic n p ty Th y w n t t b f th y f o it th ough th N tion l P og iv p rty n b f ric which A f c t dy cono ic F th p ob l nd n tion l Th y h v t do with o j u t di tribution of n d th Th y conc n th l iving of th p o p l ; p o p ity fo th o di ct gov n nt of th p op l by th s lv th y ff ct th No th th Th y ff ct th S outh x ctly It i n tifici l n d d ng ous condition E t th W t outh n n nd wo n f o cting with th th t p v nts th no th n n nd w o n wh b li v th thing Y t ju t th t i wh t th ol d p ti s do p v nt N t onl y do thi s ut i— d t p ti nship ut ur N tion into tw g og p hic l ction ; it l o ob th N tion of a t of th o u ght in w o king u t u n tion l d tiny p ic l f ou f b rill i nt nd constru ctiv think Th S outh onc w nd t d y th ing on n tion l p ob l s S outh h inds s b ill i nt nd con t u ctiv s of Old B u t south n in t ll ct n n t f ly nd fully id in t of p olitics th olving of th N tion s p ob l b c u of p ti n ction li Thi i which h nothing t do with tho p obl s Y t th p obl s ca n b olv d onl y in t s of p olitics The se S pe m m sa ar - e e s e ee a er e s a es es m e m a a e re a ra ca ar s er ar a ra a e e e ca or a er s re e as re er a s e a es a e a r o a a a ree ’ a r as e s e a r s . o e e rea r e o see . ra a re a e eo ra ar e re s er a e a s o ere a m er a S ar . e ar ree r es e e a m ra a a a a , ar a a s o s , r m se . e , a e s e . s e r o o a a a a a as . er , e s ar sa m se a r e . es m . e e a s e a es e er . s so . ere r e r a m a e c o - a e e sa a s o e e . ar or s r e sa e s a e s er er e a re e a a e a e a a a e a - ress e e e a re m m s o re as a e , es e a - r a e e e a a a a o e m o e e o se a as e e e o s r a e ar e ess a sse e o a a e se e e a ra a er e o r er e e a s a . e e e o r rea e a e, e a e m m m m m m m m m m es o or e e s o o er e a o e a re e ea r , er e m s e e a . e . re a r r m or a ree . e m m ar r e a e a e e a e . re ss re e ar e r er e ’ . , re a e m m m a as e o o r rea - a e e a r re ss r ea a e r r a as ar e o a ra e e re e ea e a re r m a or a e sa a re a or , a e . o, e e se a e er a , re e . r e , o s e e e s e a er a a - e a e res m o . a m as . e e a ers a r r e e a r ra a e e o e as re ser e r s . m e r e a a ere s e ee , e a e o m e e a e e re a e s . er e er e m e s, a e o a re a a e a re e m e m o s a e . . , ’ a a re o e a e o e e s e o e s er er e e e e ress a e r e e s e e or a a re a e a e e er re e er a e m . er r e ra e e e r a s e a re a o e , r o e e a o a e e a e e e . e er ere a ’ . e e a ca e m m e se e se a r s e APPENDICE S m m mm m mm 4 73 mm m oot of th w ongs which hu t th p op l i th f ct th t — h t t h w o l gov n n b n t k n y f o t h th p p invisibl gov n nt h u u p d th p op l g ov n nt nt u t b giv n b ck t th p op l And Th i gov n of th P og iv p ty is t k u th ul th fi t p u p o of th p op l Th rul of th p op l n th t th p op l lv h ll no in t s w ll l ct ll c n did t f th including S n to s nd P id nt of th Unit d S t t Ofli Wh t p fi t th it th p op l if th y do onl y th l cting whil nt do s th no in ting ? th invi ib l gov n of th p op l ns th t wh n th p op l l gi l to s Th ul th p op l th lv l w which hu t th p op l ak y j ct it Th ul of th p op l n th t wh n th p op l l gi l to s fu t p l w which th p op l n d th p op l lv n th t wh n it Th rul Of th p op l th y p do n t do th p op l w o k w ll nd th p op l p l oy x ctly b u in s h on tly th p op l y di ch g th n w g l oy w h do n t do t h i w o k ll d n di ch p th p op l v nt n t Th p op l s offi ci l hon tly t th p op l W p og iv b li v in thi rul of th p op l th t th lv wn d tiny Wh know y d l with th i p op l th n ds w ll th p op l th lv ? Wh O th p op l i n o l ? h l ong i n ju t ? h W t t s t h W u fi w h p p g p olv th i wn p obl ? s wi t conc n th living of th p op l Y t Tod y th p ob l in th p nt st g of A ic n d v l op nt th p obl houl d n t xi t in thi count y F in ll th w o l d th i no l nd ich ou n f d hund d of illion Ou fi l d W h v o in l th n th whol of Eu op Inv ntion d y th tu ning of thi v t n tu l w lth into up h ll th n d of n n p odu c f On w o k tod y p li o th n tw nty w o k could p oduc c ntu y g o t d ing nd Th p op l living in thi l nd of gol d th ou c ful on th glob C o ing f o th h di t tock of v y n tion of th ol d wo ld th i v y hi to y in th n w w o l d h d A ic n p cul i p op l in cou g initi tiv lov Of ju tic nd ll th l nt of ind p nd nt ch ct And co p d with oth p op l w v y f w in nu b rs Th only nin ty ill ion of u c tt d ov contin nt G ny h ixty fi illion p ck d in count y v y uch ll th n T x s Th p op ul tion of G t B it in nd I l nd coul d b t down in C lifo ni n d till h v o th n nough oo f th p op ul tion of Holl nd If thi coun try w thickly p op l d B lgiu th o th n w oul d b tw lv hund d ill ion in t d of onl y nin ty on ill ion p within u bo d s SO w h v o th n nough t up p ly v y hu n b ing The e r ’ e s e er er e er e r rs e ” e m s se e e e se es s e . ro e e s e r e e e a e re e e r e se o e s a e es se e re r ’ es es e ’ e a ’ e s e s o m m m m a e so r as a re as e es e a e ee e e e a e er as a er e s e a a r . s s a as S er a a . ers e a a r e re e as e re o e r a r m m m e m m r a ’ e s e e a e s r e e es a e s, a o r e e a e r er e e s e es, e s s a s, s a ere e a a e a m s ea . ere a e o s e a e r e, e m m m m m m er . e e e . . er r a a e re a re a re a s e e e s a e, r a ar er a s a . . es a ra er e a re o e rea r a r e e s r ca ar ra s s s e s e . r e s m s a e e ea er r r m e . ere e ra a o e e se re e as s r ee S o e e e s es o so a e o . e or , a e se m e a as e , . re a m m m e e a ar e er s m e s a e ea e s ser e r e . or . r e as a a re . e se e e es s e v e - or e , a e er r er e m s ca e a r e . m r a re a es es e ’ e s a e e e ere a re s r s r a e s a e ee e e er e a , er s s m m m m m m e mm e r e e a es se e e s e e r e ra s e or a re re s rs e ea s a as er e s e e e e s ’ e e r o e e a m e s e e r o re se e a e r a s a re o so r e e o ea e e e se a e so e o s se o e o e ’ e e e e r . a ee a ar e ’ e es se e e es re ss r e e a s ers e s e e s ees e e o a e e . e e a r es e s a e e , e re e e . so e e a e e . e . a e e e m m m e s a a e e e e ea e s e e e, e ees e s e e e a ss a e e a ss a a a a e m mm m m m m m m . , e a s e m m e ea r s s e e e a re s e e ea as e e e a e e er e r a m m a a er e o e e a e s e e e ’ o ar e e r a e a e s e a e e e e e r ress a e, e a s r e a ee e a ce , m as e e r as e e r r e e rs er a e s THE ART OF PUB LIC S PE 4 74 m m m AKING m m ought n t t b in thi R p ublic ingl singl un p l oy d wo king n d y of b d b u in s A ric n b u in h oul d n v n know n unf d chil d nt f ; A r c n w o king ho u of unc t inty di cou g d y of l w w g s i dl n s w nt H ung n n v shoul d n v w lk in th s thinl y p op l d g d n of p l nty f vo which p ovid nc h And y t in p it of ll th ho w d up on u th living Of th p op l i th p obl of th Hund d of th ou nd of h d w o king A ic n find h ou it difficult t g t nough t l iv on Th v g inco of n A ic n l bo i l th n $500 y With thi h u t fu ni h food h lt nd cl othing f f ily W o n who nouri hing nd p ot ction shoul d b th fi t c of th S t t n t onl y d iv n into th ighty y of w g n b ut fo c d t w o k und unf ir nd d g ding condition Th ight of chil d t g ow into no l hu n b ing i c d ; nd y t whil ll nd p oo count i p ck d wi th p op l h v boli h d chil d l bo A ic n ill in f c t o i n d w t h op d t oying hund d of thou nd of A ic n chil d n in body in d nd oul At th n h v g p d fo tun s in thi count y ti g t th t th hu n ind c nn ot co p h nd th i gni tu d oun t in of w lth l g th n v n th t Th f l vi h w d which no n w oul d d ny t bu in i k g nius On th o th ic n bu in i unc t in nd un h nd A t dy co p d with th bu in Oi oth n tion A ic n b u in s n nd y t u th b t n d b v t in th w o l d bu in condition h p th i n gi nd chill th i cou g W h v no p n ncy in bu in ff i no u outl ook up on th b u in futu Thi u n ttl d t t of A ric n b u in li ing f th p op l th t g t n d continu p v nt it f o u count y s l oc tion v t w lth nd u p o p i ty w hich ll p op ul tion j u tifi W nt dy th condition W n n t only t k p o p ity t dy b ut t giv t th ny wh n it j u t h of th t p o p rity in t d of h lp ing th f w wh do n t n it t t k n unju t h iv otto is Th p og t P o i y o u nd k u n l iving i T h t p p f th h nd of hon t bu in t k t d nd co c ound nd t dy t p ot ct w o nhood v chil dhood nd to nhood—th th t k w ut th dignity of g Wh t th n i th p og s iv n w t th qu tion ? W bl t giv it S p cific lly nd conc t ly Th fi t wo k b fo u i th bu in i noth iv l of h on t b u in s F ing b u t th indu t i l nd t d ctiviti of ll th p op l M n g ow th p oduct of th fi l d ut ip ti b f o th fo t dig t l f o in f hion ll f hu n u c y th t th bn e the fl ag ea th a e m es er a e er a e er o a , e . r e m s a The re . e s , a a e e e a e es e e r a a S e , er e a i or e e s e e , s e e ss ra o e e s a o ea r or ar a r er . s e a e e m mm m m m m m m m m m m mm m m mm m m m m m m m m m m m m m m m m m m m m m mmm m m m m m S e s ere r o r a a s e a s e s rea e es s e ss e a e s a s ree o re er s e s a re a s a r e er . a , s e r o ra e . a ea as , e ss s a rea a a re e a . a e . e o o . r e e e a s er , , ese o ra e a er e sa e a e a a e a a o re ss r a o e e e . a e ss , s o ea r a e a re o o ea a re as e s s e . a a re a e ’ e S ” e er a a e r e s ea s o , or s a rs , s e es s ea e ss r s e e o e a s a e a e e a s a e e r , ar er se r e r es a e ss a s s e s e ss e se r s a er sa . e a e r e r es s ea o r s 0 s a re a ss es o ea es e es , s a r er er ra or z er ea r “ s . o e ss s re a a r er e s a e re r s a a e ss r s o er s e es e ar a s e s e e s er , a re e e a e a re a s, e re ea a re s s a r e a . a o er s a a re ra s e s a ar s ea o a r r es, er a ra e r r, rs e a a es r a e se re e s ar a a a a e e r , e s er e s a re e e re s - e a . s a s e e a s a . r e s , e e e o re a e sa so e ea o as e e . e a e a a r es a er r e a e, r era a r a re e r re ea r or a a re . a r er e a a o e e r - . a s e ar e s a e, s sa a er a e rs , - e e se e e ea r e ss r e s o s , a re e rer S , e sa e rs a e s re e se a S, _ . er e . re e , e s s , o s e e e rev m m m r e a e r s r e re s e a e a a e, s ra a e as e er es s , c a r e or e . s or m m m . es e a es e se o re e es a s r a e r e a er a r se , r rs ess e e s s e e . e re s a rr e m , o , 4 76 ART OF PUB LIC S PE THE m AKING n g d p op l co ct d th wh n ft y s th p op l d th out g di cov th nd t p v nt th p g It i t g t j u t u ch l w w ll t k p ff th of l w t co ct th t tu t books g n l l w s which will nd th g n l bus of big b u in t co up t u p olitic s inv t in f w c i in l int th t th nd k in both p a ti th t typ of p in p ow p ub l ic offi ci l n t h o l i ici n y n g d b ic n o l i ic t d w A t s p p p nd p B hind o tt n l w v nting ound l w t nd th co up t bo ; b hind th co up t bo t nd th obb int nding th p ow of p ill g t nd bl o t d t; n d co n g d It i thi con p i cy of il w u t ov th ow hu if w w oul d g t th hon t l w w n d It i thi invi ibl gov n nt w u t d t oy if w w oul d v A ic n in stituti n nd d th v y vils f o Oth n tions h v b u in uff by cl ly d fining b u in w ong doing n d which w th n king it c i in l off n p uni h bl by i p i on nt Y t th fo ign n tion ncou g big b u in it lf nd fo t ll h on st b u in s B u t th y do n t tol t di hon t b u in s littl big Wh t th n h ll w A ic n do ? Co on s n nd th xp i nc of th w o l d y th t w ought t k p th good big bu in do f u s n d top th w ong th t big bu in do s t u Y t w h v don ju t th o th thing W h v t u ck t big b u in it lf nd h v n t v n i d t t ik t th vil of big bu in N ly tw nty fi y s C ong g d l w t gov n A ic n bu in in th p nt ti p which P l i nt p d in th ign of King J s t gov rn E ngl i h b u in in th t ti F qu t of c ntu y th cou t h v t i d t k this l w wo k t in Y t du ing this v y ti t u t g w g nu b nd p ow th n in th whol hi to y of th w o l d b fo ; nd th i vil fl ou ish d unh ind d nd unch ck d Thes g t bu in conc n g w b c u n tu l l w d th g ow n d tifici l l w t w with n tu l l w coul d n t top vil g w f t th n th t u t th th i g o wth B u t th i lv b c u v ic nou i h d tho vil n d no l w of ny kind top p d v ic f o nou i hing th N is thi th w o st U nd th hifting in t p t tion of th n l w unc t inty nd f i chill ing th n gi of th Sh n A th S h g t body of h on t A ic n b u in n l w n w t nd no tw b u in n n ng th i utu l Thi is th ff i nd b u th t th y n t l w b k in hind nc t th i di t nd p n nt viv l of A n wi th ll ic n bu in s If G n E nglish bu in th i di dv n t g s co p d with u dv nt g w n cl d by u S h n l w s it t nd th y oon woul d b b nk ra e e e re s rre e e e es ra e e m m m m m m m m s o s a s e s as a e a , er ea r e , e e a ssa e . s rre o e as , e se a as e re o o ee e e e s a o e " e e se a r e s a r e es ar e ree er e s o m a a s re s e , es e . a e ss s a a ar s m e ss s or a m a rea r e r r es se a e a e m or a a m m a s a s, a rs a e s a er e r e ra a s sa o e a r r e e a e s r ra e a se e s a m re s a o e e rea e r r re e m e s e o e e a s o e s s r m m e . a a e o e a a s er e m m e ra e ss re se e a s re s s a a re r s e r s er . e er s e e o er . a re o a a , a ca - re a er a s or o s a . a rra a a e a re e a e e s, r a e a s a er e e e r a e a re e e s, a s . ess e es er s e rs a e re a e e e ss e ss e er s s a a . e S a er a e ea r a o re e r r es a r se e a s e es o s ar er a rea r a e m m m m m m m m m m m m m m m ar e , e e re a a ar a s a s m r s a e a e re e r e . s er a ea rs , e o s r e es s se a e . s er es e e ss s e e er ar a a e r e ss s m v e - e a ee . a a se a e e . r a s e e er er e r e r er a o m r m m m m er e a - s e s s r s e re e a e . er a a r er r m m a sse e e ea r . r r er s r o e a er o a s a e ra a e ess e ess e e e e ss s a sse se e se a s a s er s er s e er m m e s a s a s s a s a e ss e o er sa r a ra m e or e s e . e s a s , e a e s e . e ss o es se , e s, . e e s e a s . m sa e s sa er e a a s e e or m r e e ee e ea r a e se s e a e r a ev s a e e s e rs ra m e ss es , es a ss s a s s er s e es r e er a er e a se e . e a r rr es s e er a re s e r o o e se e e e a s es a rr ers e . e ra er a a a e s e a e a a ss rr ee ~ e e re s s a a s a a e e a e ra e a , ere e a a a APPE NDICE S m m m m 4 77 n d cl th t if th i cou nt i s upt Ind d fo ign bu in l w d ini t d th y coul d n t do bu in t ll h d u ch B y th d c of u cou t und th E v n thi i n t ll n l w th tw ighti t t u t on th h v ctu lly Sh b n lic n d in th p ctic l outcomt go on doing v y co m itt d Und th d c of th cou t w ong th y v till n n d T ob cco T u t i p ic un ju tly nd th Oil n i u Th y till dy h v don d tock nd w t l n th ottl oth Th y till u ly will do bu in m n nd C m S to Th y till th Unit d Cig p ny n w i doing n d thi u om nt indul ging in th t n co up t p ol itic p ctic ti d of thi ock b ttl with c i in l c p it l Th p op l b ut th y do w nt t g t Th y do n t w nt t hu t b u in om bout th t u t qu tion th t m ount t o thing don Wh t good do it do ny n t d in hi m o ning thing di olv d th Oil T u t nd th n th t th cou t h v p p d in hi v ning p p th t h u t th ft p y high il th n v b fo ? Wh t good do it do th hi p ic f l bo wh m ok hi p ip t b told th t th cou t h v di olv d th Tob cco T u t nd y t find th t h u t p y th m ho t w ight p ck g of m high th p ic f ul t Of th uit g in t tob cco ? Y t ll thi i th p ctic l t t t u t in th w o l d th tw g A ch os nd l g l p dox ic n bu in S u ch b u in fo l in th wo l d Riv l n n b foun d now h suff no tion do n t f t n l g l b ll n d ch in up on th i b u in Riv l n tion do n t t ll th i th y p ut wing on it flying f t bu in d with l giti t nt p i n th t if th y go fo w N o ! Riv l n tion t ll th p ntit nti y m y b th i go l n th t l ong th y do hon t bu in th i th i b u in gov n nt will n t hin d but will h lp th n th t if th y iv l n tion do t ll th i bu in B ut th do ny vil th t u bu in n do p i on b s w it th iv l n tion do t ll th i bu in m n th t if th y i u Th d tock ch t th p op l in ny w y p i on c ll will w t b th i h o J u t thi i wh t ll hon t A ic n bu in w nt ; ju t ic n bu in do n t w nt ; ju t thi i wh t di hon t A A ic n p op l p op o t h v ; j u t thi th thi s wh t th n tion l R p ublic n p l tfo m of 1908 p l dg d th p op l th t n d ju t thi i w woul d giv th d ini ; p o t nt p l dg th l ct d on th t p l tfo it u di d t ti n t p u di t d p o i di t t ifl p l dg th B oth th fo vit l t hon t A ic n bu in ss th ccom vil int t n P og s iv p ty will N ith p li h ckl d gogu s n w v u s f o u p u p os ; f r w f f o both nd f n ith r ee . s a m a a er e se , e so re e e a re e o e a es a er s e rea r rer a “ e ss es ” e e se m m m m s ers s ess ess s e e e r er s e a a ere ra e re a re a as er s ess e e r e ea m e r e s s s , e e e e e ess e re e r s ess a a - , e r e r se er a s e ess e r . e e m a a e a a e r s , s a e ss s ar e a a a e e a a s a r ar e e r s , so a o e e . ss e s a ea r er e re o a e s e s s a s s e a e a e e e e a as re a s m e e a s a e . er es s a s o r a , a e ca se r e ss es e s a e e ss s e s a r a ar a er e a e re re s a a e o er e a er es e a es a a a e s m m m r s a e a o ess e ss s e e s , m a es e e a s a a . e e s e er . s a ar e r so r a r s er r e s e e r . r r s m e e a e s es a s m . e o s a e - a a . ese re r a ra a a , e m m m m m m mm mm m m m m s s i e a a e a o m es s s a or s r e a a e r e a a a e ee o e e se r a a s e ese r a e ar e ss s e er re s a s a r s o es e re e se a e e s s r a e s e s erea e sa a a s a e e e a o rea a a . e e ra e s e e a as e o s s a a o or e s a ca r e r r re a m r s e e r s a rea es o er a er e a a s e e or a e sa e a s o er r s e ss so a er s s e ” e a e a re a ss e a a s o or e r s e a e e a e re a . er es s es a e ess , s r e a . s a e e a r o e a e a s re ea r er o s . e s s a r s, r e a ess a e ree s ss m m m m o s ra se r r e o e ca ca s r o rr er ca s e res e, . . e . ar e ra so e e r , r o s s r s s s r a o a e er e a ca ra a re e ree s es a a r ea e e o e e , . e a e s , e r a o e a a ee s s e e s ere so a , e ss s re , e . r e er . er o r e , e res s e r e o e or e 4 78 ART OF PUB LIC S PE THE AKIN G n bu in l on u book c m i l mic n bu n m y do y c nno do W mn m k bu in cl in d of m fog y— m k l inly ju ing c im in l m l f n nly ing c im in l l i on n nc c u ly uni l nd in d of m on y fin u nobody o l u m in m m m n n nd g fo und d of ou nd of b li n m ind b v ng g d in on bu in y c im nl ono bl m i o k m good b u in i R ublic u vc oy vn fo d mic n bu in m kno b ind you u o ing you ncou ging you o ov l of g o l und fo d m ic n b u in m f d full fi bn ic n m fu n c giv m loym n v y mic n l bo k ok fo d mic n bu in m c u m k of o ld ic n d kno on m ing of you com m c you c y lib y oug ou o ld v y in bi n of fo d mic n b u in m li in m com ll id of you id of nd o und d om b uil d d b n kn nx g bu in fo m m u v dil y m c iy c ng od of buil ng mic n oi m u kn of oli ic d b u in qu ion in d of oli ic l qu ion We to p u t n e w ea w ll te l A er s si e ss a a ws ess wha t the en whi h a n d wha t the ou r sta t te ca n s l a w s ea r stea sta t e to a e the st w ha t th s a re r a p a g a n d w ha t a re a w ul s And w e ea tha t the p e a t for th se te e s tha t a t a l r a sh a l b e p r s sh the rea p e es tha t h rt stea Off e er b u t the p e p e , st p a y the the en d wh o ea to s e the An d the w e e ssa e rth to h re s ril a t s a nd ra e hea rts e th sa s a e h est s e ss tha t the a re n ot r i a s b ut h ra e en in the r ak e s e ss in th s w r to ep S re Of i t r w e e e n ow sa y G o rwa r A er a s ess en a n d w s pp rt e ra tha t eh a re th e p w er a n d a pp r a the rea test p e p e er the sun G O rwa r A er a s ess en a n d ee the re s e ea th A e r a r a es ; a nd e e e t t o e er A er a a rer w ho p a s s for w r Go rwa r A er a en a n d s e ss a p t re for A er a tra e ; a n d t he the w r a r e ts w tha t r er e t he w s a rr e rt thr h t the h a ta t there rw a r A er a w r a n d t o e er GO s e ss en a n d rea z e tha t the ti e to e it sha be sa a s it is sa the ha e Peter s D tha t r e e tte r tha ew he he e e ss re s r we st ha e to stea in The e t rea t rea se A eth di er a e the p r sp er t is to ha st b e ta e ou r ta riffs The ta r ff ou t t s a n d trea te p t a to ea e . e ou r a s ess . , . , . , , , , , , , . , , . , , . , , ’ , , ’ . . as a stea e st e ss s as a t p est a m e a ea a Here . ofo w h v don ju t th oth thing Th t i why A ric n b u ines i up t v y f w y by unn c y t ifi up h v ls k n d by unc t inty in th p iods b tw n Th nd i w g t t n d of b u in i c t in ty ; but th onl y thing c rt in bout u t iff i un c t inty Wh t th n h ll w do t k u t ifi ch ng t ngth n bu in in t d of w k ning b u in ? Riv l p ot ctiv ta riff n tions h v n w d th t qu tion C o on n has n dt k th S h n l w od n N xt t u n w d it und t nd bl nd j u t u g t t fi c l n d i g nuin n nt non p ti n t riff co i ion p ea s t e ss n fig i g b u in u Fiv y w h t h h f t h s t g b gun in th S n t th bo s of both p rties w g in st w t rifi it w h n th l t S i ion of th t iff w s on nd co i ion ight h v b n w itt n into th t iff l w th d fo Wh n tw y l te ini t tion w oul d n t id th i th d ini t tion up p o t d it w kly th b i p rti n bo ss y t kill d it Th h s n t b n nd will n t b ny t riff inc nd h on to g t t fi rt by th ol d p ti nd i sion Th h s n t b n nd will n t b e ny sinc t re , e s s s s a a r a e e ss s m ers a er e a as a a e s , o, e m m m mm m e e o, s m s e e re a s . e e a e er e o o e ee m r . ea a a e re a ee ar ar e a - o e o a es sa a e a a a e a , ea rs o e e , re a a a a ar e s re e, e s rea a e , . sse s a er s a ee s a se a a e e e se rea e s r r a . a r e o a es s re a ess or a ere e ar r e o ss ee s es r e rev o . ere e a s ra s e e a e s ra a a as ss e sa e a o o , e . m m m m m m m m m es ee s ar - e . r ee e e s a o o er e . e ere ar e essa r er a o ea e a ea rs a e er a e . s s s e a a ere ess s a . ea rs e s , er er a s ea a e e e ar , s er e ee o s se ea es rea e e a r a m a co a e re a K G 480 THE ART OF PU B LIC S PE A IN m m m in th S inc en ct nt of sound t riff p olicy Th Prog es n ch ng th t riff s it ty onl y ust b ch ng d siv p s fo in th l ws of bu in ess th t Th s p l s of th w int nd t p ut on th N tion s st tut boo ks B ut th oth qu tion s i p o t nt n d p ssing th t w n t n w by ound nd hu n l ws Chil d l bo in f ctori s ill in s nd w t hop s u t b nd d throughout th ci g inst chil dhood b c us it R p ub lic S u ch l bo i g owth of no l nhood nd wo nhood It p v nts th is ci g in t th N tion b c us it p r v nts th g owth of a ns h o t of chil d n into st ong p ti ti n d int ll ig n t ci ti n Onl y th N tion top thi indu tri l vic Th S t tes c nn ot stop it Th S t t n v top p d ny n tion l w ong n d chil d l bo is n tion l w ong T l v it t th S t t l one i u nj u st t b u in ss ; f if so S t t stop it nd oth r S t tes do n t bu in n of th fo di dv nt g with t th b u in s n of th l tt b c us th y ust s ll in th s k t goods d by nhood l bo t nhood w g s in co p tition with goods d by chil dhood l bo t chil dhood w g s T l v it t th S t t i u nj u t t nhood l bo ; f chil dhood l bo in ny S t t l ow s nhood l bo in v ry St t b c u th p odu c t of c hil d h ood l bo in ny S t t nhood l bo in v y S t t Chil p t s with th p odu c t of d n w o k s t th l oo in S outh C olin ns b yon ts t th b t of n nd wo n wo k in M chus tts wh st ik f living w g L t th S t t s do wh t th y n nd o p ow t th i ; b u t l t th N tion do wh t it houl d n d cl n u fl g f o this st in M od n indu st i li n h s ch ng d th st tu s of w o n d o th Wo n n w w g n in f ctori s sto pl c s of toil In hou of l bo nd ll th p hy ic l conditions of in u t co p t with n And th y u t do du t i l ff o t th y it t l ow th n n c iv w g which in ost c s s w g n t nou gh f n w o k s t liv on a th wo n nd ind c nt It i un oci l nd un cono ic This is inhu o l nd unp t iotic T ow d w o n th P og s iv It i i W p op o t p th c hiv l y of th S t t p ty p ocl i nw g n by uit bl l w n x p l Of which t t wo is th ini u w g f w o n wo k s— w g which sh ll f r th b high nough t t l t b u y cl o thing food n d sh l t wo n toil Th c of th g d is n of th ost p p l x ing p obl s of od n lif H w is th wo king n with l s th n fi hund d doll s y ning p ow w ning as his nd wi th dv nc t p ovid f g d p nts oth l tiv s wn y s in ddition t furni hing food sh lt nd cl othing f his wif n d chil dr n ? Wh t is t b co of th f ily of th l boring n who s t ngth h s b n s p p d by x c ssiv e toil nd wh ere e e e a e s mm m s, e e e a r a s m m s e ar es or e e e a e e o ea or e o a es a e se e a e e r e re er r a o se o ea a o r r e er o r r a s a r ec a a m e ea r m a e a a r a a o e e s re e o a r o or a e s , a o a e ee m a e e e o ca a , s e re s a er a e , e s a e a s, a m m er a re a e a er e s or m e o r e er ro o e e a e e a a a re s se r e . r e e . , . e er e s e o e a . a . er a e . a e es e e e a ea r a ea a r e ea r, e, e a e a , e m e a e co a ssa , a e e o . ar a s e ea s e a e re ar . a re er s . or e er r m m m m m m m a . ers - o a er r e e r er a s - m a m e e e a a e e a r e e ea r e a e e a e re e r a e a a r e e a e a s a e o e a . a a a e e ese a ar e ers r a a or ra e a s es e s a e a a e a e a e ea r rs a re a a re . s r a e . e e a ers r a r a o ar e e r ar er e es a er re a e or e s e rea s s e r a a a r a e e a a a e a a a r e a r e m m m m a . e sa a s er . . o a s e ze a r e a a e a m m m m m m m m m mmm m m m mm m mmm m m a e, e a es e e , r a er a re a e a e a ea e a r a m m o e e e a e . r e e s e m e o a a c a a a . e er s er , a e a e ea r a o r a e a e a m e a s e a e . ere a re , _ re r e s . a ar a es e e a a . a , a ess e e r e e s m mm m m s , a a s e s o o e e a ca r a s r . e a a e a a s e . a ’ r s e a r s a re a e re a - r r a s a ea a e a a s a . re e r a a e a mm m m mm a s er e e es er a a o e s m e ca ar e e a re a a a e e m v e a e r re a or e e a e a o APPE NDICE S m 481 b n o n up on th indu t i l c p h p ? It i qu stion lk u t n w if w in titution t ju tify f y qu ion t which th of p op l ch in d body of d th And th y qu tion which oth nd t w oo n t ion n ing s p iv n th t A ic h ll nsw th Th W p og iv p ty i th h lp ing h nd t tho who viciou P og indu t i li h i d nd c ip p l d W e f th con v ou c ; b u t v n o w tion of u n tu l f th con v tion of hu n lif Ou fo t w t p ow nd in l v lu bl nd u t b v d f o th p oil ; b ut n n nd chil d n o v lu bl nd th y t utb wo th s v d f o p oil n n u ch cono ic B c u Wo p t of u nd oci l lif wo n u ch n houl d h v th voting t olv ll cono ic nd oci l p obl f V ot p ow th i tt n of n tu l ight lon ; vot wo n houl d b th i tt of p olitic l wi do l o f wo th y houl d h lp t n olv th l bo p obl ; A w g h oul d h lp t th y olv th t p ob p op ty ow n nd oth th y houl d h lp t olv ll the p obl l wiv ; An d th t th t conc n th ho n ll n tion l p ob l ; f th N tion bid t th fi id If it i id th t wo n c nn ot h lp d f nd th N tion in ti of w nd th fo th t th y houl d n t h lp t d t in th in ti of p c th n w i th t wo n N tion d tini n wh uff nd v in ti of conflict u ch c y u k t And th d p n w i th t tho wh b th th ir N tion oldi uch th N tion d f nd on Publ ic p ok n f th invi ibl gov n nt y th t ny of u fo uncon titution l Th kind of n id th thing of v y ff o t th N tion h d t nd n tion l B u t in v y c bu in th cou t t th b ll ot wh th box on th b ttl fi ld th vit lity of th Con titution w s vindic t d iv p ty b li v th t th C on titution i living Th P og g owth t ngth ning with th thing g owing wi th th p op l t ngth iding th p op l in th i t uggl f lif p op l l ib ty nd th p u uit of h pp in ittin g th p opl t p condition ch ng Th Op p o ition b t ll th i n d li hol ding b ck th d d fo th t th C on titu tion i g owt h h ckl ing th p op l t ngth b ut giving p op l f h nd t lign p ow th t p y up on th p op l Th fi t nd th y d cl w o d of th C on titution W th p op l th t th C on titution i t fo p f ct Union n d pu p o l w lf t p o ot th g n TO do ju t th t i th v y h t of th p og iv c u has ee thr w i e these we e st The a re s s a s s r a s ra m m er e a re o ea a o e a re e . o s s e a re e es s e s re e a sse s e s ea as e a s . er a m m m m mm m mm m m m m mm m mmmm mm m m m m m mm mm mm m m m m m m m m m m m m m m m m m m m m m m re ss e s r a s r a s a er o or s e rs ers , as a s or e s sa ar a ’ a s es er a e s s ’ a s s e s s e es or e s er as r s e r a s a e a er s a s e e a e a rr o se ’ e e er o a e e ax a as s r r e as a r e a e e a . . o e, a s ea s es e s e e e s ea er ee ers a re ea r o e ers a s e e e . S r re o e sa e e ’ e s m er e re e a s a e e ar e . e e e sa e as a a er e sa a a sa e o e e a a r s, a e e a s e a e , e r o m m , a e rs s ’ e e e r re ss s era r e e a e s se a re se . ” . “ e e e, e o s e a , e s re e s re “ or e e . r ’ e a a re e ea e s r er a s a a s e s e e m m e r e ss , s as s re , e a s a s e r e e a e e s s s a ’ rs ee es e e a , e e r a e a e s ea r s re e r ’ r a se , e a ev e s o ress a ee a e r , e er er e . r e s e s er e . a e or e s a re r or , r es e ses a e e e s s e . a os re s a r e ea e . , e a e e e s e ra o a a e e a r e o a o s . es ser or oo , , er s es a re se r e ar r e e e ere a s a a e ers e a a e e a s e ra s S , s S e e . er a s a re a e e rs a s a e a er er a e rs er e a re e a as a es a or re e , a e e a e as , ers er r a e a e ar r re er . e - e as as S e ea r a sa e a se . re s s , e a e r . a o e as , e e r a a re e, e s s e s a a r es ers e a re e e e e S er e s se e a e a re r e as e a e a e a s a a . a re s ra a a re a as a er ea ar r o ser es ress r e s a re a a rer a e m e e o r e, a s ” e e . e a e rs e a re er e a a s e er 4 82 THE ART OF PU B LIC S PE AKING ts n w the vita l ity of th C n og ssiv p ty W b li v in th t u doctrin of st t rights ic fo bids th N tion f o int rf ring with st t s aff irs l o fo bids th st t s f o int rf ring with n tion l ff i s co bin d int llig nc nd co p o it consci nc of th i si tibl s it i right ous ; and th C n ric n p op l is A v nt th t fo c f o wo king ut th g n stitutiOn do s n t p l w lf c rt in sou c s w h p ch nts b out th d ng F o of u fo s t A ric n institution Wh t is th p urp os of ic n institutions ? 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Wh t do th thin gs n th t th p op l sh ll b f t co ct hu n Th y a b us s n th t n wo n nd child n sh ll n t b e d ni d Th y nd nob l r th opp ortunity t g o w st ong n th t th p op l sh ll h v th p ow t a k u Th y l nd ch d y b tt p l c t liv in n th liti s of lib ty nd n t th c d ic s of Th y th o ry n th ctu l p og ss of th r c in t ngibl it s of Th y d ily living nd n t th th o tics of b n di p ut tion If th y do n t n th s things th y s sou nding b s nd tinklin g cy b l s n nd w o n ; a N tion of A N tion of t ong up ight li ing th b t id l s ; N tion who s whol so ho n d h s t s h o g l o ifi d by j u ic o j u ic consci nc w i i t s s t w i t s p — of sco s of ill ion of G d f ing p op l th t is th N tion And th t is th N tion th y sh ll h p op l n d n d w nt fi n v doubt th t w A ric ns will k good the l F ning of u in titutions N v doubt th t w will solv in N v doub t ight ou n ss nd wisdo v y v xing p obl th t in th n d th h nd f o b ov th t l d s u up w d will b l ow th t d g us downw d N v r th h nd f o p v il ov doub t th t w ind d N tion who G d is th L o d An d s n v doub t th t b v f i cl n A ic a ly will co ; th t b tt nd bright r lif f ll b n th su th fl g u ly will b chi v d Thos wh n w scoff soon will Tho s wh n w dou b t soon will b l i v p y S oon th night will p nd wh n t th S ntin l on th ; r nxious k W tch n what of th p t of Lib rty th night ? hi n w will b L th o n p p th K now ing th p ic w u t p y th s crific w u t k — th b u d ns w ust c y th ults w ust ndu know ing full w ll th co t — nli t nd w nli t f r th w r y t w F know t its w know th j u tic of u c us nd w c rt in triu p h The Pr stitution r wh h a nd a s The re e e as e e e o s re rea a ea e e s a a e e or e a e r ea e a ea a e e a a e e a e re a ea e a ea e a o e a e ea o a o er r re m e e m e r s r , m m m o e a e o a s o a a r o e a er e a e re a s re . o ” e m m m s er r e e e s e . s , : o, s e a rr e “ e a ssa e e e e o s r a “ e , er e m . er or a e ea . e a a a e, e s e e e ” . s e e e e a , ea re a a e e e , r e o e o , r e a ea e o e . m m m m m e as ar e a rer , e a er e ar e . e a e e e a ss e r e e, s o er a a rea . s er, ra e e ea e e s a ra o e ar s a e a e e se a e a e a e m a r a er e a a ee e a a e a a e e m m a a e r m o, r a e a re a , e , a e e e er e , a a er e . a e e e a s ' e e a e e ra s a s e m mm m a . e e . a m ea ea r - e e s a e a er ea a r e a re a e es e e ee e a rre e z re a . or re a e e . . es, e er a s rre o e e e s r e or er ea e a re e e o a e a a . er r a a ra e mm e a e e e o a e o e . re e e e re er a e er e a r e a ea e e , r o e av e . . e e a r e a re e e , e ese a a o e a e a e a . a a e e s , e r a e o ea r ’ a e s r e a o ’ a e e e a e a es e s a e e a e r e a r r re er e rre e e . e o a e r e r e e mm m m m m m m m m m m m m mm a re e r a r a e e r a e ra a e a e a m m m m m e _ m m e e e e . a sser ar e ‘ a e, re e o , oo , a . THE ART OF PUB LIC S PE m AKING m m m m m m did d l ook f ould co vic i of no oy l ou g o n did l ook in n und y u on o guid g in id ill ll you o ic icul f i nd n u ing y f icul f i nd li n d v l y b n gl d did id onc liv d fo i ndu nci n i n by n of fd id f do n d v yl g f i o c d g in fi l d g dn con n d l y con n d b c u l y l yb c u con n d vi i d i f of o nci n u dd i i do n by ol d old f i o l d of ou d id i o ld onc b nk of fog ic ci n ific lly u id l ig y u fing in o b nk of fog nbg n l o ly ov fing ound g du lly inc d of fing un il l ild b nk of fog in o olid b ll of n olling oug univ bu n ing oug o co ic b nk of fog un il cond n d oi u i ou f ll in fl ood of in u on d uf c cool d ou dcu n in n l fl bu ou g cooling c u oun in d ill of v ll y of i ond ful o l d i in n l l d bu cool d v y bc g ni ic cool d l quickly b c ilv l quickly gol d f gol d di ond d id ol d i di ond cong l d d o of unlig i ci n fic u l o kno di ond u c bon c u lly d o i d unlig id no ing oul d fo g d cl d di ond l ig of od in l c ion o n l ig of od ni l c ion u o on v u c liking c o i ol d fd if ndful of i ond coul d u c ol coun y i in of di ond coul d l c c il d n u on on ou g influ nc of i g l fd d bou di ond uc y o n nig oo l o ny ing oo b c u di con n d di con n d b c u ou g oo id n in of di ond k nig ly in o ning oug i kno f o x i nc i n k n d ly in o ning c o ok i of d id Will you ll find di ond i id i ond W do you n i di ond n i n ly ic id don not a re a t hi for ea r I sh de rsta nd a nd I be e the r st r B ut , a th a h I a t the t a w a , nO e sta t I t r e I tha t w rthy , a nd th y e es p ; he , I w te Sa e he wa s off a a a st ry nowwh h ” s! ar r e I rese rv e for S O the co nt sel y p a rt ste e , a n d I ha e a wa s ar r e ee a p a rt a I , I e e no t fa r r the R v er I He sa the re s an a e t He sa tha t Al Ha e Al Ha e Pers a the a e w e er ar e ar e s a nd a w th r ha r s , ra ar e s He — t e n t a n wa s a te a d we a h te te e a se he wa s e a se h e w a s te te wea th , a n d wea th One da y there s te th s Old a r er o ne th se a e t B h st p r e sts , a nd he sa t w Al Ha fe d s fi re a nd t tha t ar er how th s w r rs wa s a e He sa tha t th s w r wa s e e re a tr e , a n d he sa h is s e t a a tha t the , wh A ht thr st his er t the a a nd the e a S to e his a nd ra a er a r to rea se the w S p ee his er t a t a st he wh r e tha t a t a s a thr h the fi re , a nd it w e t r erse r s a s its w a y thr h ther t it e se s ra the st re w th t , a nd e the hea te p s r a e a nd r st tw a r e the The the te r a a es rst thr h the r st a n d thre w u p the ta s a nd a e the h er th s w s the a e w r of ou rs If th s rst o ut a nd e ter a e te a ss er ®ickly it e a ra te ; tha t wh h e ess e e a e S er ; a nd e ss a a n d a ter s we re a e , ; “ ” r p Sa the a is a ea e s ht p r e st , A Th s is a s e ti tr th a s You a ll w tha t a a — is p re a r t s h s e t a t a e a nd he sa a ther , p th I w not r et : he e a re tha t a a is the a st a nd h rea t s, a s a w hest G s e ra a is the a st ’ rea t I s pp se tha t is the a nd h he st s a a s G rea s for ea h ther And the Why the tw o ha e s h a he ha d a ha Old p r est t Al Ha e tha t d a s he tr , a nd w th a e a s he p r ha se a wh e re thr e s thr h the e e p a e his h p the r re a t w e a th Al Ha e hea r a ll a t a s a nd how h the w e re w rth , a nd w e t to his b e d tha t ht a p r st a not tha t he ha d b ut p r e a se he wa s an — th e a se he th s s te te ht he wa s p r te te a nd ” “ s! He sa : I wa t a e a S o he la y a wa e a ll r ht out the p r e st ht , a nd ea r s the Now I w r e p er e e tha t a p r e st whe a wa e e ea r the r is r ss He a w e tha t p r est out his rea s a nd ” sa to hi , te e where I ca n a s? The ” ha t a s? D a s? wa t w th p r e st sa , I wa t to b e Al Ha te d , e se r h, sa b ut I t . m m m m m m m m m m ‘ . - . . ' , . m . ’ . m , m , . m m m m m m m m m m m . s m . . . ’ , . m m m m m ' mm . . m m . mm m m m m m m m m , . . m mm . ’ APPE NDICE S 485 m kn ow wh t go W ll id th p i t if you will find a iv th t un ov whit nd b tw n high ount ins in tho D you nd you will lw y di m ond ll y b li v Pl nty of th m iv ? th t th i u ch ; p l nty of th m ll y u h v t do i ju t go n d find th m th n yo u h v th id I will go S O h ol d hi f coll ct d his Al H f d on y t int t l ft hi f il y in ch g of n ighbo nd ch of di m ond H b g n v y p op ly t a w y h w nt in ind t th M ount in of th M oon Aft w d h w nt m y ound into P l tin th n w nd d on into E u op nd t l t wh n hi on y w ll p nt nd h w in g w tch d ho n of th t b y in B c lon n d p ov ty h tood on th tid l w v c m oll ing th ough th Pill of S p in wh n H cul fli t d uff ing n coul d n t i t nd th p oo th lf into th t in co ing tid wful t p t tion t c t hi nd h nk b n th it fo ing c t n v t i in thi l if g n Wh n th t ol d guid h d told th t v y d to y h top p d th c m l I w iding nd w nt b ck t fix th b gg g on n of th oth c m l nd I m b thinking t m y lf v th t f hi p ti ul f i nd ? Th Why did h — nd d t b no b ginnin g m iddl nothing t it Th t w th fi t to y I v h d to l d d in which th h o w s I h d b ut n ch p t k i ll d in th fi t ch p t of th t to y nd th h o w d d Wh n th guid c mb ck nd took up th h l t of m l g in h w nt ight on with th y c m to y H id th t Al H f d ucc o l d hi c l ut into th g d n t d ink nd th t c m l p ut it no down into th cl w t of th g d n b ook Al H f d ucc o notic d cu iou fl h of light f o th nd of th h ll ow t mnd ching in h p ull d ut bl ck ton h ving n y of light th t fl ct d ll th col o of th inbow nd h took th t cu iou p bbl into th hou nd l ft it on th m nt l th n w nt on hi w y nd fo got ll bout it A f w d ys ft th t this ol d p i t wh tol d Al H f d h w di ond w d c min t vi it hi ucc o wh n h w th t fl h of light f o th m nt l H u h d up n d id H i di ond h No no ; Al is di ond ! H s Al H f d tu n d ? 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B ut h w o ul d n t t k it no Why n t t k Th w ilv in N wbu yp o t ; it w ll w y ff—w ll I don t know — wh h didn t u t s o w h l nd h or b w ; p of of in l ogy I do n t kno w of nything I w oul d nj oy b tt th n t t k th wh ol ti t night t ll ing of b lu nd lik th t I h v h d o k Y t I wi h I kn w wh t th t n i doing ut p of th in Wiscon in I n i gin hi ut th it by s h id nd h i ying t hi f i nd D you know th t hi fi n C onw ll th t l iv in Phil d lp hi ? I h v Oh y h d of hi And do yo u kno w th t n Jon th t l iv s in th t city ? Y Ih v h d of hi And th n h b gins t l u gh n d l u gh nd s y t his f i nd Th y h v don th thing I did p ci ly An d th t S p oil s th whol j ok b c u you nd I h v don it Nin ty u t of v y hund d p op l h h v d th t i ta k thi v y d y I ich ; you h v no y yo u o u ght t b ight t b p oo T liv in Phil d lp hi nd n t b ich i i fo tun nd it is dou b ly i fortun b c u you coul d h v b n rich just w ll b p oo Phil d lp hi fu nish ny op p o tuniti Y u o u ght t b ich B ut p ons with c rt in ligious p judic will k H w n you p nd you ti d vi ing th ri ing g n tion t giv th i ti t g tting on y doll s nd c nt —th co ci l sp irit ? the we t a nd e a e e as e m s ar ee e o e e e e e a e rs , e e ss r r a ssa m s e e e er , r o o S a er m e ra e ’ m m a e m a ca . m e r e a m er r e r e a a s se . re e e er a . es re a a o sa e , a rs as a sa e e as o e s e e s e . as r as era e m a ess “ m “ e, a . e r . ca o o e r e er a o e S a e e e m a o a e e m e ” a e s s a m m m a e r e o m e s so e rs s a a r a e e, e r se a e e a e e e e e r e s a es e a a e s m m , a s e o ea r es, , e e re e a a s, e e a o . e o a e re , a m m r e a a a s er . r e o . e a a re e . , ” o re o . as r a ’ a ea r e e e, a ee ar a a o o s e s, a s r ar ere e a , se e e . o s o es a a e es e a e e a “ e e a o r e m e a s sa a ” a o sa ers . a s ere e se m s e e e ea r sa e . e, a a o o e a see a a a e a re a e - s re s a a o e re m e , e e ss rs s as a e . o e m r ' er e s er s re o m m ar a , a e re a a a a m m m o e, a r . a a e e r e a ere , e e ere r e e e o , e s s a r e es s e o a e er er a e e e e ra s ee o , e e e a so e , as e r m a e s a er s, a a e e m o , e a ee e re e o r e s m ar as e a . er a e r r e , er s es, a e er , e a rs a s , sa se as m a e e e se a a . re ea r e e S a a r as r v e - e e r a e a s . a e e e a s a re e e or e e s m m e e re , a a o o . a r e e so a a e a r a er e s a as e a se e e m m m e o ar m m a e s ea e a a e re s a o or s er e o a ssa er o e e o e e ea e s o a a e m a m m m r s ar a e m s er as a s e . o r er s e e a a , e as a e e e - s ar e e e e a a e e ee a s a e s r a e a a sa o a e a e e APPE NDICE S 489 m m mm m m m m m mm m m m m m m m m m m m mm m m m mm m u kno you ought t p nd ti g tting ich Y u nd I o thing o v lu bl th n on y ; w th of cou w do Ah y ! B y h t d un p k bly d by g v on which th utu n l v n w f ll I know th o thing high nd g nd nd ubli th n on y W ll do th n know wh h uff d th t th o n d h ol i nd o c d th n gol d N th thin g w t l th n f co on n l o know th t th i n t ny of tho thing th t i n t g tly nh nc d by th u of n on y M on y i p ow L ov i th g nd t thing on G od on y M on y th b ut fo tun t th l ov wh h p l nty of I do n t on y h p ow ; nd f n t i p ow ; y on y i t y I do n t wi h t do ny good t y w nt f ll ow n It i b u d thu t t lk It i b u d t di conn ct Thi i w ond ft g t lif nd you ought t p nd th you ti g tting on y b c u of th p ow th i in on y ligiou p ju dic i O g An d y t thi t th t o p op l think g t hono t b n of G od p oo I l ooking in th it i f c of p op l wh think ju t th t w y I h d n onc y ting th t h w th nkful th t h w n of G od in p y I t i oo n t h n i l n l y w ond d w h t h w if w o u l d d y t p h took in w hing t up p o t th n w hil h th t p ch ny ok d on th v nd I don t w nt t o t nd of th t kind of G od p oo N w wh n n coul d h v b n nd h i n w w k b c u h i p oo h h w ll ric h ju t don o g t w ong ; h h b n unt uthful t hi lf ; h b n unk ind t hi f ll ow n W ought t g t ich if w h bl n d Ch i ti n thod nd th n by h ono th onl y thod th t w p u quickly tow d th go l of ich b n t ny y young th ol ogic l tu d nt I g into y offi c nd id t th t h thought it w wh c in nd I l bo with k d hi wh t hi duty t co id I f l it i y duty t co in nd h d h pp n d n d h k t you i nd y th t th Holy S c ip tu d cl th t Sp on y i th oot of ll vil I k d hi wh h found th t ying nd h id h found it in th B ibl I k d hi wh th d n w B ibl nd h id no h h d n t gott n h h d in th old B ibl W ll I id if it i th t it w n w B ib l in y B ibl I n v w it Will you p l g t th t xt book it ? H l ft th oo t lk ing in n d oon c nd l t ow with hi B ib l Op n with ll th bigot d p id of th n ct i n wh found hi c d on o i int p t tion of n d h p ut th B ib l down on th t b l b fo nd S c ip tu f i ly qu l d into y d it f r Th it i Y u n you lf I id t hi Y oung n you will l n wh n you littl ol d th t you c nn ot t u t noth d no in tion g t d th B ibl f you I s id N w you b l ong t noth t d no in tion Pl d it t nd b th t you Y et I a rse , e es s s a ea r s r , a e er ” e ” e e ra r, s ee ee , a s e s a e S as s e s a s e r r s e m mm m m m m ra ca s e re a o e e a m e o ea a , e sa as e s ar a se r s r se e a m a m m e o e r, e re e e e e . or a ” . ea se rea s o a e er a “ s e e o ca er a e , re e - re e a rea o e , e a o a er a rr re a e ea r o e, a a s e s a er , s e e s . , e a e e , e a a e sa , r e r a o ” as a m e e s a a , e a re e a e . ere “ a ere s e re s e . m m e o as . e a as e e es e . as e r e e ” ee se r a “ e e a r, sa . o rea e e ea e ” s e r, s e e re m m mm m m m m mm e r a , e a e a se e s o a ese a re , , e o see a a e e . s o re , a a r er sa e e ’ sa o e e sa e e e , as e, a e r e . r m m m m e e see e a a e s ee e e e, r : s e ~ e sa o e o e a e, e a sa a e a a a e S r, a e r m mm sa e sa a , , s e sa “ a o a e a as o e s, a e ea rs a e a o a a . e e . e a se r ar a o e s ee s ee er , e m m e e e a e a ea s a a e e m m m m a , e r s e a s a a . as e o ee o s o ere ea r . ’ o . r a . o s a s e re a e era s a , a as ’ r ere e o , o s a s e . o S a e e as a as e s er s se a s a rea e e o o sa o e ’ a ’ e, a s S e e es a . se e a , re o a o e o e e s rea o e er a as r m m m e a s rea es sa e s re e s er e e a s a s s a r s e e o . ev e r ere a or a , e . ra as a “ s e o er s o sa s a . . r s , er e a e re a re s a e s e . as e a e er rea o ere a s sa a , a , e ea er re se a s s a s e . s a se se e e re re sa a o . a s s as s er a e e o er a o , a a es ea r e a ea r ra o a e re a er a ee er a e e es e a e e s e , s e o . e are s ess , o s ere a re s e ra a tha t st sa y a er a re A THE ART 490 OF PU B LIC S PE KIN m m G ught in chool wh S h took th p h si is x g sis nd d it Th l of on y i th oot of ll vil B ib l Th G t B oo k h co b ck into the Th n h h d it ight nd l ov of th p op l t nd into th c of g t t h t t p ind of th nd n w you n qu ot it nd est your lif nd you de th on it without o f S wh n h qu ot d ight f o th S c ipt u h qu ot d th truth The l ov Of on y oot of ll vil Oh th t i it It i th wo hip of th is th n in t d of th nd though you c nnot ch th nd with n n Wh n k n idol of th on y inst d ut th of th p u p o s f which it y b us d wh n h qu th doll until th gl qu l th n it is d th oot Of ll vil on y wh t you coul d do f your Think if you onl y h d th you chil d nd f you ho nd yo u city wif Think h w oon you coul d ndow th T p l C oll g yond if you onl y on y nd th di p o ition t giv it ; nd y t y f i nd h d th n I n o l yo u d h o ul d t p nd th ti getting ich H w p y p incon i t nt th whol thing i W ought t b ich b c us on y h s p ow I think th b t thing f t do is t ill us if I y you ought t g t ich I ought t l t t t t thi f ugg t h w it i don W g t p ju dic g in t ich n b c u of th li th t tol d bou t th Th li s th t to l d bout M Rock f ll b c u h h tw hund d ill ion doll s — ny b li v th ; y t h w f l is th p nt tion of n t th w o l d H w littl w n t ll wh t is tru no w th t d y wh n n w p p t y t s ll th i p p s nti ly on o n tion ! Th w y th y li bout th ich n is o thing t ibl nd I do n t know th t th is nything t illu t t thi b tt th n wh t th n w p p n w y bout th city Of A you ng t id Phil d lp hi n c th oth d y nd If M Rock f ll you think is good n why is it th t v ybody y uch g in t hi ? It is b c u h h s gott n h d of u ; th t i th whol of it—j u t gott n h d of h p ly by n nvious u Why i it M C n gi is c iticis d h h gott n o th n w h v If w o ld ? B c u n know o th n I know don t I inclin t c iticis o wh t ning ? L t n t nd in ch t thou hi l p ul p it n d p ll nd nd if I h v fift n p op l in y chu ch nd th y n l p don t I c itici hi ? W lw y do th t t th n yo u c itici ing h n wh g ts h d of u Why th ill ions n d you h v fifty c nt nd both of you h v hu nd d ju t Wh t you ich st m n in thi cou nt y w o th On of th nd c into y ho nd id D id t down in y p lo you ll tho li s bout y f il y in th p p ? C t inl y I did ; I kn w th y w li wh n I w th Why do th y li bout W ll I s id t hi if you th w y th y do ? you ch ck f n hund d illions I will t k ll wi ll giv th l i l ong with it W ll s id h I don t s ny sen ta a s ere e rea e a m m m m m e es ee : ea r a , re s a e r s ea s ea s r m e e e sa a s s e e m e s, es a s se e s e a e r e a r m re se a e r e , r e m m m m m a a e o ers o e a ar e e e s o e e e r s a a ee e e e , . a a r e r e . es a sa e or o e ” . e “ e ” , e a a as o e a e “ ” r : “ er a ” e . o a , e, sa er re e re a s r a a e e s e ar a ere ’ e o a e sa a s o e r a e a , a a . s, a e e e rea a re a ea e s s a a e a a e a a r e se e a e se e r a , a r o e sa a , e e e s ra a ar a , a er e a so S e e a re e s s e s a e e a re ” s a e e a e as e e a rese o sa e e a re a a o o , e e ers , e a se a r a er a ere a a a re see a s ea s a ar e e r a e e e re e r e a e e e o re e ca e s o a se e r . ’ , e es a e o a o e a , , e a as se e , . e r , e o . s ea re e e a r re a e r , e a er e a ’ or a . o e o e e er a es e a re . e s, a e a e . e e er , a s r ea r e e . s ea e a s a eezes or e e o e ea e r e e . e s so s . s s e s r o s e a e s a e e sa o e e e - e , e a o a . . er a s ee e rs e rea e , e s a a m r e e a r . o er e rea es e e e e . a e, a a a e . e e r e s s e e e o e e rr s a a e sa e ea s , or e e . a a es e m m r a e s e s . e a . a sa o e e es a a a s or se so a e er a ra e a e s ” a ( e a a a r a e a , o, , a , e a . s a , or , s e e e mm m m m mm m m m m m m m m m m m m mm m m m m m m m m m mm m m mm m m m e ea ar e, e . e . se r e ea r ” e e ea e o m e e as ca o m e e r e re s re r e r rea o . s e, a a r s e e e e e e e ov e . e a s e r a e “ s a , a , ’ ee a e a se THE ART OF PUB LIC S PE 49 2 m AKING m could n t w lk in nd p nt h coul d n t S it down in d ss d l ik g hop p ! W ll this hu n c ick t c up t th cl k s d k ju t I c in H dj u t d his un ing y gl in thi wis nd li p d t th cl k b c u it Hing li h you know t li p Thi thi will you h v th kindn t with th o nd tho fuhni h n l p hs ! Th p p h cl k u d th t n quick nd h p ull d ut dr w and nv l op nd p p nd c t th c o s the count too k o nd tu n d w y t hi boo k Y u houl d h v n th t p ci n f hu nity wh n th p p n d nv l op c c o th — count h who w nt h d lw ys b n nticip t d by v nt H dju t d hi un ing y gl s nd h y ll d ft th t cl k b ck h thir co ight b ck h Co N w th v nt t t k th t p p h nd tho th thi will you o d nd c nv l op y th t y nd h d thk Oh th p oo i bl cont p tibl A ic n onk y ! H coul dn t c ry n d nv l o p tw nty f t I upp o h coul d n t g t his p p s dow n I h v no p ity f uch t v ti s of hu n n tu If yo u h v no c p i t l I gl d of it Y u don t n d c p it l ; you n d co on n n t cop p c nts A T S t w t th g ch nt of N w Yo k th t p inc ly ric h t n in A ic in hi ti w p oo boy ; h h d doll nd h lf n d w nt into th c ntil b u in B ut h l o t ighty v n n d h lf c nt of hi fi t doll nd h lf b c u h bought so n dl s nd th d nd buttons t s ll which p op l di dn t w nt A you p oo ? It i b c us you n t w nt d nd l ft on you wn h nds Th w th g t l son App ly it which v w y you will it co v y singl p on s lif young r t old H did n t kn ow wh t p op l n d d nd cons qu ntly bought o thing th y didn t w nt nd h d th good l ft on hi h nd d d l o A T S t w t l n d th th g t l sson of hi c ntil lif nd s id I will n v buy nything o until I fi t l n wh t th p op l w nt ; th n I ll k th p u H w nt o und t th doo s n d sk d th wh t th y ch did w nt nd Wh n h found ut wh t th y w nt d h inv st d known d his ixty tw nd h l f c nts nd b g n t supp ly nd I c n t wh t you p of ssion occup tion in life you l wy docto hous n t wh th y b ; I c k p t ch l th p rincip l i p cis ly the wh t v W u t know wh t th w o l d n ds fi st nd th n inv st ou lv s t upp ly th t n d nd succ is hn st c rt in W ll A T S t w t w nt on u ntil h w s w orth fo rty ill ions you will y n n do th t in N w Y o k b ut c nno t do it h in Phil d lp hi fully g th d in Th st ti tic s v ry c N w Y o k in 1 889 how d n hu nd d nd s v n illi n ri s in th ci ty wo rth ov ill ions p i c It w s e k bl nd t n n e f t h t n o l t h i h y u go t r ic h t O s u k t t t h t O p p g o e ’ s s ea s s r a e re e e e a o a e es a a o s e se e a e e a s a er a s e e a . e : r, r es e e sera e, er a ar a e a e es a e - se e a a se ’ e er a m m e s rs a se e e s a a a sa er , e e e . ar sa e re e “ , a e s a r e e re . a a r ess s e , a a e . ar a a a e o , e er er e se , e ca e . e o ’ m m m rea e re e a e e e a e , e a r, a er , a r s re e a m m m a e e e r e re e a ere a e e e o a . ere a a re . e a , e a e o . s e e a e ss e r e e a a a e a ee a ” s e er e a , ere e r e e or a e e o a o e, a , e a re a ee e a e r ’ e a e . e a a re a e a ea r r a a e ee a e a a e m m er e a a e r a e s ’ ers ee e e e e a e ar a rs e ar e a a r o e es , a e e a m e r rea o s o , e e o “ e e r or e . rse . ea o . m e e a re er e e o er a e rea a a o a re e s e o a a re . o e . e a e o a - . . ar m m m m , s e ’ a e er a e as e ss a ’ a e a a ea r . a ee m o er a s e a es ea e . e re . e s a a e e , as a e, e ee s a . a a r r o s a e re e a e e . er s e r ss a a o e e e e e r a a e er e a . es . o rea er ra m S a ” se a se , e , a ar a s ar a , se . s er ere a e . er a e a o e a a e a a ee a , e a e or s a ee o er e a a e r s es as - e ess e see e r o o e e , a e es . . er e e e ere , e e see a a rr a er a a s e s a ee m m m m m m m m m m m m m m mm m se r a e a o e o e s v e o a er a a e s o ’ e e as . s a e a e se m m a re - see a er a s a e a , r, , e s e er e a a e e o a a er a e r e a . r, : e er e o a e s S o , e , a e a m m m m m ” e as s a ss m m m er es s a a , ra ss a er a o e r ar a a e e a a o . ” , APPENDICE S m m m m 493 m mm und d nd s v n illion i onl y s v n of th d th ir on y in N w Y o k nd th oth ov d t N w Yo k ft d nd ixty v n ut of th m ining th i fo tun w d th i fo tun s in town of l th n i thou nd hund d m n d th ich t n in th count y t th t ti liv d n p op l nd hund d inh bit nt lw y liv d th tow n of thi ty fi ov d w y It n t uch wh you wh t nd n v m you m ti m if th l g n of th city com s B u t t th into th p obl mth n m m b it i th ll city th t fu ni h th g t op p o tunity t m k th ill ion of m on y Th b t illu t tion th t I n giv i in f nc t J ohn J cob d ll th on y of th A to wh w p oo boy nd w h m d m o th n hi ucc o h v v H m ily A to f n d nd y t h onc h l d m o tg g on m ill in y to in k nough m on y N w Y o k nd b c u th p op l coul d n t m nt h fo clo d th o tg g nd t n d th t p y th int ion of th to nd w nt into p tn hip with th took p o H k p t th m tock did n t giv th n w h h d f il d doll c p it l n d h l ft th mlon nd w nt ut nd t dow n up on b nch in th p k Out th on th t b nch in th o t i p o t nt n d t m nt t y ind th p l p k h h d th m H w hip b u in w tching th l di s p t of th t p tn i th n th t w oul dn t g t ich t n d wh th y w nt by ; l dy p with th t b u in ? B u t wh n J ohn J cob A to w b ck n d h h d up if h did n t c if th h houl d h tu di d h bonn t ; nd b fo wh ol w o l d l ook d on h th t bonn t w ut of ight h kn w th h p of th f mnd col o of th t im m ing th cu l of thw m thin g on th bonn t S o ti I t y t d c ib n bonn t b ut it w om u t of tyl t m f it w oul d b o ow night S i of l ittl u John J cob A to w nt t th to nd id N w p ut in th h ow window ju t u ch bonn t I d c ib t you b c u id h I h v ju t n l dy wh lik ju t uch bonn t k up ny o till I co b ck An d h w nt ut D n t g in nd t on th t b nch in th p k nd noth l dy of diff nt fo mnd com d hi with bonn t of dif p l xion p n d col o of cou id h p ut uch f nt h p N w bonn t th t in th how window H didn t fill hi how win n d bonn t which d iv d w with h t w y n d th n p op l it in th b ck of th to nd b wl b c u th p op l go o l t t d H didn t p ut h t bonn t in th t how wh windo w th l ik of which h h d n t n b fo it w d up In u city g t op p o tuniti f nu p ci ll y th f tu ing nd th ti co wh n th lin i d wn v y h h p ly b tw n th tockh ol d of th f cto y nd th i N w f i nd th l o com di cou ging gloo h p l oyé up on thi count y nd th l bo ing m b ginning t f l n th t th y b ing h ld down by c u t ov th i h ds th ough h re a e e es r re e r e e r a e er a re r es s r, rea s r m o a e e re s e m ar a a a a a e ar as e s a e e mm se , e S sa m “ e, a o a e re e S a a e re e se ra ar e r e , r a re e e a e s, a a o m ere a re as e e a se see ere e e e e as a s a a e a e r s e e as a re e r s ra a e s e or . a er ra o e e r s e r e a s m mm m m e a es a a a re a er s e e a r “ s S e a e e, e . o a a r re a e er ” e a a or a e rs e e e a e s ee o . m a e s a e r se , e a ’ e e s sa o , e a , , . . ” e a a e o s re e o e m o . ’ e . e a e s e es , “ e s re a : a , . e s r r rse r, s a o ar a sse e S e ac e e a e e ra rr es o e e s “ es r m a e a a a sa as e a re e - e a a e o a a ss , a e e es r e o a re a re a o o m see s e a as S a a r e e a e s o s sa a ere e a so s ea sa e e e a e o r s es r o or s a r e e , ’ m sa e r e e a a a e a a o ’ e s e e e e a er e re e e m S er e e rs r sa as e s r a s , s, es e . s s r e r a e s er, as o m e a o as e . ea er e e o a a r a e ss e ers e a s e re a e a e m , ere , s e rs ar a . r a e ss er s o s e a m ar e e a e e e s a e e ar e sa e . e e se re e er a e e e a , e , m a o r o e ss r s e e re a e . e a ar e e a e a e s a e e e a s r e re a a a a e e s a o e se ssess a re e e e a o ere e a re a s s re ere a i e er a e s a a e a , a o r s a e ss e s sa e er e e e m a er a s x a a e a e re a ar e e r o e ss s a o e e a e m m m so er e o s, a e ca as a se r e re e e a o e a e r e is r . a , e a . e , s ra ea r s a e sa e e es a a - e s re a . e s e s a v e - ers e es e r r r e e e, a a e r e a , ere e, a a a res e ea r ee ART OF PUB L IC S PE THE 4 94 AKING m m ic y find i o ibl b k i oc ic on y n bov ill n v d c nd i i nc ou g in ind of o l f i nd n v in i o y of coun y o uni y g oo ic in i y of il d l i v yf c y di cou gd vn f o g ng ic o d o n k o nb n oo ic kno l b union v g obl con nd i o y o lv l bo union doing uc vn olving c i li o i iv ly id l bo union d cul i fi bgn k l bo c l cl on y c l do n n doll lf in o d lvl i b cil c nno n fif y c n of o d ng ou di cou ging ing o king c nno of ok do b ok ig ok ok l ong d ng ou ing in o d v l bo ing f v y ic n qu l v yo ic n l bo ing o c i li ll o k lf of you o l bo o g ni ion ll ok c i li lf you o ind nd n n l bo ing find o d v o n f o ov y l o di c y l bo union con id i obl y v olv lv kind o o co l bou iv ic in d ci o ion v d g in g n und u c ci cu nc lif b n i l bo ing l bo ing y lf v f n in i bl i d c of b n invi d dd l bo union g b fo bl d co ny of on l bo ing b g n by ying on ind iou l bo ing v fu ni d c i l of o ld v buil l c con uc d il o d cov d oc n i i you l bo ing no ing l v you g ound do n in du by c i li gl o ing ov you nj oy b u if b fill d i gol d v y doll o n coin d of bl ood of on l bo ing you kno kind of c y i ing n ing c i li ick d l bo ing nlvd ong lov b li v in ic n inci l nd vo i o b ing c i l rea , a n d the a r st it e to ra t wh h the e p ss e tha t he w e er Ow e r hirn self is so fa r a es e to the r ht tha t is the e Tha t is the th s a ss sta our p e p e s, e er the h st r ou r tr wa s the re a n B ut , r e r a n to g et r h a s there is now Op p rt t so rea t for the p the c t Ph a e p h a The er a t tha t the s r g et is wha t p re e ts the r etti r h a e T ha t is a ll there is to it The r a is p e a n d l et u s e ep it etwee the pe r a nd the r h I s h a e tw o w tha t the a or rea t p s to e te w th , a nd the re is nl one w a y to s e pr r the The a s a re as h to p re e t its s a s a re the a p ta sts to d a y , a nd the re a re p s t e tw o s es to it The a r ha s tw o iffi t e s ; the rst one is tha t it e a to r s a e for a ll a sses a e a a a p a r , a nd the s a e a n tha t ca n ea r fiv e a rs a d a y to tw o a nd a w a ha a da y , r e r to e e up to hi an e e tha t a t ea r t e ts a d a y Tha t is on e the st a er s a nd s ra He a t g e t the an th s for the w r re sul ts his w r if he ette r w r or h her w r o r w r e r ; tha t is a a nd r e r to g et e e ry a r a er s th a n ree a nd e er A e r a e a to e e r ther A e r a , — let the a r no t let a ny a n a sk w ha t he is w rth a n d g et it a p ta st sa y to hi : You sha w r for e fo r ha w ha t ” “ a re w rth ; r r a za t sa y : You sha n or let a ny a ” Be a r w rth a n, be w r for the a p ta st for ha e e t , a n d the an the r a e er p e r sha ll the a pe r r ert The ther ffi ul t tha t the a to w ea th p se ha s to the ha e to s e the es, s e r a n d th s p r e is the e a n d ta k to the a t the opp re s Of ra t rs w ho r ea r s e t e t h r a t I h a e h s e r h I ca n e a r e y M y e ha s ee w th a a a nd a a i er s sta es h r I ha e O te , I a r an se the a r an a a a n who ha s ee the r a sse e s , hea r the sp ee h the e re the r The an ets up te to a re ss the a s i n a n d h e e a ss e a h e s t a r e e p r sa s a en , who ha e ustr : Oh , ye h e st , t a ll the w ho ha e r she a p ta th e w r a ll the r h ea a n e e t e n t e a ll t h e ra r s a d a s a e a d s t r p th r en ! You a re a w th he r stea sh p s Oh , st the a p ta st the b ut s a es ; a re r w a s he e s his ea t ul e sta tes a nd who is at er a r he w s is a nd e e r a s he ha s his a nk s e w th ” ’ r an a e the h est ou t the hea rts Now , tha t is a lie , a n d w it is a lie ; a n d y et tha t is the t the a re a ll the t sp ee h tha t the e hea r , re p re se Why , a p ta sts a s w e r en so e s a e a nd the a e e es how w r a n who e s his fl a g a nd it is ! L et the h e a p ta r t A er a p r h a ll h i s s u l t o e s e ea r t w p m m mm . “ . . . “ m m . , m . . - m m . mm m m . . m m mm m m m m , . m m m m m m mm m m mm m m m m . , m m m m . . m . . . , . m , m m mm . . TH E ART or PUB LIC S PE 49 6 AKING up on th t ho nd l ook d ut up on th oc n no tic d th t th il d w y nk d p into th th y th f th ship s o oth And S inc th t ti S p ni sh hip th y w nt B u t s C olu b u s notic d th t th top s unk into th s h v of th t d o pp d dow n u t of S ight h s id Th t is th h ndl ; if yo u go ound thi h h ndl w y it is with this h ff yo u go th f th down you g o I n il ound th f th H w p l in it ll W s H w i p l th ind t th E t Indi — j tic lik th i p licity of ount in in its g tn v th i p le p l in th g t inv nto ? Th y Wh v yd y p op l wh th n d n d t bout t up p ly it I w s onc l c tu ing in No t h C rol in nd th c shi of th b nk t di ctly b hind l dy wh wo v yl g ht I n t you ; you s id t th t u di nc Y ou w lt h i t l ooking ight ov it H whi p d t hi f i nd W ll th n I A l ittl l t h w ot id y w l th is in th t h t Wh v th i hu n n d th i g t fo tun th n in n fu ni h H c ught y thou ght n d h d w up his b tt h t p in th n w in th h t b fo himnd th pl n f nuf ctu d H w off d fifty fi thou p in is n w b ing n m d hi fo tun b fo his p t nt Th t sa nd doll s f h g t ut of th t h ll Thi i th wh ol qu tion D yo u n d? h n w h b w ll n t iv i ll oo I n u p in p y f tw nty y h lp d by th to w n in hi p ov ty wh w s h t own d wid p ding m l h t cov d oo n t t p p cott g lik b n diction f o on high I b th t t in th p ing—th w om ogui h boy ound th t f n ighbo hood wh n I w young—in th p ing of th y th b uck t th n d th n w o ul d p u t pl p out t c tc h th I w n h d w t w s b b u c k n t h n d I m h t w ; p young th boy w n th t th y w nt t th t t h nd ning b fo th t n h d gott n ut of b d in th ft n k u p th t w t s p I nd d h h d gon t b d t night coul d w th y did it H didn t m k g t d l of pl wh t ug f o th t t d th ug B u t ne d y h ug ; nd c y t llin th t th vi ito did n t b l i v it w pl t h Old t H l u g u b l c k id thou ght t d b p k it th t w y nd ll it f conte n Why don t you n d inv nt d th ti n y ? n c u ght hi th ou ght Th ol d ock p l c y t l nd b fo th t p t nt xp i d h h d nin ty thou nd doll b utiful p l c on th n d h d b uil t it of th t t owning th t t h w ok t Af t fo ty y find it h d fo tun of on y ind d in it And ny of u ight by th t th t h fo tun f u and w wn t p o ss n its v lu b c us it do wh t w will with it b u t w do n t l n n d nd in th di cov i s nd n w do n t th hu nti n thi i o t o ntic thing Of lif n of th s a as , e e e a . e as s _ o a r ea e s e a a e sea e o e e , er ee a . ea mm m sa , e m e s a sa e e e re a er e ar e a er s a e , e a ” s e : a e ’ oe a er o ar e m es a es e o a re a e sa re a a o a m m e a e re or a er e a S s s a e e e re e e a a r e r e re ere e s m m m m m m m m m m m mm m a sa a a , re s e e re e a a s s ar a ea r s a : o er ree e a e a e s a a s a e ree a r ree e e o o s a as a see s s o e e e ee e or e s , a r a s er a a , a ee . a ea as ar e s a e o e sa e or se e e e a e re e e a a e m s a re a . o e e a re e e 1 e a r so e s e ree a o ’ e as e or a ea rs a e e ea a ea r a a e ree , a a a a a a s ee a e a , e e ’ ar re a a o r er o o , , e e a a r a er s e a e e a , es r e a e a see o e s . r er . r a , re e e r a re e a v e : re . or e , a e r ere e re a , sa e, s e a e , m m mm m m m m m o a rs a sa e ” e r s e a a o . ar r ’ . a re m e , a ra a a re s, a e e e , e r ve a , e - es e e r s , er re e e S a o . e s ea a ’ a S e e a “ e a e a so , a o r r e re , o a e e re er e e e re e s e re a e a . . e s r as e r e as e a as a a a . a e . , a , e e . rea - r e a e e s e m a e ea rs or re a or e as “ rea er a a a e e o e s a e re ess , ar r e s a er , a s ee e a er ea r o e a e oo ere . a e a a a . er e e e s ” ” s r o ee s e o s a re a ea ar e s er a, a o e s a e re ar a se m m m m mm m m m er o o a sa rea a a re e e, a m m m s o e oe ca . . a r . a or a e “ ” a a a e, er e ca a ee r r r ere a e e m a a o se e ea “ a rs e e e er m s e rea e a er e ar o . s ar e e as e o a . o i e o s, ese e a ea r s s er e e . sse , e e a a i APPE NDICE S m 97 m v c ived l tt rs f o ll ov th coun t y nd f o E ngl nd wh I h v l ctu d s ying th t th y h v di cov d thi nd th t nd n n ut in Ohi o t ook th ough hi g t f cto i l t p ing nd id th t th y co t hi $680 000 nd I w s n t w orth c nt in th w o ld wh n I h d your sa id h l ctu Ac s of D i ond but I d up y ind t stop right h nd k y fortun h nd h it i H how d th ou gh hi un o tg g d p o ion And thi i continu l xp i nc n w s I t v l th ough th count y ft thes ny y s I ntion thi incid nt n t t bo t but t how you th t you n do th if you will th g b good illu t tion Wh t inv nto ? I in n wh u d t liv in E t B kfi ld Mass H was ho k nd h w ut of wo k nd h t ound th hou And h did wh t v y until hi wif told hi t go ut doo — l hu b nd is co p ll d by w t do h ob y d hi wif An d h w nt ut nd hb l in hi b ck y d Think t down on n of it ! S t nd d on n ash b l nd th n y in p oss ion of l h look d down into th t th hou ! A h t on th t hb littl b ook which n through th t b ck y d into th dows nd h littl t out go fl hing u p th t nd hiding w un d th b nk I do n t sup p o h thought of T nnyson s b utiful p o I ha re e e a m m mmm m m ere , s a a r es a a m m s s m m e o sa a ra er a m e a ea e e , a e rs e e a rre a , e e e a e se . e er e . ar . ess m m e e s rea se o . m a ar a a e a s e as r . ar s a as e s ra e a rre m a e e e o S . e as s a er a , e sa a o , a o er a e rea , e s . , mm o a as roo r ” s r re as s . o . ra e sa a o , a rre e sa r e e s ea r e e e a s r ere , ere s s e ere , a ssess a e se e a e e r r e e as o e a r a s e rs o e a e o e a e e e e e e se o er , a a ra rea e a e a e sa o a re a o s ca a a s, r r e mm m mm a , e e . re a a o er a sa o a e a a , s r ea r s r r e e re er e e S ere a e e o a re m a a , as e, e e e a ea , a e e ’ : m m m m mm ch tt as I fl w j oin th b i ing iv M n nd n y co y go B ut I go on fo v Cha tte r To e , er, a e a o r , r e, a re e er er , a ” , . m l ook d in o b ook l d m b l ngd c c ou i fing n Wo c y o b ck y o d giv m doll bi no u c ou o m uc y i d l oo m i o mk o c n if f c ly uni d doll bi no ou y n m ou c do n b im ing iv m no ou co y ol y m m c momdi con ol n m i ni didn kno ou g on d id n book i giv you info mion you n y found bou cul u of i ea p e ofl tha t ash the r , he a rre a nd a a e to a t h the tr ers, a nd se t t w th his it to r ester The wr te a e hi a tha t the w ul fiv e ar ll for a ther s h tr t a s tha t , not tha t it wa s w rth h , b ut the w she to he p the p r tha t an S O th s S h e ar a e r a nd his w e , now p er e t ll te , tha t fi v e in p r sp e t , w e t out to g et a t ther tr The w e t up the r e a nd to its s er , b u t n ot stre a w to the r r a ther tr t ul d the fin d in the wh e strea ; a nd so the i ster a e h e s s a te a n d w e t to the nister The ’ t Sa he , w how tr t rew , b ut he p i te the w a y ’ G et S eth G re e s r at e the , a n d tha t w ll wa t The did so , a nd t the t re a ll a e tr t The re s n tha t a tr t a s th rt S ix h e er ea r a n d e er e er ea r , tr t a s a a rt er a p n so tha t r yea rs a tt e tr r s p er a t w ll sh r t to se to the a r et a t he the t e ts a p ’ tha t , the s a the h st r a s tha t , b ut di t e e a ny s e if the l eth n a rs a p ie e the a e s co g et fi v e B ut as th an s e t . . . . . . ou y fou d v yy v y in fou ll k y id y y cou d . m ou l y i y und d gg ou g in qu of ou d v y y li l ou i fu ni fou on nn u fif y c n ound W n y found dn b li v uc o y doll c y ul d k o i g m - . m m . 4 98 THE ART or PU B L IC S PE m m m AKING m ight in th t b ck y d with th co l ift up tr nd windo w c n down th t th y b g n th cul tu of t out ov d t th Hud on n d inc th n h Th y ft w d b co th uthority in th Unit d S t t up on th i ing h of fi h n d h h b n n xt t th high t on th Unit d S t t i ion in W hington My l on i th t n w lth Fi h C o ut th in his b ck y d f tw nty y a b ut h didn t w it u ntil hi wif d ov hi u t w ith s p stick I b ting p on lly p oo c p nt Of Hingh M s chu tt wh w s ut Of w o k nd in p ov ty Hi wif l o d ov hi ut of doo H t down on th sho nd o k d hingl into w ood n ch in Hi chil d n whittl d qu l d ov it in th v ning n d whil h w whittling s cond n n ighbo c l ong nd id Why don t you n c v lik th t ? H id I don t know whittl toy if yo u wh t t k ! Th is th whol thing Hi n ighbo id t hi Wh t Why don t you k you w n chil d n ? S id h i th u of doing th t ? My chil d n diff nt f o oth chil d n I u d t p op l p op l l ik th t wh n I t u ght sc h oo l o ning wh n hi boy c down th st i w y Th n xt h id S I w nt wh t do yo u w nt f t y? wh l b ow Wh n hi littl gi l c down h k d h wh t h w nt d nd h id I w nt littl doll w h t nd littl n d w nt on with doll c i g littl doll u b ll whol l t of thing th t w oul d h v t k n hi l if ti upp ly H t con ult d hi wn chil d n ight th in hi wn hou n d b g n t whittl u t toy t pl th H b g n wi th hi j ck knif nd d tho unp int d Hingh toy H i th ich n in th nti N w E ngl nd S t t if M L w on i t t b t u t d in his t t nt conc ning uch thing nd y t th t n fo tun w d by con ulting hi wn child n in hi Y u don t n d t go u t of yo u t find wn h o u wn h o u ut wh t t inv nt k I lw y t lk t l ong on wh t t thi ub j c t I w oul d l ik t h t night Th n wh t th g t g t n ! W don t h v ny g t n in Phil d lp hi G t n! Y u f o L ondon S n F nci co y th t th y ll co Ro M n yunk nywh l b ut h — nywh l b ut Phil d lp hi — nd y t in f ct th ju t s g t n in Phil d lp hi in ny city of it i Th g t n nd w o n in this u di nc G t n I h v id v y i pl Ju t s ny g t n h t b fou nd n nywh o in ju dging g t n is th t w Th g t t think th t th y lw y h ol d n offic Th w o l d kno ws no thing Th of it g t t n Wh n of th w o l d ? th g t young n nd young w o n y w ll k th qu tion It i n t n c y th t th y hould hol d n offi c nd y t th t is th id Th t i th id w t c h n w in u high schoo l s p op ul An d r sa a r as m m m mm m m e . e s e as e ee ee re e a s s e er ee se sa a r e e a s, s a e, a a ” e se e s ’ ’ a , r s a S a rr a e sa s a , ’ e e, a s o s a re r e e, a es s o a a a ’ s r se o o a as e o s s e e . m mm m m mm m e rea e e or e se e a e a er S a e e a a a as a s rea es a a e essa r ar ea a e a e rr e m m rea a e e rea a S e . e e ea e ea e a rea . s ra a ere a s m , rea a rea e sa o , a re e a e e r as e r e o e es e e, a o o . e a , e a s - ere a s a re e o a ere a re re a a o . e rea . s s e e re s S ze a oo e re a re , a e r a . or , r o a re s a m mm s e a a es . a . m e e s e a e re e se a e s ere r , se a se s a e a a re a m m e e a . e . e e re o a re rea e . r o a . e or a , a e rea a a e a o a , s o o e a . r s a s, a m mm mm o e a e e e a s ee e ere o a a s m sa e, e a ’ s s ee er s a , ee a a er a a o s e e er or e o or o e . e ’ o . e a es , a as s a r a e a a e s o e e s a e e e a re s e r e e e ’ m r a e as e re a e re o “ e, “ s e r sa e a e ea se o se e a a, ’ a m e ” a e ” , re ’ s o e a e m m m m m o a re a s o e r e s m m m mm or a a a , a a , e s e re “ a re e e , re e , s . “ . re m as e sa e o se e a . e sa r o se . e , s ” e . e e a e er a ” ’ . e es ea e a e as m m e “ a e s e sa e a ere re . a rr m ’ a er a , m o e e a rs , e a e ar ar e e a a e . a ’ e sa a ca : e r e m m o e e e e s e a r rs r a o a s e a e e ra s s m ea re S e a e s e a , ess o e rs a es or er a es e m e o e ar r e s . a er o s as S a e e o o a rre e e o e e re as o e e , e ss s ar e a a , s ar er a a e s re a s ree a e r . a s e THE ART 0 0 5 OF PUB LI C S PE AKING mm m m oul d h v y ll d t b c u h d s rv s uch o of his coun t y th n h h v c iv d B ut upp os I go into th o ow nd k B oys wh sunk th M ri High S chool t H ob son th y t ll v n ighths ? If th y nsw of li —s v n ighths of li bec u th w ight n wh ri c Th oth s v n n by vi tu of th i sunk th : M continu lly xp o d t the S p ni h fi whil p o ition w n offi c ight on bly b b hind th ok H ob on Why y fri nds in this int ll ig nt u di nc g th d st c k t night I do n t b li v I coul d find singl h p son th t n wh w th oth s v n with H ob son Why do n n w t ch hi to ry in th t w y ? W ou ght t t ch th t how v r n hu bl th st tion y occup y if h do s hi f ull duty in h is ju t uch ntitl d t th A ric n p op l s hi p l c king up on th on W do t ch it s oth r h ono s i did h littl boy in N w Yo k wh n h id M wh t g t b uil ding i th t ? l G nt s t o b Th t i G n H w s th n who p ut do wn Wh w s G n l G nt ? b llion I th t th w y t t ch hi to y ? th D O yo u think w w oul d h v g in d victory if it h d d Th n why is th p nd d n G n al G nt l on ? Oh no l to b on th Hu d on t ll ? Why n t i p l y b c u G n t n hi lf b ut th t to b is th G nt w s p son ll y g n nd b c us h w p s n t tiv p s nt d two hu ndr d ny n w h w n t do wn t d th f th i n tion n d thou nd of th s g t s G n l G nt Th t is why th t b utiful th Hu d son to b st nd s on th h ights ov I n incid n t th t w ill i llu st t thi s th o nl y n b n giv t night I sh d of it but I don t d th t I n w ; I l oo k b ck th ou gh th y s l v it ut I clo y y Hill I n t 1 863 ; I c n y n tiv tow n in th B k shi th h ow g ou nd fi ll d with p op l ; I n s s th t c ttl n d th to w n h ll c o w d d nd h chu ch th b nds p l ying — fl g fl ying nd k c i f i ng n h h s t w ll do I c ll nd s d re o nt th t d y Th p op l h d tu n d ut t c iv t thi s co p ny of ol di s nd th t co p ny c rc hing up on on Th y h d rv d ut n t in th Civil W r th C o n d th y w b ing c iv d by th i n tiv nd h d enl i t d n I w s b ut boy b ut I w s c p t in of th t co p ny to w n — c b ric n dl w oul d p uff d u t with p id on th t d y why h v bu t ll t p i c A I ch d on th Co on t n o p ou d th n th h d of w s n t y co p ny th I ch d into th town h ll nd th n th y s t d y W ol di s down in th c nt of th hous nd I took y p l c down on th f ont t nd th n th town offic s fil d th ough th g nd p ck d in th t t th ong of p o p l wh stood cl o littl h ll Th y c fo d h lf ci cl up on th p l tfo ound it nd the yor of th town th ch i n of th I w a e e e oo , se e a m m m m m m m m mm m m as e e a r o rr - e as a er a e ac er re e e e e e e e , er e s a , er , , e . ere o a ca s a r a s a er e s “ e re s a m m mmm sa rea a ea ca e a a a s e a a a e s re a e a , a e r a a se a e es a e e e sea , m m e e a e, r e e e r e a e a ee a a e e a re r a e ea e er , e a e a r , e e a a e a a e “ e a e a r , r e se a e a e e o e o re e a e a a , re a o er a e e a e a a e re e o a er ca ee ca ea r a ar ere ea r s, re e a , s . , o a a a re e er e o r a e , o a a e re e ea m mm m m m m m m mm m m m m mm e o a , a , s e e m ’ e e a ere e , e e era e . e r e re a a a o e a a a e e a ra e er a e e or . e . a e e e r . es a a r ea m se e a re e e a a er e . a re a a ea e ar , r ar ” ’ e , a ra a , a e a a er e . e . e ra a er s e rs a r s o se e a a o e a e e e e a, ra . m m m m ere a re a a , r . s e a . s a , e - a e - see e a e o m m mm m m m m m m see a re a e s a r a se a a e a e ea e e o . o ee a e e e o e a , era a o e er a e a a a re a a m m m m a re e o e e ra a s a re e e a a e a s er a e a a er e e ra e ’ ‘ . o e e m m m mm m e sa e e s ea s “ a a e e a ere er e e o . e a e ea e e “ e e e ra e e . , e m e s a o r a era ” e m e e a o e e r e e o e r re , e re e a re a o e s a a as r e e e a s e a e e , a e a a a e, e a e e e e e - ere e o , e s ea e er e e e re a s o - e ere e e er e e se e m se se e a as a a er e . ere , s a o e , e, a e , e e - re s . ’ a e a a a r a r e e APPE NDICE S 50 1 id dl of th t l ctm n in N w Engl nd took hi t in th m n hi h i w lf ci cl H w n ol d m g y ; h n v h ld in hi hf H thought th t n offic w ll h n Offic b fo n n d wh n h c m ne d d t b t ul y g t m dju t d up h n d gl nc d c l ly ound th udi nc hi p ow ful p ct cl n d th n ing dignity S udd nly hi y f ll up on wi th n c might fo w d nd invit d mt comup th good ol d m on th t nd with th town offic Invit d m t nd ! up on th v took notic of mb fo I w nt t w N tow n offic th wh w On town offic N w I houl d n t y th t dvi d th t ch t wh l mb ut I mn no hono bl ntion S I w invit d up on th t nd with th town nd offic I took m t nd l t m y w o d f ll on th fl oo y m fold d m co m c iv d t n d w it d t b y b y d t uction nd f ll N p ol on th Fifth ! P id go th b fo t nd ll b c mil nt th o ugh th Wh n I h d gott n m y n of th S l ctm n o nd c m fo w d h ll th ch i m nd w t digni ty t th t b l ll up p o d h w oul d wi th g int oduc th Cong g tion l m in i t wh w th onl y o to in th town nd wh w oul d giv th o tion t th tu ning oldi B ut f i nd you hould h v n th u p i th t th t u di nc wh n th y di cov d th t thi ol d f m n ov going t d liv th t o tion hi lf H h d n v m d w b ut h f ll into th m o th t oth p ch in hi l if b fo m d t think th t th fli w oul d m k h v f ll n into h to S h h d w itt n u t n o hi p ch nd w lk d u p until h h d l n d it by h t nd n d down th p tu f ight n d th c ttl nd h b ought th t nu c ip t with hi hi p ock t h d it c full y up on th n d t king it f o p dju t d hi p ct cl t b u th t h m ight t bl Th n h n d w lk d f it b ck on th p l tfo n d th n t pp d fo w d lik thi H m u t h v tudi d th ub j ct m uch f um d n locution y ttitud ; h h t d h vi ly up on hi l ft h l lightly dv nc d th ight foot th w b ck hi houl d op n d th o g n of p ch nd dv nc d hi ight h nd t n ngl of fo ty fi A h tood in th t l ocution y tti ch w nt thi i it p ci ly tu d thi i ju t th w y th t p of m k d mif I do n t x gg t it b ut So y f i nd h v t it I coul d n t x gg Im p o ib l ! Thi i th w y it w nt ; n t h th u g h I f th on th t i b ck to y b ut th l Se ha e r e a e s a o e a r er s e m s s r e e e a e e , a r a e . a as S m a e e r. o e as e a e . see a ar r e a ss e rs , a a a e ee e e e a e m s s e 0 }i a o e s a a era e m s e s e as S a r r se r a er ar e er r a e a a e rs e a a e a m , e re s s s a s r e a ar e s , o r or , ea a e e e re e s e e e s a e a a e e s r s r a ss r ra ea r e re s e ee e e e s e or ee e a , . ce , ee a e o ar r e s e err e s o a e s . ere o es . a re e r a r e e o a e v e - a a s a r e s a r e . e e re a a rea e ar e a e s a s m m ea r a e e e a a s se a a s a , s s e . o r e ar s , e a s s s e e e e e e s e sa r a a o a re e a a , e o e, a r a a e e m a e e e e r e as . re e a a e re se e r, a e o e se e m . o ra e ra s e ra e se e , a e ere “ e S se ar o e o a e as e e a e e e es r s er , re , e e ra a s a a ar e e er e a r e e s ee a a o e, a s, r e r e a e o , er ra a a a , ers s re e e e e e o s a a a e e e s a re e re s e o ea e a e e a e sea re a r e e e e, rea s e e, a er s as a e a e e e er m ar e e a e e a e e r ss a e a . ” e e e a e sea ar ar . “ o . e a a a es e as o . a r sa e m a s e e rs er ea e e rs e er o se e a e r a a e ra a e e a er e m a , e o a a e as a r e . ; e s a s , es a a a , e rea az e o a s re e s se a , as a e . e e a e e e s s s e e ss e se re era a a e . , e a s a a t: A ll ow citi n oon h h d hi voic hi h nd b g n t h k lik th t hi kn b g n t t m bl n d th n H cough d nd chok d n d fin lly c m h ook ll ov h ound t look t hi m nu c ip t Th n h b g n g in F l — — — —w l w citi n w W v y w W — — h p p y—w h v y p py w v y h p p y t w l com b ck t th i n tiv town th ol di wh h v fought nd “ Fe e a e S ze o S ze a s: e a re e r s a a re er a , s as s e e e s r e se a re s o re e, a e a e e a re e e, a e . e ers a a e a “ : o a e e a e a re a o a a e a re er s s ea r a e a re a e e es e . a e o S . e er o a a e a ar o a s e er e e a m AKING ART OF PU B LIC S PE THE 0 2 5 — l d n d co b ck g in t th i n tiv town W b p — — — w l i lly w p ci ll y p ci ly w p ci ll y t h u t d t h h l d i o y i yo u ng o (th t mnt ) t w p gin tion (f i nd b h id thi you ng h o wh in i i gin tion f if h h d n t id th t I w oul d n t b goti ti — t f t i ) this young h o wh in i gin tion l nou gh t — — n l ding hi t oop l ding w h v s n l ding w h v — n l ding hi t oop s on t th d dly b ch W w h v — — n hi hining hi hining w h v n hi hining h v — — hi h hi h h v n ining ining o d fl hing in th w w unlight h hout d t his t oop C o on ! d d d ! H w littl th t good ol d n kn w Oh d bout w If h h d known nything bout w h ou ght t in thi u di nc know i t u th t h v known wh t ny ol di c i f n Offic of inf nt y v in ti of d ng it i n x t t n I with m t go h d of hi m y hining w o d fl hing in th unl ight houting t y t oop I n v did it C omon I w oul d go h d of m D you up p o n t b ho t in th y f ont by th n y nd in th b ck by y w n m n? Th t i Th p l c f th offi c no p l c f n offic i b hind th ol di in ctu l fighting H w Oft n t ff o ffic I p iv t od down th lin wh n th R b l y nd y ll w co ing ut w p ing l ong ov th fi l d nd hout d w ood Of th ! Offic t th ! nd th n v y offi c Offi c t th go b hind th lin of b ttl nd th high th Offi c nk th f th b hind h go s N t b c u h i ny th l b v qui th t t b don If th g n b ut b c u th l w of w l c mup on th f ont lin nd w kill d you woul d l o you b ttl nyhow b c u h h th p l n of th b ttl in hi b in nd u t b k p t in co p tiv f ty I with y unl ight Ah ! Th hinin g w o d fl hing in th t in h d giv n th t boy th i l t h d n wh th h ll th t d y i d hi on th i b ck th ough d p iv t ck wh h d c w n t th th f B ut o th i ; th y h d gon do wn t d count y Th p k ntion d th b ut th y w b ut littl notic d nd y t th y h d gon down t d th f th i count y gon down f c u th y b li v d w ight nd till b li v id th th t I w s ight thou gh I g nt t th o th k n wh h d y lf Y t th ctu lly di d f th i f count y w littl notic d nd th h o of th hou w thi boy Why w s h th h o ? S i p ly b c us th t n f ll into fooli hn n d tho w n offic th t Thi boy w only p iv t ol di Il n d l on th t I will n v fo g t lly G tn s con i t n t in h ol ding o mo ffic ; g tn ss con i t in doing o g t d d with littl n in th th p iv t nt of v t pu po s f o nk of l if ; th t p li hm i t u g H wh n giv t thi p o p l b tt t t tn b tt ho b tt chool b tt chu ch o ligion m a a e e as s ar a e e o s s e e r a e s a r e e s, e rs era e a r ra m s S e a a m o , s r e , a rea ess ers s s s s e e r e er s m rea as ess es, m . e re a r se r m o ca s or e s, e e o er m m e e m ea s e r e e s, e r s e ere r e re a e a cco s m e e as e s, a e ra or er rea e , as a se er , a e e a a r e e r r r a . e e e e e rs or s a er e r e r a e a ar ere e sa a ee as ea e e sa ee o e ss s e er a e o e . e m s , r ea er s a e e e r as a ea r . as r m a a e re , e s . a e s , e e e, se sa e m , ra . e s o o er e e e e e e s es m e o e a e e e e se e s s s s se e e a er e ss e a a , er s ra . e r e er ” e e e e e e o ’ a s e m er , e e a ra e ra e r m a a a ere sa a er e or a . r . ea , se or ere o e m m r a o o e s e ere as a rr e e s e e e e re . e m m m a a e e a as a a s e a s a e a s s, er se e a . e as a e re se ” er as a s a e er e e e e a e S er a e rea r o . e a e r cr er r , s a , e o o e , e, a e . e r o as ” o a r re e e a a e s a e or e, a a e se e a e e e rs r o a e e er ar e ee e e e s a s e e . e er m m a a e e e s e ea e . e s s: e e rea r o s r a r, r a , a er a e er a er e es e or a e . m se a e a , e e . m m ’ a s a , as r e er m e o s o s or a e S , o ea s S e a a ea a ea r ee e se e s s, a rea m S r a a e s a ea e e a e sa e e o, o a e e r, o , e ea e e r o m r o a s , re es a re a ea s ea r , a s a s r S e . e r e e m mm m a er sa e a re es . er s e s e e s s ea r , e o ea s ea r , , es a o s se e e a a s s e see r e a s a or e see a a re m ea e see e r a o , o e a o re e r a a s ” e a e er s a a o se e ea se e es a re e c a ca a e a e ' e m . a er s ree s , re re , TH E ART OF PUB LIC S PE 50 4 m m m m m m m AKING utho of thi i n nd t ng wo k i n of th st ong B l c go t ight t th go l of R volutioni t w it r c i od n oci ty ; f o ll h w est B ody t body h th n ill u ion f o so thing f o tho h op ; f o n c tchw o d f o noth k H nsa ck d ic h di ion H ch d ut nd ound d n soul h t se t d p nt il s b in th by th t ch n h within hi lf n d vigo o u n tu And by g c of hi f ; by p rivil g of n volutions f c t th int ll ct of u timwhich h ving n f c o cl ly th d tiny of hu nity nd co p — B l c d d hi lf s ilin g nd h nd P ovid nc b tt f o tho fo id bl tu di which p rodu c d l n sev nd i nth op y in Rou u h ly in M olie cco p li h d ong u thi is th wo k This i w h t h h — which h h l ft u w o k l ofty n d ol id onum nt obu tly p il d in l y of g nit f o th h ight of which h ft his nown h ll hin in p l ndo G t n k th i wn p d t l th futu will b n w bl f th t tu Hi d th tup fi d P i ! Onl y onth g h h d f w co b ck t F nc F ling th t h w s dying h wi h d t n w h w oul d m his co unt y g in b c hi oth on th of di t n t voy g Hi l if w s ho t but full o fill d with d ds th n d y Al ! thi p ow ful w o k n v f tigu d thi p hil o op h thi think h liv d ong u s th t lif thi p o t thi g niu of to of t if of qu l nd co b ts co on in ll ti s ll g n t p c H c p cont ntion t t m T d y h i nd h t d On th d y h nt into gl o y nd th to b Th ft b yond th cl oud which bov u h d h will h in ong th t of hi count y All you wh h you n t t p t d t nvy hi ? Wh t v nc of uch l o l t us ur g i f in p y b cc p t th c t t op h s with ign tion ! L t u cc p t in it wh t v i di t ing nd v ; it i good p h p it is n s y p h p in n p och lik ou th t f o ti t ti th s g t d d h ll co unic t t p i it d vou d with k p tici n d dou b t ligiou f vo P ovid nc knows wh t it do s up yt y w h n it p ut th p op l f c t f c w ith th — t n d th fl ct d th which is nd wh n it giv s th m qu lity it i l o up lib ty P ovid nc knows sup inc it i th g t t of ll in t ucto wh t it do nd iou thought in ll h t wh n n b b ut u t Th ub l i k it j tic nt nc into noth l if p i it m b ing wh h v l ong o d bov th c ow d wh n n Of tho on th vi ibl wing Of g niu p ding ll t onc oth wings wif tly int o th unk no w n which w did n t p lu ng d N it i n t th unk now n ; no I h v id it on noth occ ion nd I h ll p t it tod y it is n t night it i light s r a a r ra e e see s a e as e a es a e ev e e a s er r o a s r , re a a re ere a a e er e e er , a s S e o e as a a a e e s a o e s e e . a o e s er , re , e s , s a e er , a e a , r e a e r e o e es e es a . . s, ea o a re . as s a s s e a s ere a r a es e ere , a re s e o e a s r . o e a r a s re o a s, S o ea r ra re a a a , e s er a e sa e ea r s a e e e, r er e . er sa a o e er a e a e . a e s a re e s e e rs s r s e e ea , . s , re e a a es re e a e er rea es se r s e s e o re e re e ec e e e e s, a r e o s a er es s see , e S rs , ss , a e s o s s s e r s e a e re ea e e o s er e e 0, se e e se s e rese e s , e r e e es, s ere ca or e r e rs re s a re a a ra a re a e e e e e e , a ea e e a e e re e rea . S as s a r e a s e r a s a a s s re ss a e e era a er s, as r a s ea , a e s, a e o s, a e e a o e a s e o a - e e e e e e . e e se e e a - e er a s . s , e sa e s o er , e s a rs o rea o . er e a a rre s a . e a ar e e, e s r s er , e a a e a . re s e r , . s e a as o , ee s a a s a a as ee . e a s, S e se r ar s e a e re e ra o s a a a e, ea r re a ra e , e r s e rs s e r a s s see a s, re ssea e e , es s e a se e r as a e re ea e a sa a e s e e, , a ee s o as see re . r r v a e a a a za a s a e e e o e a e es e r e er ea , er , re a s a e se o s r ea r e e e r o a r o se a a a e, re r ere a S e " e ra ree a r o s a e r . o ss e r , as e a s e r ere r e - e e , ca e e se a r . ra , s er a a r , ra c s o es s ra s er e se a r a ss c e a r a za . se zes e , e rs r s e e e e m m m m m m m m m m m m m m m m m m m mm m m mm m m m m m m m m mm m m m m m m m m m m m m m m e o a s ra se a e , s . APPENDICE S It is m m m o m tra v er an . m m b ginning ! It is n t xtinction it is Is it n t tru rs su ch to bs thi d on y h o t lity ? In p s nce of th ill u t iou d d w f l di tinctly th divin destiny of th t int llig nc which — s s th u r i f y i l f rth t suff a nd t t s which w ca ll p not the end , stra te i re m 0 5 5 e, o r a s e it is the e ea e ea re re e e er s r s a o , as , e e o e o e e , s ea e , e e e e ee G ENERAL I ND EX Na e s of sp ea kers a nd w ri te rs re f erre d t o a re se t in “ l o w er Oth er refe re nc es a re p rin t ed in CA P I TA L S ” ” c a se o r s a ll typ e B e c a u se of t he l a rg e n u b er of f ra g en t a ry q u o t a t ion s a d e f ro sp ee c h e s a nd boo k s no t i tl e s a re ind ex ed b u t a ll su c h a t e ri a l w ill b e fo u nd ind ex e d u nd er t he n a e of it s a u t h o r m m m . , , , , m m mm m . B ALDWIN , C S , B ARRIE , JAM ES . Acc en tua tion , 1 50 ADDIS ON , J OS E PH , 1 34 ADE , GE ORGE , 2 52 After D inn er S p ea king , 3 6 2 . . . - 3 7° An a l ogy , 2 2 3 Ana ly si s, 2 2 5 — An ecdo te, 2 51 2 55 ; 3 64 Angl o — S a xon wo rds, 33 8 An ti thesi s, 2 2 2 Appl a u se, 3 1 7 Arg u en t, 2 80 ARI S T OTLE , 344 — Articul a tion , 1 4 8 1 49 Associa tion of idea s, 34 7, . . . . m . . . . 8 4 3 Atte t 1 4 3 . . 1 6, 9 2 M . 33 9 , — 222 22 B ATE S , ARL O, B E E CHE R, HE NRY — 6 , 3 1 , 76 78 ; 1 86, 1 88, 2 2 3 , . 3 WARD , 3, 1 1 3 , 1 39 , 2 6 5, 2 75, — 3 52 B E RNH ARD T , S ARA , 1 o 5 B E ROL , FE LIX , 344 B E VE RID GE , ALB E RT, J , 2 2 , —48 3 B IRRE LL , AU GU S TINE , 9 7 B L AINE , JAME S G , 3 68 B ON CI , S IGNOR, 1 2 4 — — B ook s, 1 9 1 1 9 7 ; 2 0 7 2 1 0 — B rea thing , 1 2 9 1 3 1 — B ri ef s, 1 77, 2 1 0 2 1 4 , 2 90 . . . . . . . . . . . . m n ion 346 34 7 Au dito ry i a g es 3 2 4 , . , , , 8 4 3 , 34 9 2 94 . B RI S B ANE , ARTH UR, 1 9 B ROOK S , PHILLIP S , 3 56 B ROU GHAM, LORD , 338 . . . B ACON , FRANCIS , 2 2 5, 2 2 6, 36 2 B AGE H OT , WALTE R, 2 49 B AKE R, GE ORGE P , 2 81 B RYAN , WILLIAM JE NNIN GS , . . . . 2 74 , 2 75, — 44 8 4 64 . 2 76 , 2 77, 30 2 , 50 8 INDE X D ICKE N S , CHARLE S , 5, 2 34 , D isc a r ding , 2 2 4 D IS RAELI , I S AAC, 1 0 1 , 3 2 1 — D i stinc tness, 1 46 1 52 D ivi sion , 2 2 4 , 2 2 5 GAL T ON , FRANCI S , 3 2 3 GA S KE LL , MRs , 1 86 Genera l iz a tion , 2 2 6 GE NU NG , JOHN FRANKLIN , . . . . . . . . 55, 9 2 , 2 2 0 , 2 2 6 , 2 81 . GE ORGE , HE NRY , 344 — Gesture , 1 50 1 68 GIB B ON , EDWARD , 1 75 GL AD S TONE , WILLIAM E . m . E go tis , 3 76 EME RS ON , RALPH 10) 97 2 1 44 , m 1 . WALDO , 1 0 3 , 1 0 4 , 1 0 57 1 2 2 ) 68, h a s I S , p E . 88, 1 — 1 6 24 m 73 E n thu si a s 20 1 231 , — ; 31 32 ; 47 , 8) 1 242 1 GOE TH E, 57, 3 72 J W . ° V ON , . , 11 7, 3 72 GOL D S MI TH , OLIVE R, 1 2 1 GORD ON , G R , 3 65 3 66 GOU GH , J OH N B , 1 88 GRADY , HE NRY W , 3 8, 2 40 . - . — 1 0 1 1 09; , , 2, . 2 6 7, . . . . — 1 50 1 52 E n u nci a tio n , — E VE RE TT , EDWARD , 78 79 Ex a p l e, 2 2 3 — Exp o si tion , 2 1 8 2 2 8 Ex te p o ra n eo u s S p eech , m m 1 79 . . . 242 ; —4 2 52 2 53 _ 2 6 8) i 8 3 GRAH AM , HARRY , 42 5 Gusta to ry i mg a 3 6 5) 2 55 . es, 8 4 3 2 3 5, . . . Ha bi t, 1 90 , 349 — HALLE CK , FITz GRE E NE , . F a cia l Exp ression 1 63 — F eeli ng 1 0 1 1 0 9 ; 2 40 2 64 . , , 2 65 ; 2 0 3 , 2 95 - 3 0 5 ; 3 1 2 , 3 1 7, . Fig ures of sp eech , 2 3 5, 2 77, 1 33 . — — HAMLE T , 88 89 ; 1 52 1 53 HANCOCK , PROP ALB E RT BL, 33 5 HART , J M , 338 — HAY , J OHN , 443 44 8 HE ARN , LAF CADIO, 2 3 8 HE NL E Y , WILLIAM ERNE S T , . . . . . . FLAU B E RT GU S TAVE 339 — F luenc y 1 1 5 1 2 3 ; 1 79 1 84 , I 9 7 5 3 54 , , . , , Force 0 2 3 , 3 73 — 87 9 7 . m . — ? 1 2 2 2 7 1 2 72 g g HE NRY , O 2 4 7 3 2 8 . , . , , M INDE X HE NRY , PATRICK , 1 03 , 22, 102, — 1 10 1 1 2 ; 1 0 7, 20 1 , HE SIOD , 1 46 HILL , A S , 9 2 , 2 81 HILLI S , NE WE LL D WI GH T , . . 39 — HOAR, GE ORGE , 2 9 6 2 9 7 HOB S ON , RICHMOND PEAR — — S on , 2 85 2 86 ; 2 87 2 89 HOGG , JAME S , 1 3 9 HOLME S , G C V , 2 2 6 HOLME S , OLIVE R WE NDELL , . . . . . . . . JACOB HOLYOAKE , GE ORGE , HOME R, 1 4 6, 2 3 5 HOUDIN , ROB E RT , 3 50 HUB B ARD , ELB E RT , 3 HU GO, V ICTOR, 1 0 7, 50 3 . . . m JAMES ON MRS — JONE S FOS TE R , . — 2 43 24 5 JONS ON , , ANNA , 69 ARDE NNE S , . B E N , 343 . . . — 4 40 2 50 9 — 1 2 —6 Hu or, 2 5 55 ; 363 3 5 HUXLE Y, T H , 2 2 7 . . . . KAUF MAN , HE RB E RT , 4 2 44 . KIPL ING , RUDYARD , 4 , 30 0 KIR H M, S 0 6 3 . K A TANTON D AVI S , WAL TE R S AVAGE , . LAND OR, 33 9 LE E , GE RAL D S TANLE Y , 30 8 — L ibra ry , Use of a , 2 0 7 2 1 0 LINCOLN , AB RAHAM, 50 , . . LIND S AY , HOWARD , 40 LOCKE , JOHN , 1 88, 343 L ON GFE LL OW, H W , . . . . 11 7, L OOMI S , CHARL E S B ATTE LL , m m — I agina tion 3 2 1 333 — I ita tion 33 5 336 , , 365 . L OTI , PIE RRE , 2 3 8 L OWE LL , JAME S RU S S ELL , . . . —4 Infl ection , 69 7 . INGE RS OLL ROB E RT J , I 2 99 7S IRVIN G IRVING , , . WA S H IN GTON S IR HE NRY, 1 , 68, , 5, 8 5 . 235 . MACAU LAY MACLARE N 2 54 , , T B . . 76 , ALE XANDE R, . MCKINLE Y WILLIAM JAME S WILLIAM , , S p eech, 349 . to, . — 43 8 44 2 ; , by John Hay , , La st Trib ute 443 . INDE X 51 0 m MAS S ILLON 1 88 — M e ory 343 ss4 ME RWIN S AMU E L 72 ME S S AROS WALDO 1 4 7 MILL J OHN S TU ART 3 55 N J OHN 1 M IL TO — M ono tony Evil s of 1 0 1 2 ; . , r , , . , , . , . , , , , , How 44 M ORLE to , conq uer — 12 1 , Y JOHN , m —4 1 0 40 3 , 4; , , , . . CHARL E S , 0 2 3 . , , : . ' ) ) , . , . — PHI LLIPS WE NDE LL 2 5 2 6 ; — 2 8 3 7 9 7 99 1 0 0 — Pi tch cha ng e of 2 7 35 ; . , . 0 3 5 . , . PHILLIPS , . MOS E S 1 1 5 Mo tor i a g es 3 2 4 34 8 M OTTE ANTOINE 1 0 MOZLE Y JAME S 2 3 5 , PARKE R, TH EODORE , 2 57 2 58 PAT CH , D AN , 2 PAU L , 2 , 1 0 7 — Pa u se , 55 64 Person a lity , 3 55 — Persu a sion , 2 9 5 30 7 PHIL LIP S , ARTHU REDWARD , , low , 3 2 , 69 . PITTE N GE R, WILLIAM, Pl a ti tud es, 3 76, 3 77 POPE , ALE XANDE R, 1 , 66 . . NAPOLE ON , 1 04, I 3, 1 41 , I —2 60 Na rra tion 2 4 9 Na tura l n ess, I 4 2 9 , 58, 70 No tes, see B ri ef s , . 23 1 Po sture, 1 6 5 Pra c ti se3 Nec essi ty for, . . , 75, . Preci sion 1 5 2 of uttera nce — Prep a ra tion 4 5 ; 1 79 —6 Occa sIOna l 0 37 . p ea king m Olfa c to ry i a g es Outlin e of sp eech , , . , 8 4 3 — 2 1 2 2 14 —4 Pa c e, Ch a ng e of , 3 9 9 PAINE , TH OMA S , 1 2 2 PARKE R, AL T ON B , 4 2 3 . . QUINTILIAN , 344 . Rea ding RE DWAY , . . 1 84 . . 2 3 5, , . PRE YE R, WILHE LM T Prop ortion , 2 0 5 PU TNAM, D ANIE L , 80 2 2 3, s 1 46 3 5 Ob serva tion , 1 67 — 1 88 ; 2 0 6 2 0 7 ; , . , —1 68 ; 2, . , I 9I 1 70 . — 1 97 . . , 1 88 . IN D E X 1 2 5 — 1 24 1 44 V oice, 3 2 , V OL TAIRE , 4 WENDELL . , PROF B ARRE TT , . SCOTT JOHN W WE . . , 42 4 , 42 5 . WHI TE FIELD GE ORGE WHI TTI ER J G 48 — Will p ower 3 56 3 59 ; , WATTE RS ON — 0 2 0 4 4 , HE NRY, 30 3 , 3 WE B S TE R, D ANIE L , 2 , 73 , 1 0 3 , 1 0 9 , 2 0 1 , 2 78 ; E ul og y . by Rufus — 464 4 69 WEE D THURLOW Of, , , , . . , 3 7s , 2 9 . 93 , 6 33 Ch o a te, 34 9 . 1 61 . . , Words , YOUN G , EDWARD, 90 . 3 73, m m De a crd rfie d us g the Bookke e pe r p roce ss Ne utra lizing a g e nt Ma g nes iu Oxid e m Treat e nt ' Date Nov 2 007 . . Preserv ationTechnologies A m A AWORLD LE DERINCOLLECTIONS PRES ERV TION 111 Tho son Pa rk Drrv e Cra nbe rry Townshlp PA 16066 (724 ) 779 21 11 . -