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
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PR F
J B RG
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4 57
pp
NA WR R
NW N
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AR Y A W RK N G HAN
B K R WR R
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BY J B NW N MARY ROB R
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THE ART
L E E DS
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THE PH O OPL
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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
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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
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5 26 pp
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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
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3 84 pp
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WRITI NG
L I B RA RY
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ED ITE D
TE U R AN D
V OL U M E
TH IS
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IN PREPARATION
AD Y D U RING TH E
TH E ART OF PLAYW RIT ING
W RK N G M H O
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OTHERVOLUMES TO B E ANNOUNCED
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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
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RA
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WR N
WR N
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HO OP A
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AND
D ALE CARNAG E Y
UC OR
ORK B ROOK
I NS TR
N EW Y
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IN P
UB
H
LYN, P
THE
AK N
HA W
LI C S P E
IL
AD E LP
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I
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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
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-
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mm
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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
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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
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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
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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
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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
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,
a
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m
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e
oo
re
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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
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re
a
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m
s
a
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-
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a
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a re
s
s
s
e a
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m
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ea
:
a
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er
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x e
er
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e r
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er
o s
a
ee
.
er
e
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rese
e
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er
,
ea
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a
a
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aze
e
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erse
se a
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ee
er , es
a ze
o
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ea
a
a
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er e
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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
.
,
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,
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,
,
,
,
.
.
.
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
,
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,
,
.
m
,
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,
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
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er
rea
m
re e r
a
ese
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m
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o
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re a
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a
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a
re
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er
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r
a
o
ca
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a se
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e
a
-
m mm
m
e
.
.
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,
m
m
”
e
s
e
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m
mm
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s
m
m
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a
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a
ese
.
e
o
er
or
a
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a e
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a es
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a
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a
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a
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sa
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a
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e
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o
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,
e e
a
s
r
m
r
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e
e s
er
e
e a
.
s
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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
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a
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or
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a
er
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o
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ea
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a
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a
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re s
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ra
.
-
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r
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m
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a
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a
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a
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ra
m
m
as
r
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e
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ea ,
a
e
a
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s a
re a
e
m
a
s
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o
r es
e
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a
m
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a ra
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ar a
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r e
ox
er
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e
a
a
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’
,
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a
ea
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m
m
ar
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a
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e
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or
m
r e
r a
o
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as
a
ere
a
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,
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rese
o
s
or
e a
ea
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a
ee
a r,
e
.
re
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.
se
a
o
e r
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a es
o
se
e
a
m
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e
a
e
re s
r
a za re
e
a ra
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a r,
e
e
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a
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a
ar a
s
a
a
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ea r
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o
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.
or
ea
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m
m
se
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m
m
se
e
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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
.
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e
a
a re
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in
e
a
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e
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r
:
e
a
or a
a
r
:
e
ea r
,
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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
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e
r
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a
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se
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a
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ar
ea
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e
er
ee
ea r s a
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e
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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
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a
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,
.
a
a
o
a
a
”
a rea
,
e
a
,
r
,
a
,
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.
m
m
e
e
ze
e e
a
re
e
o a
m
m
m
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er
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a
e
s
a
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o
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e
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a
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e
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m
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o
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a
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re
.
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.
re
ea r
rre
,
m
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er
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,
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ee
,
r
a
a
re
a
a
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ea
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a
r e
e
re
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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
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e
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or
,
e e
se
e
'
o a re re
a
a
o
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e
ove
,
.
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ro
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er , a
e
a
e
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er a
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a
o
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s
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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
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a
o
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a
a
e
e
,
a
o
m
m
m
e
a
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e
,
a
ri
e a
,
o
s a
r
e
er
m
m
s
a
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re
m
r
s r
a e
a
o
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e
s a
.
r
ar
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.
,
er
a
m
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as
a
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as e
ea
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r
ea re r
-
a e a
m
m m m
re
.
e, a
e
.
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re
r
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r ses
a
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a
.
se
a
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er
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s
ea
r se
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a
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ra
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,
.
re
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r
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e a re
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er
a
a re ,
-
m
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a
r
a
s
e
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r s
re se
a
e
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m
a
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m m
o
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m
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m
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s,
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a
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.
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r
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m m
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re s
ree
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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
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ree
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a
or
e
e
m
r
m
r
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a
ee
re a
e
s
e
o
a
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a
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e
a
ar a
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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
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se
es a
r
rs
a
m
a
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ar
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re ,
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a
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,
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ree
or a
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or
r
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o
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a
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r a
-
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a
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.
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-
.
a
a
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,
a
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o
a
ra e
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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
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e
,
re
m
eres
ree
a
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a
o
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ers , a s
E
e
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a
r
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a
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r e
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a ss
a
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r
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r
es
se
a
o
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ree
m
m
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er
ze
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es
.
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a
r
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r
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r
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m
re
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o
a
r
r
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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
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a
a
re
ee
.
a
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ac
e
.
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e
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r
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ra e
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s
“
a
e
.
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a
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er
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re
e
,
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er
.
er
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or
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”
r
a
a rr
e
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ee
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,
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pe
m
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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
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er
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a
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a e
m
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ea
,
ar
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ar
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a
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s
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er
.
a
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,
.
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es r
r
ra
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a
,
m
m
m
m
mm
m
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o
a
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s
,
,
x
e
a
m
a
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,
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mm
m
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r
e
se
e a
,
a
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a
a
re s e
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e
r
s a
or a
r
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s
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a
’
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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
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er
a
m
r es ,
r
e
e a
e
s
a
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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
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er
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,
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r r
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1
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re
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o sa
a
o
er
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a
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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
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m
e
,
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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
’
-
.
’
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,
,
,
.
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
,
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m
m
,
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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
.
.
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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
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.
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’
,
,
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
.
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m
.
.
.
m
m
,
.
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,
.
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
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mm
.
,
,
,
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.
’
.
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,
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m m
’
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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
,
,
,
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,
,
m
.
.
’
.
m
,
,
m
,
“
’
.
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.
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,
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,
,
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’
,
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.
,
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,
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,
“
,
,
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,
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.
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mm
.
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.
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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
,
,
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,
,
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
.
,
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.
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.
,
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.
m
m
m
m
.
,
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,
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
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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
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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
,
.
-
,
.
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mm
m
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m
m
m
,
m
.
m
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m
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m
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m
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mm
m
m
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m mm
mm
—
mm
m m
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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
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,
m
,
,
,
m m
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,
m
m
mm
m
m
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,
m
m
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m
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[
m
m
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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
.
,
,
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~
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.
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.
,
,
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mm
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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
,
.
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m
m
mm
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m
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,
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mm
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N
p
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mod of liv y
d
o p op
p ob b ly l o
b
b ginn
p king
f om
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id l d liv y
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im
in
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,
,
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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
.
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,
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
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.
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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
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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
,
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m
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.
m
m
m mm
mm
m
,
m
.
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.
,
.
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.
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,
,
,
.
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
.
,
,
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,
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.
,
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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
,
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m
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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
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e
er
as
m
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rea
e
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o
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re
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s re a
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a ssa
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es
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er
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s a
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o
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ers
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ers
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er
re a
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ea
r
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se
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as
r
a
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re a
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s a
ea
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s a
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ee
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a
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ar
e
rea e r a
a
e
.
er e
o
a
re a e
s rea
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za
a
e ss
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e
a
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er a
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r
re e
s
ra s
.
m
as
.
er a
e
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a
er
a
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a
.
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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
.
,
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-
,
,
.
.
-
-
.
,
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
.
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.
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,
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.
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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
.
,
,
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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
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di
g?
a
e
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4
n
r
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h
A
a
lyz
e
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o
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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
.
.
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.
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m
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-
.
.
,
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m m
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.
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
’
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,
,
mm
.
’
m
,
.
.
,
m
m
m
m
,
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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
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m
,
.
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m
m
m m
m
m
a tters
.
D a niel
m
,
,
mm
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‘
.
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
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-
.
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.
mm
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-
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.
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.
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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
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.
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.
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,
mm
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mm m
m
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.
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.
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.
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.
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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
.
.
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.
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mm
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mm
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.
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
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re s o r
e a re
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.
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re
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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
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e ca
e
ar
a
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o
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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
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m
o vi l p inci
mof di cou
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ta
s
G
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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
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er a
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a
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o nt .
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r
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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
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s
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es
(
9
tion
I
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m
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.
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mm
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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
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m
m
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.
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Tha t
a t v ir tu e
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nowh
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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
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a teful
)
(
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;
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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
.
.
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.
’
,
.
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
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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
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of im
gi ng
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b o
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of vi u lizi g
N
ly
obj c
c
i u io n
c ion
on bo u
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nl
imy
Horse
the
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the p
hea rers
c l ea r
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s ene ,
oc ess
to b e
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ess
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es of
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.
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tha t
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.
i ds
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t
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ind
these thi
tha
the
of see
t
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-
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
,
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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
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‘
,
-
,
m
.
.
m
m
.
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’
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
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as e
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c
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28 3 5 ;
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1 62 ; 23 1 240
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The Art
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Ele a n or
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152
F
IN L U E NCIN
m
G
T
B Y D E S CRIP I ON
2 37
m
m
mm m
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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 :
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—
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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
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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
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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
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t
Th v y d y
b ut twil ight ; i
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d nl y b ing d kn
o n d con
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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
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ti
it w o ul d co
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wil d b
t — PIE RRE L OTI A n I l nd Fi h
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I
th g
t
f c t o y wh
b tt lion ight h v d ill d ;
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th l ong t b l
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of rv nt
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t onc ; I h
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th cl tt
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f l onc o th fo id bl p p tit th h cul n t ngth
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D E AMICIS , Colleg e Friends
S uggestions for the Use
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on b eginning a descrip tion wha t p oint of vi ew
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,
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1 In
3
the
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This fig
u re o f
sp
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M od e na
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Visi
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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
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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
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,
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
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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
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m
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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
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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
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F o go tt n w
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C p it o l f d d
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of th p op l
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sp on ibil ity
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f thi gov n
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a t l st th
—
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th h p
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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
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S a
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sa
a e e
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or
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m
e
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m m
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m m
r a
a e
ra a
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ra
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‘
e
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s
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‘
or
e
s a
m
m
a
a
a
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m
n ot a n a
a
a
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or
a es
a
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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
’
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a
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s a
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se
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S
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re
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s a
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a, a
m
m
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s,
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e
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m
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a
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ar
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a
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,
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s
m
m
mm
m
re
e
rs
o
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a
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e
.
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ers
a
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as
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m
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m mm
m
m
m
m
mm m
m m
a
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ar
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,
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er
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a
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s
m
m
mm
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m
m
m m
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or
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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
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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
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e
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er
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sa
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o
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er s
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m
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m
r
e s
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ra
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r
a re
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r
se
a
a
e
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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
.
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ra
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x
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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
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s r
a
a
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er
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S ena to r Ho a r then went
—
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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
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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
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a
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.
—
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
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a
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m xm
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yo u m
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ind
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nding of
m
p icul
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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
.
,
,
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m
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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
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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
-
.
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.
.
’
.
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.
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.
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-
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,
,
.
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.
,
,
,
,
,
’
.
,
.
,
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
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-
.
,
.
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
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m
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m
m
.
.
.
-
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-
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
.
“
.
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A b ook
Writer s
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of
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L ib ra r
no ny
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m
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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
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.
,
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,
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‘
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,
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Discuss
,
,
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Words With Those Who Know
S inc e the
m
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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
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a
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at
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an
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se
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s
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tt
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o
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a
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ill
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u ckl
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do n wo d
Wh t il d you
You l tt
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sa
a
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the
zz
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gith
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It w
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tha t ,
r
ze
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m
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ill w
rep
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w ere there no
,
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a nzy , o r
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r a re
m
oug
my
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folk in
mn
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r
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oth fi [ x in
C th o o
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The
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u i with i p ti nc
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ticul
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fi t wo d th t co s nd
id M
r
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D th
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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
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ee ,
e e
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m
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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
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s
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as
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r
m
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r e
,
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.
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
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e
,
re
e
a
e
a
o
,
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r
m
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.
2
.
a
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o
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a
a
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a
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m
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se
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e
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m
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re
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”
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
,
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,
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,
,
,
,
,
.
,
,
,
,
,
,
,
,
,
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
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The Na tura l L a ws
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A
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er
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se re t
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how the
is
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e ree s
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to wa
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e
w
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e as
we
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ory
whe
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r
a
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se
tra ted
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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
’
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.
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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
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n
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u
s
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ic
e
a
bi
io
B
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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
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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
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,
Y TRAININ G
ME M OR
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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
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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 ,
,
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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
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p
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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
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Trou ble
f
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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
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Y TRAININ G
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m
m
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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
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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
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F
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of
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3
y
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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
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in
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w
n
w
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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
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ion
s
t
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ll
e
p
ea
k
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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
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out a nd sta te
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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
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a
a
,
s re s
r
e
e sse s a
a
a
re s
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.
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
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a
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se ,
oo
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or
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.
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a
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o
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or
r
o
e
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s
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e
a
re s
C
a
ea
s
a
oo a
,
r
e
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a
or a
as e
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r o
oo
a
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a
wh
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a
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b n un u cc ful ; th t u
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—
u
nd wh
w y d u co uncil
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—
ic
n
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h d b n d iv n fo th
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C
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h d x i t d t th t d y in ny p t Of th
f
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w
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n sought t t bli h
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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
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rt th
B fo
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hi
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h k n
n w th ill d with inst n t p
Hi co un t y
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n
n tion s l ov nshrin d in th
h b c
Of
th c n t
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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
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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
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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
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m
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On this
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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
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QUES TIONS
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Why
.
di
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.
AND EX ERCI S ES
ho ul d hu or find
s
a
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ea
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r
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pl c
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Br
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s Of a ny
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.
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of
n
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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
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p
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d d el iv er a n a f ter dinn er sp eech suited
7
.
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-
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
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.
m
.
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,
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mm
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m
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,
’
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
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,
mm
m
m
,
-
,
.
,
,
,
,
,
,
.
m
m
m
m
.
,
.
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,
’
,
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
.
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.
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-
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,
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mm
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-
m
.
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,
m
-
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,
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
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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
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2
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verser
Giv e
In
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AND EX E RCI S E S
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few wo rds
give y our idea of
a
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QUE S TIONS
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cha r
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W
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q
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i
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es
of
t
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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
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a
r
fi
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iv
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u
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of
y
o
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ob
ving
con
e
t
s
t
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a
a
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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
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ea
di
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n
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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
.
.
.
.
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.
.
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.
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“
.
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
.
“
-
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m
.
-
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.
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.
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.
.
.
.
.
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
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r a
a re e
a
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or se
ar e
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er a
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er a
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r e se r
-
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a
r
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a
or
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or
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rs
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as
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ar
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as
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ar
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eco
e
m
m
m m
m
m
m
mm
e
as
se
a
a
s
a
a
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ra
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se
a
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as
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re a
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se re
s
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a
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re se
a
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m
m
m
r
s,
a
s
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s
r a
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sa
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m
m
a
a rra
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ar
a
rea
ra
e rs es
ar
a
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,
as
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.
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
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s
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s
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or a
’
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%
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a
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m
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,
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e
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v e, a
mm
s a
s
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.
as
a
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e
r
s a
a
r
-
e
r
er
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re
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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
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t Nu
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E ngl i h n d D utch c p t in vi d with th
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in s
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p
King Philip Finding hi coff
d p l t d Philip nt th D uke
Of Al v
w ith
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h r
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pp o c h fi ll d Antw p wi th con te n tion f
ch nt w bu y with co
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fi nds
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THE
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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
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p
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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
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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
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t
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G
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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
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AP PE NDICE S
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THE
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40 1
OF B EL GIUM
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THE ART OF PU B LIC S PE
40 2
m
AKING
i id a bill owy with g v s B ut l t u b li v th t
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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
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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
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R ss a es e e
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Wh t Fo b s s stock d a t Fort Pitt h s g own t b you know
th n I
The hu g triu p hs of Pittsb u g in
t ri l p r
b tt
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l ost s h d t
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ou
th t ll th fo u nd s of th C o
on
It is n t quit cl
ti
w l th woul d h v surv y d th wond rful sc n with th s
s th i
d sc nd nts S o
of th woul d h ve
exul t tion
d ni d th t th s g t c nt s of industri l d oc cy ither
in th Old Wo l d r in th N w lw ys st nd fo p rog ess
J ff son s id I Vi w g t citi s s p stil nti l t th o a ls
nd th
lib ti s of n I consid th cl ss of
th h l th
s th p nd
s of vic
s
h w nt on
nd th instru
a rtifi
nt by which th lib ti s Of country
g n lly ove
In E ngl nd th y
ck on 70 p c nt Of ur p Op ul
th own
d th t only 25 p r
With yo u I
tion s dw ll s in town s
c nt of th p opul tion liv in g oup s s l g s
on
s
s
p
on w s right u outl ook woul d b d k L t u hop
If J ff
nd in f c t t o w
d th nd of his ti qu lifi d
th t h w s w ong
ly i w Fr nklin t ny r t woul d I f l su h ve
his
rev l d in it a ll
—
g
in th fo f ont ong the p ctic l
t
n
a n
Th t
int ll ig nc s of hu n hi tory—onc tol d fri nd th t wh n h
dw lt up on th p id p og ss tha t
nkind w s king in
o
l
i
ic
o
l
n
t
s
of
l
iving
n
d
h
n
h
con
s
id
d
t
s
s
a
d
t
h
a
w
p
ch n i p rov nt lw ys b g ts a noth h f lt ssur d
th t
s
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t
b
og
ss
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c
l
k
l
y
quick th n
th t th f utu
t
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e
w
p
it h d v
b en H w s nev w ri d of fo t lling inv ntions
nd h wi she d h coul d
visit th rth t th nd
y t t co
of c ntury t s h w nkind w s g tting on With ll y
his wi sh
he t I S h
Of a ll the en who ha ve b uilt up g
t
m
m
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er
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m
m
m
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rea
P
AP E ND
ICE S
40 5
m
m
m
m
m
m
m
m
do b li v
o l c i y of ound n
ingl y d
of
co d
o
f ly u d
n nkl in d
lig f o
c l ou d
i c
no c
oli ic l confu ion of
i
gin
n
co l c ncy of
d b nign n ind
if could c
gi n
v l of you ll
fu n c
u d vi d by
ond ou inv n iv f c i
of
if co d v fo
n
x i n i
ki in
g dn
i dl i
ub
yd n j
oul d
in
l c ic
li nc of
l g
l c ic l n in
o l d on
i of o
uqu n if
could v
d of
of
ng c i d in
ni d
by l c ic o o o in y
if co d
v
li d
of
gici n l of
i
i o
ould
v b n ound d
l d co d
v fo
n b yond
dv nc in
i l oduc ion
unb ok n
ng of
o i ic l u c u
ic
g nd
in
ing n o i v y gion
i f noon
v f
v of i ig ion ngli
fo
i gini fl o d ov
bo d b in i g ngli
i
l
u
bi of ind co
co o i o igin lly f o
l
fl o d in f o
n l nn ylv i
olic f o
ou n l nd
o f o ou n
n l
uo
i
ou of u y
o l of v y
c ool ou d g
no xub nc of
o ic
on y
ob
u
v ing b o ion
inco
of
i c l
o n of
og nou l n
no
u d
bl indu iou
cific
c iv n
ni
o n
i
o n
uc ni
y n in
i
u in
l
l
i
ol on v iv l d
s
se se
e e e the re is not one wh se a a r t
S tates I
tr ste
re sa e
e e e
ai
ul
be
a nd s
b e nefi cence
s a nd p er e the eco
tha
F ra
to ra w
ht r
the
i a nd p
t a
s
s
e
We ca n i a e
our t
a t
e
a
t
h
r
e
the a a ze e t a nd
s
w
a
e
t
h
p
r a es
he
r
i s a nd
w a t h a ll the
a t
ar e s
e a ul t e s
s
e t
a nd a ll the a pp a ra t s
e
se
the w
r
e ts w th the
an ;
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
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.
,
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’
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
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se e
ra
or
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e
m
m
m
s a
ce
a s so
ra
a
er
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m
o
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rs
s
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sa s e r , s
o
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ra
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as
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,
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m
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a
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a
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se
e a
oo
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re
s
a
a
m
a re
a
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a
mm
m
m
m m
m
m
as
as
a
a
ea r
ar
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.
e
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a a
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r
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a
mm
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mm
,
er
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s
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ere
s
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a
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m
m
m
m
m m
m
m
m
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se s ,
s
se ,
as
a
r
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a re
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a
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a
se
-
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e
m
m
a
er
,
e
oo ,
o
e
a
e sa e s
a
r
e
o,
.
o
,
a
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a
a
or a
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ra
a
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.
e er
as
er
r e
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a
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a
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ea s
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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
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,
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
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S
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m
ar
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a
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rs
a
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a
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mm m
a
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s,
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a s ra
s
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as
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es s
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m
mm
mm
m
m
m
e
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a
ca
e
e S
s
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ce
a
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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
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m
m
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m
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m
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ar
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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
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or
s
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,
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or
.
r e
,
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er
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.
a
e rr
m
o a
a
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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
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r
a
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a
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se
S a
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e
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.
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a
er
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er
a s
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or
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S a
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a
se
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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,
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e
a
e
,
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-
.
a
a e
er
r
era c
ea
ee
,
e
a
as
r
e
as
ea
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or
se s
e
a
r
s
re a
e er
a
r
e
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a
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a
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or a
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e a
a
,
r
a
a
m
m
m
m m m
er
s
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a
a
ra
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s
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a
re e
e
a
e,
ra
e re
e
r
a
e
a
r
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.
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
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s
a
a
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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
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e
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r
e
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a
a
r se
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a
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.
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e s
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s
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a es
r
.
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m
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o
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a
o
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.
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r e
s
a
a se
s
ea
a
er ,
s
as
m
ra
e
a
e
e a re o
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a
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ee
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a
,
o
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a r
e,
ra er
o
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,
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o
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a
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e
.
a
s
a
r
e
m
m
m
m
m
m
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a
,
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re
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m
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as
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S
s
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s
.
e
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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
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e
s
e
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.
a
a
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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
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o
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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
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e
r
m
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a
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s
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s
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e
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s
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s , or
e re
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as a
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a
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m m
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o
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a re
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er
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a
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a
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a
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a
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or a
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s r
ers
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a
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or
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S
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a re a s
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e r sa
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“
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
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a
ss
e
ar a
er
e
a
a re e
s
.
.
.
as
e
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e ss
m
r
m
a
r
re a
o
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r ses
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s
r
s
s e
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a r er
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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
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e
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er
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a ss
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r re s
a
,
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r
s
e
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era
a
m
a rs
ar
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s
e,
,
a
a
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s,
or
c
r
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r se s ,
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m m
mm
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s
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a s re
a re ,
e
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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
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so
r e
ra
e a
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r a
er
er
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ar
s er
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se , a
e
e rs
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ar
r
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r
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er
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e a
rea
,
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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
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Na tiona l
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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
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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
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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
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a
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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
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o o of i l
co
id n
b fo
i of
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li
li v
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ny
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gon b ck o
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co d of
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ublic n j o i y
of
l l
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l in onc d fin d in i
ibl dif nc onc
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in f icid l bl ood
nk
v
ng do
li
f i
ic
do n of i
o
of b v
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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
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x u l
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fo
v
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loi ing
n on
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of indu i co on
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ood
gion
y con ol
co on fix d
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i on ov n u
cy
b
v
u ly of
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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
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h
th s ha df
ea
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a nd
a st
w sh re S h l ha e
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e
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h
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er
e t a n d the p er e te
e Of
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l ert ! G od
ess the
h
e
r
th se
rta w r ers,
—
rt
es
a n d p r sp e r the
the r l
s
s
a nd p erp et a te
sp ra ti
the r ha
the
w r
Two ea rs a g o , sir , I sp
e s
e w r s
New Y r tha t
ht the a t te t
a
the N rth
As I sta n here to re tera te ,
—
s
I
h
a
e
e
e
e
h
er
r w
a
e , e er
w r I the
to d e
tte re
a re tha t the se ti
e ts I the
a
we w e re
ersa
ap
—
th
I rea ze tha t the
nfi e
e
e
tte
p r e in the S
resp
tha t S p ee h is a r e
s
e fo r
ht
y p rese e here to
I Sh
sh
r
se
I e tra e tha t
e
e
tter
si
ere w r , o r
ing one
w thh
one e sse t a
e e
e t
Ap r p s
the tr th
th s a st , let
e
nf ess , M r Pre s e t ,
e
re the p ra se
New E
ha s
a
e
y p s , tha t I
t
her p re se t
b e e e the est p r
e is the p r
e ss
se e tee
th
sa
V er
t De
ra ts tha t fo r twe t
two
ea rs ,
she
ea th ,
re r
irth or
te
er
s
a r he
er the r r
e
e
h l s , a st the r D e
ra t
, ha
al
ts a n d
e
a
h
e to p ra
for the r
re e era te
h rs , a nd a wa e to re a the re r
e
twe t S ix th
sa
M a y the G o d
r t
Rep
a
a
the he p ess a nd the
her
he p the , a n d
a y the r st r
tr e
rea se
th M r Pre s e t , sep a ra te
r
th s se t
F a r to the S
e—
e
e
rrep re ss
e
fere e ,
e tra e
by a
e
ra tr
sha
w
a
God , b ut a a nishi
, a n d n ow , tha
— es the a rest a nd r hest
It is the h
e
ai
th s ea rth
ra e a n d h sp ta
e pe p e
a
There is e tere a ll tha t ca n
e
e
r
t
r
r
r
i
t
a
t
e
a
a
e
e
ea
s
e
o
s
h
a
n
A
e
r
e
p
p
p
p
s
e
s to the h s a
a
e er
t Of the te p era te
pr
z
ht the
tt
wh te s e e a th the sta rs ,
e
There ,
its ea r e shea
a nd
d a y the whea t
s the s
sh
e
the wi
In the sa e e
the
e
e r ste a s the ra ra
, a nd
t
the ra s
The re a re
a
ar
a
a t he s the
—
re sts
a st
a nd
ta s st re
w th e ha st ess treas re s ;
ter
run wa t
e a ;
ers tha t , t
or
a nd r
,
pr
—
tt
str es
to the sea
a ll
Of the three e sse t a te s
,
—tha t re
In
tt
e
r
a nd w
tr
ha s ea s
, a
—
—
er, the rese r e
in ti
i
n
r
r
re
a
s p
e
,
p
p
a e t
s pp
a nd p er
the Rep
Fr
th s a ss re
m
m
m
m
m
m
mm m
m
m
m
m
mm
m
,
m
m
m
.
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m
m
.
m
m
m
m
m
m
m
m
m m
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m
.
.
-
m
-
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,
.
.
.
m
m
m
.
.
m
mm
m
m
mm
m
m
m
.
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.
m
.
m
.
m
.
m
m
m
.
42 8
AKING
ART OF PU B LIC S PE
THE
m
m
th y wholly t b l
ight olution N
nc
f it p
l v Ship of th R p ublic il d f o you p o t th l v s
o k d in u fi l d Y u w ill n t d f nd th t ffic n I th
in titution B ut I do h d cl th t in it wi nd hu n
d ini t tion in lifting th l v t h ight of which h h d n t
n d giving hi
d
d in hi v g ho
h p p in
h h s
do
u f th
l f t th i on
ving nd
n t y t fou nd in f
xc ll nt h it g In th to of w thi in titution w l o t
h
tily
you do th t hu n l v y i gon
I th nk G d
fo v f o A ic n oil B u t th f d n
in With
ll l Not it p p lling
w ith ou t p c d nt
hi
p ob l
p
—
condition Tw utt ly di i il
c on th
oil with
qu l p olitic l nd civil ight — l o t qu l in nu b
b ut
ibly un qu l in int ll ig nc nd p on ibil ity— ch p l dg d
t
g in t fu ion— n f
c ntu y in
itud t th oth
nd
f d t l t by d ol ting w th xp i nt ought by n ith r
—
h
t
h
t
th condition
doub th
b u t p p o ch d by bot wi
th
dv
t v y p oin t w
qu i d t c y
U nd
c in p c nd hono t th nd
th
tw
N v
i h s u ch
t k b n giv n t
o t l t w d hip
th w h i t
c di id d on th
N v b fo in thi R p u bl ic h
ight of n li n c Th d n w ut down
w d
b c u h hind d th w y of th A ic n citi n Th y ll ow
n
h i
li n n d
n w
hut u t of thi R p ub l ic b c u
—
inf io Th d n w own of th l nd th y ll ow n
—
ig
y
civi
l
i
d
n
i
i
l
b
l
b u t th y h ind
d both
hl
h
d
w
ction n d
gon ! B ut th bl ck n ff cting b ut n
ction i cl oth d with v y p i il g of gov n nt nd p inn d
oil nd y p op l co
nd d t
k good t ny
t
th
d n d t ny co t hi full n d qu l h i hip of A ic n
h
h
h
t
n
ivi
l
g
o
i
y
I
t
tt
t
t
t
v
y
o
c
n
d
t
p
p
p
b n out d xclud d without hy
on It tt
h
v th whit n d th bl ck h v touch d in
n t th t w h
in ny cli th h b n n i concil bl viol nc
ny
c h ow v i il h v liv d
It
n t th t no tw
tt
nywh
on th
oil with qu l ight in
t
ny ti
t
c
i
of
ing
co
nd
d
k
good
n
t
t
h
t
h
w
I
!
p
p
ic n p olicy which h n t p h p s ch ng d
thi c h ng of A
—
h
h
w
h
t
ic
n
ju
dic
k
c
in
h
l
w
t
A
t
p
b n i p o ibl b tw n whit
n d b l ck — nd t
v
und th v y w o t condition th univ l v dict of ci l
n t k with n i
hi to y
And d iv n i t th i s up hu
—
t
s
i
nc
b
oo
k
no
d
l
y
igo
t
h
t
cc
no x cu
t
h
t
t
p
p
u p icion th t di cou g f nkn s nd inc ity W
nd
do n t h ink f o thi t i l It i
int w ov n with u in
—
O
d u t i l f b ic th t w c nnot di nt ngl it if w woul d
bound up in u hono bl oblig tion t th w o l d th t w w oul d
n t if w
coul d C n w olv it ? 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
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e s
er
r
a
,
a
a
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s
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a
as
ree
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m
er
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as
se
,
a za r
s
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as
ee
a
r
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a
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a
re
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S
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.
a rr
o
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s
ar
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es
ra
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es
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s
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e a
r a
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a
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re
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se
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S
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a
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a
a r,
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a
e r ra
e
er
a
a
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e
s
er
se
a
a
a
a
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o
s so
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a
a
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a
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e
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rre
a
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as
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s a
a
a
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e o r rea s
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e a re
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a
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es ,
ra
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as a
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m
m m
mm
mm
m
ss
a
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or
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s
a
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er
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se a
a
e rs
s
ra
s
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r
re e
a
e
a
s
a
o
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a
as
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s
e
.
ea r
r
er
re
r
o
,
m
m
m m
a
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or
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ree
e
r
a
m
m m
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a
a
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S
e
a
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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 ? M P id nt w n d n t go n t p fu th unl
you conc d ight h th t th p op l I p k f
hon t
n ibl nd ju t you p op l
king
n tly
you w oul d in th i p l c t ightly olv th p obl m
th t t ou c h
th
If you in i t th t th y
t v y vi t l p oint
ufii n
blindly t iving with bludg on n d hotgun t p lund
nd
Op p
c th n I h ll c ific y lf p ct n d t you
B u t d i t th t th y
n of co
m
on n
p ti nc in v in
nd co
on hon ty wi ly odifying n nvi on nt th y
—
c nnot wholly di g d guiding n d cont olling b t th y
n th
viciou nd i p on ibl of ith
c —co p n ting
o with f nkn
nd
t i ving in p ti nc wh t th y l o t
—
in p ion nd con ciou ll th ti th t w ong
n uin
d it thi nd w
ch n und t nding t night
y
Th P
id nt of th Unit d S t t in hi l t
g t
Cong
di cu ing th p l th t th S outh houl d b l ft t
olv thi p obl
k
A
th y
t w o k u p on it ?
Wh t
olution do th y off ? Wh n will th bl ck n c t f
b ll ot ? Wh n will h h v th civil ight th t hi ? 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
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THE ART OF PU B LIC S PE
430
m
m
m
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mm m
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m
ion ; though I g t full y
b th t th g t d d ol di wh
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co d on v y p g of which i p og
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k
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hu
of indu t y n d cont nt n t un wi th th inging p l ough
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tw nty fi
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co d h ono hi n d vindic t hi n ighbo s ?
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Af o A
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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
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cc p t
t
p
ti n l g o u nd
th
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n t n of tho
wh b cl ou d A
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ith
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t b
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int in th t
th y
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of u p oo f ll n hum
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chin w
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tion
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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
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w I d
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n ou t
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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
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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
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E
t
hi
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ll
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w
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A
n
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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
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L
w ho
h
t w
th t
l
of
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o
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p
p
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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
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v y n
Of u t night t l o
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—
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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
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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
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r
r
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,
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
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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
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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
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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
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n d th dip l o
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n tions in Chin ut off f o ll
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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
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il of st
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nough il s
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And s w
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b indiff
b ought o nd o in touch with ch oth r th l ss
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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
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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
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g
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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
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ic
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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
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or re
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,
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
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it to the
a rr
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er
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st
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ra e our
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The
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a
a nd
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not
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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
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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
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a r
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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
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'
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
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r
e
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,
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m
a ro
a
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ra
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e
re
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er
a
a
r
e
a
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a
e
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a
,
e e
,
s
,
’
e
’
a
o
or
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a
“
a
e
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ze
e
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.
rea
e
r
a
r
e
a
e
’
r
a
m
a
e
e
r es
e,
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a
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m
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o
ra
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ea
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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
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ar
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er e , a
s
e
er
x
e
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e
s
c
r
a
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e s
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r
er a
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re s
a
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o a
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re
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a
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re
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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
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se
r a
re
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a
o
er
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ar
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s a
re
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s r
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s a
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m
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ar
m
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a
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o a
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S
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,
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s s
es
as
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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
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e
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a
e
.
a
o
a
a
e e
se
ra
rr
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r
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m m
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ere
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o see
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m m
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m
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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
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W t h s b n u d f o th bi th of n ; w l n d ft
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ly ixtu of g s bu t
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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
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do
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find oof
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in
f c
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by
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lif
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ion
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in o i o li y
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ou lv
by fo g ing ou lv in d vo ion
ing l g
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l n of lv ion in
fc
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und
nd
ci
l ngu g l ov
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do d
onl y
n of
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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
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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
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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
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ess
s
e
to hi
ht b e e
to die ,
e
re , his
h
re
s
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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
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rea te r tha
th
s
the se es
a
a r er
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the one
ha e s rre
e re
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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
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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
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if
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divini y of
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i
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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
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y
d of l x nd of
of
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f l
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on l conc n
n
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i liv d
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o o
co d
c fo
lif
udi
c
c of
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b co
con ciou of
in
u
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uiy
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i
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i
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g i v d ov
m
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m
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.
-
.
.
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
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is
ligion p d until hund d of ill ion h v t k n His
n
with v
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th
t di
th n u
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H w h ll w
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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
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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
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e
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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
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a
m
er
e
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a
e
re ,
e
S
e
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s
.
m
.
m
m
m
m
m
m
m
m
a
e
ea s er
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,
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
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a
s
r
se
m
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e as
r
a
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a
eer
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se
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a
:
sa
r
ar
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r a
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mm
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,
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
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m
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m
m
m
m
m
m
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m
mm
m
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m
m m
m
.
.
.
-
,
,
.
,
.
re
ea
e
a
,
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s
s
or
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r
:
a
as
e
“
s
s a
s
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m
r
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e
r
.
e
o
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r s
a s
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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
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a
a
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a
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e
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as
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ere
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es
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as
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s a
ere
er e
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a
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es
se r e s
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ree
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e r sa
a rs
ar
a
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r
s S
o e re
e
“
a
a
,
s er
a
as
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s s a e
s
rea
a
,
a
e
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a
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s a
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r
e
a
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ersa
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m
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er
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o
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a
s s
ar
sa
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ar
r
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,
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,
e
a re
a
s
s
e
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rea
e
e s a
a
o
ress
ar
e
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a
e ss
s
e
,
e ra
e
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e
e er
s
m
m
m
m
m
or
e
as e
a
r e
,
es
e
a
a
o
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r
,
o
m
rsers
a
e
se
r es s
er
m
m m
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,
or se e
er
e se
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se
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m
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se
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m
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a
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ea rs ,
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r
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eer
ree
e r
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a ss
se
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r
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o as e
a
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r
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m
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as
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se
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ra
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r ze
m
m
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s re
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es
r
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as
as
sra e
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ess
or
es
e
m
or re
a
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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
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r
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or
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or
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s
s
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m
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r
m
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ar
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.
re ss
e
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see
ra
a
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r
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a
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m
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ser
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s re a
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r
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r
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ar
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s a
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,
.
or a
s ea
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as a
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or
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er
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e s a
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re s
,
m
m
mm
m m
m
m
m
m
m
s a
e
rese
a
.
era
ea
a
a
r
,
er
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e
r
-
r a
a
a
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er
r
e s a
.
re
a
a r
,
or a
or a
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a
s
or a
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ra
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.
m
m
e
or a
a
s a
e
a
a
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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
-
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s
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a
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s
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or
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as
re
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r
o
a
a
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a
r
as
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e
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r
s
.
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rea
r
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o see
.
ra
a re
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m
er
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ar
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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
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m
as
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er
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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
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o
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nd
k
u
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l
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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
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the fl ag
ea th
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,
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
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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
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a
s
.
ess
e
es
er
s
e rs
a
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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
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r
er a
o
m
r
m m
m
m
er
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a
-
s
e
s
s
r s
e re
e
a
e
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er
a
a r er
r
m
m
a sse
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ea r
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r
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er
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r
o
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a
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a
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e ra
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ess e
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s
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se
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se
a
s
a
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er
s
er
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m
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a
s
a
s
s a
s a
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o
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sa
r
a
ra
m
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or
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s
e
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e
s
a
s
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a
e
s e
.
e ss
o
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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
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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
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e
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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
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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
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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
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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 ?
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t ngth h s b n s p p d by x c ssiv e toil nd wh
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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
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a
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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 ? Why w s this R p ublic st bli hed ?
A
n?
Wh t do s th fl g t nd f ? 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
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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
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a sser
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.
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
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icul f i nd
n u ing y f
icul f i nd li n d
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i
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nci n
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n
of
fd
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l y
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l y
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vi i d i
f
of o nci n u dd i
i
do n by
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id
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onc
b nk of fog ic
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id
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b nk of fog
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kno
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id no
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ig
of od
in l c ion
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nig
ly in
o ning oug
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k n d ly in
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id
Will you ll
find di ond
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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
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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
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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
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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
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.
’
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 ?
H f d h s n t tu n d n d th t i n t di
ond ; th t i noth
B ut
ing but ton ; w found it ight ut h in u g d n
I know
di ond wh n I it
id h ; th t i di ond !
Th n tog th
th y u h d t th g d n nd ti
d up th
whit
nd with th i fing
o b utiful
nd fo und oth
o v lu bl di ond th n th fi t nd thu id th guid
t
w
di cov d th di ond m
in of G olcond th o t
gnific nt di ond in in ll th hi to y of nkin d
ond
ding th Ki b l y in it v lu
Th g
t K ohinoo di
in E ngl nd s c own j w ls nd th l g t c own di ond on
r
er
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a
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sa
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a
a
ex
ART OF PU B LIC S PE
THE
AKING
m
m
m
m
m
m
m
in Rus i c own j w l which I h d oft n hop d h woul d
th y h d p
c with J p n c
fro th t
h v t s ll b fo
in nd wh n th ol d guid h d c ll d y tt ntion t th t
w ond ful di cov ry h too k hi Tu ki h
p Off his h d g in
ound in th i t c ll y tt ntion t th o l
nd swu ng it
o l t ch to y though th to i s
Tho s A b guid s h v
n t l w ys
o l H s id h d Al H f d
in d t ho
wn c ll
in his wn g d n inst d of w tch
nd du g in hi
dn s t v tion p ov rty nd d th in
t ng l nd h w oul d
—
h
d
f
c of di ond
v y c y s v y hov l
h v
ful of th t ol d f
ft w ds v l d th g
which inc
on chs Wh n h h d giv n
h v d co t d th c ow n of
o l t hi to y I w why h h d
d this sto y f
th
I didn t t ll hi
his p ticul a f i nd s
I coul d
it ; I w
b th t I coul d s it F it w s th t
n t going t t ll th t ol d A
n ol d A b s w y of going ound thing lik l wy
nd
did n t d
s ying indir ctly wh t h
y di ctly th t th
c t in young n th t d y t v ling down th Tigri
w
in A ic I didn t t ll
Riv th t ight b tt r b t ho
it
I coul d
hi
ind d
of n nd I tol d it t hi
I tol d hi hi to y
quick I tol d hi bout th t n ut in Cal ifo ni wh in
nch ut th
H
d th t gol d h d b n di
1 847 o wn d
cov d in S outh n C lifo ni nd h sol d his nch t C ol on l
nd
t t d fi t hu n t f
gol d C ol on l S utt p ut a
S utt
nd
ill on th littl st
in th t f
gi l
n d y his l i ttl
b ought so w t s nd f o th c w y of th ill into th
th fi
t dry
nd
hou
n d p l c d it b fo
s th t s nd w s
f lling th ough th littl gi l s fing
vi ito w th fi t shining
c l of l gol d th t w
v discov d in C lifo ni ; nd
nch nd gon w y
n wh w n t d th go l d h d sol d thi
th
n v t tu n I d liv d this l ctu tw y s g in C li
th t f
n d th y t ol d
f ni in th city th t t nds n
in i n t xh u t d y t nd th t n thi d own
th t th
of th t f
h s b n g tting du ing th s
c nt y s tw nty
doll s of gol d v y fift n inut s of hi lif S l p ing w king
Why you nd I woul d nj oy n inco lik th t !
B ut th b st il lust tion th t I h v n w Of this thought w s
n l i ing in P nnsyl
found h in P nnsylv ni Th w s
v ni wh own d f
h
nd h
did wh t I shoul d do if I
h sol d it B ut b fo
h sol d it h
f
in P nn sylv ni —
h d
conclu d d t cu
nt coll cting co l oil f hi cou in
p l oy
r
in C n d Th y fi st discov d co l oil th r S thi f
in P nnsylv ni d cid d th t h woul d p p ly f r p osition with
his cou in in C n d
N w you s
this fa
w s no t l t o
g th
fooli h n H did not l v his f r until h h d
so
thing l
to do
Of ll th si p l tons th st rs hin on
th
o fooli h th n a n wh l v s n j ob b fo
is non
’
ea rth
s a s
m
a
e
e
e, a
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a
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s o
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re
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THE ART
OF PU B LIC S PE
mm
AKING
m
m
y sol d ut in M s chus tt nd w nt t Wi con in wh
n into th
h
Mining C o p ny
p l oy of th S up io C op p
l o t f o ight in th
nd h w
p l oy of th t co p ny t
fift n doll s w k g in H w l o t h ve n int e t in
ny
in s th t h shoul d di cov f th t co p ny B ut I do
di cov d
in —I do n t know
n t b li v th t h h s v
b out it b ut I do n t b li v h h s
a ny thin g
I know h h d
c c ly gon f o th ol d ho t d b fo th f
wh h d
bought th ho st d w nt ut t dig p ot to
nd
h w s
bringing th in in l g b k t th ough th f ont g t w y
th
nd of th ton w ll c
n tog th t th g t th t
th b k t hu gg d v y tight
S h
t th b k t on th g ou nd
n d p ull d fi
t on n
id n d th n on th oth sid Ou
f s in M chu tt
o tly ton w ll nd th f
s
h v t b
cono ic l with th i g t w y in o d t h v o
ton s
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tight th
th t
p l c t p u t th
s h
w s h ul ing it th o ugh h no tic d in th up p
t on n x t
bl ock of n tiv ilv
ight inch qu ; nd this
th g t
o of in s n d ining nd in l ogy wh w oul d n t
p of
wo k f
fo ty fi doll
ol d th t ho t d
w k wh n h
t ight on th t ton t
in M chu tt
k th b g in
H w
b ought up th ; h h d gon b ck nd fo th by th t
ubb d it with his l v n d it
dt y
p i c of ilv
n w
n w
n w
h
is
hund d tho u nd doll
Co
?
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
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u
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o
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or
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w
;
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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 ?
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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
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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
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in y B ibl I n v
w it
Will you p l
g t th t xt book
it ?
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n d oon c
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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
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n d h p ut th
B ib l down on th t b l b fo
nd
S c ip tu
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Th
it i
Y u
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littl ol d th t you c nn ot t u t noth d no in tion
g t
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t
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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
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I
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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
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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
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”
,
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
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H m
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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
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took p o
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m
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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
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H w
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? 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
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k up ny o till I co b ck An d h w nt ut
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wh
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In u city
g t op p o tuniti f
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a
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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
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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
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l bo union
g
b fo
bl d co
ny of on l bo ing
b g n by
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v
fu ni d
c i l of
o ld
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l c
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you l bo ing
no ing
l v
you
g ound do n in
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c i li
gl o ing ov you
nj oy
b u if
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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
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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
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r h
a e
T ha t is a ll there
is to it
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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
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s to
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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
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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
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ra
He a
t g e t the
an
th
s for the w r
re sul ts
his w r if he
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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
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w r for the a p ta st for ha
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e t , a n d the
an
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pe
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ert
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to w ea th
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se
ha s to
the ha e to s
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is the
e a n d ta k to the
a
t the opp re s
Of ra t rs w ho
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t
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r
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t
I
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a
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e r h
I ca n
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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
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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
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h
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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
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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
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.
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
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f
tw nty y
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b th t t
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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
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h
d
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t
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s
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b
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n
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m
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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
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nd d
h h d gon t b d t night
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n
Why don t you
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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
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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
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f cto i l t p ing nd id th t th y co t hi $680 000 nd
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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
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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
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littl t out go fl hing u p th
t
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b utiful p o
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4 98
THE ART or
PU B L IC S PE
m
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i ion in W hington My l on i th t n w lth
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nti N w E ngl nd S t t if M L w on i t
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M n yunk
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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
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sunk th : M
continu lly xp o d t the S p ni h fi whil
p o ition w
n offi c
ight
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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
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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
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,
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
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B ody t body h
th
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so
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tho
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c tchw o d f o noth
k H nsa ck d ic h di
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ch d ut nd ound d n soul h t
se t d p
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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
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—
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
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i nth op y in Rou u
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This i w h t h h
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which h h
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obu tly p il d in l y of g nit f o th h ight of which
h
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Hi d th tup fi d P i ! Onl y
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n w h w oul d m
his co unt y g in
b c hi oth on
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fill d with d ds th n d y
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wh t v i di t
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s
g t d d h ll co unic t t p i it d vou d with k p tici
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up
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.
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
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er
s r
s
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o
,
as
,
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ea
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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
.
-