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ITLES INDE

ODUC

eds. These courses are now being more generally placed among those counted towards the academic degrees. The demand for trained teachers in the various branches of the work in schools and colleges is far above the present supply. Educators in general look with more favor upon this kind of instruction, recognizing its practical usefulness and its cultural value. The que

gid intellectual discipline involved in debating has helped to establish public speaking in the regular curriculum, thus gaining for it, and for teachers in it, greater respect. To bring training in speech into close relation with training in thought, and with the study of expression in English, is most desirable. This, however, does not mean tha

ning for public speaking. The object is to make voices effective. In the effective use of any other instrument, we apply the utmost skill for the perfect adjustment or coordination of all the means of control. We do this for the attainment of power, for the conserving of energy, for the insuring of endurance and ease of operation. This is the end in the training of the voice. It is to avoid

and attractive to read, for instance, that to succeed in speaking, it is only necessary to plunge in and be in earnest. But another writer points out that this is quite absurd; that many poor speakers have not lacked in intense earnestness and sincerity; that it isn't feeling or intense spirit alone that insures success, but it is the attainment as well of a vocal method. Yet he goes on to argue that this vocal method, this forming of a public speaking voice and style, cannot be rightly gained from the teachers; it must be acquired through the exercise of each man's own will; if a man finds he is going wrong he must will to go right-as if many men had not persistently but unsuccessfully exercised their will to this very end. It is so easy, and so attractive, to resolve all problems into one idea. President Woodrow Wilson, of Princeton University, once said that he always avoided the man or the book th

ces. The teacher of speaking should teach speech. He should teach something else also, but he should, as a technician, teach that. The multitude of men and women who, in earlier and later life, come, in vocal trouble, to seek help from the experienced teacher, and the abundance of testimony as to the satisfactory results; the repeated evidences of failure to produce rightly trained voices wholly by so-called inspirational methods; the frequent evidences of pernicious vocal results from the forcing of young voices in the overintense and hasty efforts made in preparing for prize speaking, acting, and debating,-all these may not come to the understanding of the ordinary observer; they may not often, perhaps, come within the experience

s own good and the consequent good of his work, be wholly taken up merely with the teaching of technical form in speaking. He should not be merely-if at all-a coach in inter- collegiate contests; nor should his service to an institution be adjudged mainly by the results of such contests. He should be an independent, intellectually grown and growing man, one who-in his exceptionally intimate relations with students-will have a lar

y, and then say it; he said he had been, in all his career, at a special disadvantage in public speaking, from the want of early training in the use of his voice; and he urged that students would do well not only to take advantage of such training in college, but to have their teacher, if it were possible, follow them, for a time, into their professional work. This idea was well exemplified in the case of Phillips Brooks-a speaker of spontaneity, simplicity, and splendid power. It is said that, in the period of his pulpit work, in the midst of his absorbing church labors, he made it a duty to go from time to time for a period of work with his teacher of voice, that he might be kept from falling back in

g, as well as youthful writing, more rational in form, more true in spirit, more useful for its purpose. In good time written and spoken English, conjoined with disciplinary training in thought and imagination, will both become firmly established in their proper place as subject

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ed speaker. But it ought to have, from the first, the attention of a skilled teacher, for the more deep-seated it becomes, the harder is its cure. So very common is the "throaty" tone and so connected is throat pressure with every other vocal imperfection, that the avoiding or the correcting of this one fault demands constant watchfulness in all vigorous vocal work. The way to avoid the faulty control of voice is, of course, to learn at the proper

asy, natural expansion, much as air is taken into a bellows, there is, to a certain degree, a firming of the breathing muscles; but this muscular tension is felt by the speaker or singer, if felt at all, simply as a comfortable fullness around, and slightly above, the waistline, probably more in front than elsewhere. An eminent teacher of singing tells his pupils to draw the breath into the stomach. That probably suggests the sensation. When the breath has been taken in, it is to be gently withheld,-not given up too freely,-and the tone is formed on the to

habit. Excessive filling of the lungs or pressing downward upon the abdomen should be avoided. In general, the hearing of the voice, and an expressional purpose in making the voice, are the better means of acquiring good breathing. For the purposes of public speaking, at least, it is seldom necessary to do much more, in regard to the breathing, than to instruct a student against going wrong. The speaker should have a settled feeling of sufficiency; he s

ened in a relaxed rather than a constrained way, so as to give free play for the involuntary action of the delicate vocal muscles connected with the larynx, which determine all the finer variations of voice. Whatever kind of vocal effort is made, the student should constantly guard himself against the least throat stiffening or contraction, against what vocalists call a "throat grip." He is very likely to make some effort with the throat, or vocal muscles, when putting the voice to any

and degree of monotony; without that particular kind of monotony the voice is faulty. When the tone is forced out of its proper place, it is dissipated and more or less lost. A student once told the writer, when complimented on the good placement of his voice, that he learned this in his summer employment as a public crier at the door of a show tent. He said he could not possibly have endured the daily wear upon the voice in any other way

lways be varied, however, by a fuller sounding of the rounder vowels, lest the voice become too much confined or thinned. The speaker, like the singer, must find out how, by a certain adjustment all along the line from the breathing center to the point of issue of the breath at the front of the mouth, he can easily maintain a constant hitting place, to serve as the hammer head; one singing place for carrying the voice steadily through a sustained passage; one

t degree, there is a drawing or a cramping in the throat; there is a "pressing" of the voice. It should be remembered that the constancy of high placement of tone depends upon the certainty of the tone

ll ideas about voice are ultimately to become one idea. The voice is to be thought of as belonging to the whole man, and is to become the spontaneous expression of his feelings and will; it

or a muffled tone, from some obstruction in the nasal passages of the head, either because of abnormal physical conditions, or because of an unnatural dire

vated by the true purpose to express, in the simplest way, sentiments appropriated to one's self through an understanding and a comprehensive appreciation

ns with round vowels, as for example, "Roll on, thou deep and dark blue ocean, roll!" the somewhat rounded form of the lips, and the opened condition of the throat produced in forming the rounder vowels, can be to some extent maintained through the whole of the passage, in forming all the vowels; and this will give, by repeated practice, a gradually rounded and deepened general character to the voice. On the other hand the thinner, sh

), as in thy, and "ou," as in thou-the first form is like a broad "a" as in far, with short "i" (sit) ending the "i" (y), and "oo" (moon) ending the "ou." This final sound, though sometimes accentuated for humorous effect, is usually not to be made prominent. The sound of "oi," as in voice, has the main form of "aw" as in saw, and the final form in short "i," as in pin. The vowel "u" is sounded like "oo" (moon) in a few words, as in rule, truth. Generally, it sounds about like "ew" in new or mew. In some of the forms the front of the mouth will be open, in some half open, and in some, as in the case of long "e" (meet), nearly closed. Whatever the degree of opening, the jaw should never

d nature; is done, that is to say, in the acquired, acceptable, conventional way. Voice and speech are largely determined by surrounding influences, and what we come to regard as natural may be only an acquired bad habit, which is, in fact, quite unnatural. Voice should certainl

e are in the spirit and style of song or hymn; others are in the form of address to distant auditors, wherein the reciter would call to a distance, or "sing out," as we say. This kind of speaking is a way of quickly "bringing out" the voice. Young students especially are very apt in this, getting the idea at once, though needing, as a rule, special cautions and guidance for keeping the proper vocal conditions, so as to prevent "forcing." The passages are simple in spirit and form. They carry on one dominant feeling, needing little variation of voice. The idea is to render them in a way near to the monotone, that the student may learn to control one tone, so to speak, or to speak nearly in one key, before doing the more varied tones of familiar speech or of complex feeling. We might say the passages are to be read in some degree like the chant; but the chant is likely to bring an excess of head resonance and is too mechanical. The true spirit of the selections is to be given, from the first, but reduced to its very simplest form. Difficulties arise, in this first step, in the case of two classes of student: those who lack sentiment or imagination, or at least the faculty of vocally expressing it, and those with an excess of feeling. The former class have to be mentally awakened; for some motive element, aesthetic appreciation or imaginative purpose, should play a part, as has been said, even in technical vocal tra

sed moderately, but also that the voice should be kept youthful-youthful, if it can be, even in age-but especially in youth, whatever the kind of literature used for practice. Also

FLEX

ey, or in one average degree of pitch. It will perhaps be necessary to make the utterance for the time somewhat artificial. The voice is in the artificial stage, as is the work of an oarsman, for example, in learning the parts of the stroke, or that of a golfer

st effort at the throat. The control should, as has been said, be far below the throat. In running an inflection from low to high, the tone may be allowed, especially in the earlier practice, to thin out at the top. And always when the pitch is high the tone should be smaller, as it is on a musical instrument, though it should have a consistent depth and dignity from its proper degree of connection with the chest. This consistent character in the upper voice is attained by giving the tone a bit of pomp or nobleness of quality. In taking a low pitch there is, among novices, always a tendency to bear down on the tone in order to gain strength or to give weight to utterance. The voice is thus crowded into, or on, the throat. The voice should never be pushed down or pressed back in the low pitch. Thi

MATION

onsonants. Pronunciation is scholastic, relating to the word accent and the vowel sound. Authority for this is in th

e articulating muscles. At first, and for a time, it may appear that this forcing of the articulation brings the desired result of clearer speech, but it will, in the end, be destructive to voice and bring incoherent utterance. Articulation exercises too difficult for the master, should not be given to the novice. All teachers of singing train voices, at first, on the vowel, and it should be known that, without right vowel, or tone, formation, efforts at good articulation are futile. Every technical vocal fault must be

ythm. All prose, then, should be rendered with as much rhythmical flow as is allowed consistently with its spirit and meaning. Care must be taken of course that no singsong effect occurs; that the exact meaning receives first attention. In case of long,

n be given continuous sound, a head resonance. This sounding may be carried to a fault, or affectation; but commonly it is insufficiently done, and it should be among the first objects of

r distinctions, if one cares to make speech accurate and refined, can be observed in words ending in "ence" and "ance" as in "guidance" and "credence"; in words with the ending "al," "el," or "le," as in "general," "principal," "final," "vessel," "rebel," "principle," and "little." If that troublesome word "separate" were from the beginning rightly pronounced, it would probably be less often wrongly spelled. One should hasten to say, however, that over-nicety in enunciation, pedantic exactness, obtrusive "elocutionary" excellence, or any sort of labored or affected effort should be carefully guarded against. The line of distinction between what is perfect and what is slightly strained is a fine one. Very often, for example, one hears such endings as "or" in "creator," "ed" in "dedicated," "ess" in "readiness

The same treatment should be given to such words as "chasm" and "enthusiasm." If the mouth is opened after the first part of the word is sounded, we have "chas-_u_m," "enthusias-_u_m." The little words "and," "as," "at" and the like should, of course, when not emphatic, be very lightly touched, with the vowel hardly f

s objectionable because it is extraordinary. There is a form between these extremes, the correct short "a"; this ought to be acceptable anywhere. It is suggestive to observe that localisms are less pronounced among artists than among untrained persons. Trained singers and actors belonging to different countries or sections of country, show few differences among themselves in English pronunciation. Among localisms the letter "r" causes frequent comment. In singing and dramatic speaking, this letter is best formed at the tip of the tongue. In common speech it may be made only by a very slight movement at the back of

cessive biting off of syllables, flipping of the tongue, showing of the teeth, twisting of the lips, is carrying excellence to a fault. The inactive jaw, tongue, and lips must be made mobile, and in the working away of clu

G THE

the point in some larger division of the speech? What is the point, or purpose, of the speech as a whole? This point, or the meaning of what is said, should be so put, should be so clear, that no effort is required of a listener for readily apprehending and appreciating it. Discussing now only the question of delivery, we say that the making of a point depends mainly upon what we commonly call emphasis. Extending the meaning of emphasis beyond the limit of mere stress, or

others, exactly what is meant. The means of giving special point to a statement is in some way to set apart, or to make prominent, the word or words of special significance. There are several ways in which this is done. Commonly a stress or added weight of voice is put upon the word; generally, too, there is an inflection, a turning of the tone downward or upward; there is frequ

rst, and becomes the chief means of giving utterance concerning the first. This second idea may be something said about the first; it may be compared or contrasted with the first. Being matched against the first, it may become of equal significance with it. "Who is here so base that would be a bondman?" Here the idea "base" is used to emphasize the quality of "bondman," and becomes equally emphatic with that idea. Other ideas, or other words expressing them, being formed around these principal ones, will be subordinated or more loosely run over, since they simply serve as the setting for the principal ones, or the connecting links, holding them together. Sometimes an idea arising in the mind grows in intensity, asserting itself by stronger and stronger successive words. For example, "He mocks and taunts her, he disowns, insults and flouts her"; and, "I impeach him in the

lso with special emphasis. Byron, contemplating the ruins of Rome, calls her "the Niobe of nations." The hearer's mind should be arrested, his imagination stirred, at that word. Words used in contrast with one another are given opposing effect by contrasting emphasis: "Not that I loved C?sar less, but that I loved Rome more." "My words fly up; my thoughts remain below." When words are used with a double meaning, as in the case of a pun, or with a peculiar implication, or are rep

hen the discourse has been running vigorously and inflections have been repeatedly sharp and strong, the sudden stop, and the stilled utterance of a word, are most effective. Only, the suppressed word must be set apart. There must be the

being related in a subordinate way to the principal, and as maintaining a connection with the rest of the sentence, or as hanging upon the words which follow, or as being a step leading up to the main idea. The vocal indication of this connective principle is the circumflex inflection. The tone will be raised, as in the principal emphasis, but instead of being allowed to fall straight to a finality, it is turned upward

reto. He should then, at every pause, keep the thought suspended, incomplete, till he reaches that principal idea; he should then make the absolute stop, with the effect of finality, afterwards running off in a properly related way, such words as serve to complete the form of expression. Take the following sentence: "I never take up a paper full of Congress squabbles, reported as if sunrise depended upon them, without thinking of that idle English nobleman at Florence, who when his brother, just arrived from London, happened to mention the House of Commons, languidly asked, Ah! is that thing still goin

what that point is, what is the end or purpose to be attained. If this does not bring the result-and very often it does not-then the mechanical means of producing emphasis should be studied and consciously applied-the increase, or perhaps the diminution, of force,

VALUES AN

, or general pitch, in passing from one sentence, or part of a speech, to another. Frequently, novices in speaking and in reading, will swing the voice upward in the first part of every sentence, give it perhaps another rise or two as the sentence proceeds, and swing it down, always in precisely the same way, at the end. The effect of this regular rising at the beginning, and this giving of a similar concluding cadence at the end, is to make it appear that each sentence stands quite independent of the others, that each is a detached statement; and when, besides, each sentence is given with about the same force and rate of speed, they all seem to be of about equal importance, all principal or none principal, but as much alike as Rosalind's halfpence.

eing illustrative or probative. "Why, all these Irish bulls are Greek,-every one of them. Take the Irishman carrying around a brick as a specimen of the house he had to sell; take the Irishman who shut his eyes, and looked into the glass to see how he woul

, can be acquired only by continued practice, for sharpening the faculty of apprehension and appreciation. It is usually the last attainment in the student's work, but the neglect of it may result in a confirmed habit of monotony. The term transition is commonly used to denote a passing from one to another of the main divisions of the discourse. The making of this transition

of successive words seem to run on one unbroken tone; others will be abrupt and irregular. Some will be rapid, some slow; some light, others weighty; some affected by long pauses, others by no pause, and some will be done in a dry, matter-of- fact, or precise, or commonplace, or familiar manner, others will be touched with feeling, colored by imagination, glowing with persuasive warmth,

ING THE

, to a great extent the man, determine whether a speech is in the main dispassionate or impassioned, whether it is plain or ornate in statement, whether it is urgent or aggressive, or calm and rather impassive. It would be beyond our purpose to consider many of the variations and complexities of feeling that enter into

s in the expression of courage, determination, firm resolve, resistance, intense devotion, the voice is kept sustained, with pauses rather abrupt and decisive; if the feeling, though of high sentiment, is tranquil, without aggressiveness, the voice has more of the wavelike rise and fall, and at the pausing places the tone is gradually diminished, rather than abruptly broken off. In the case of quickly impulsive, passionate feeling, the speech is likely to be much varied in pitch, broken by frequent abrupt stops, and decisive inflections. In the case of the e

he voice, that is heard when one says, for example, "You're a fine fellow," meaning, "You are anything but a fine fellow." In the earlier part of Webster's reply to Hayne are some of th

Often the latter is the more natural and effective. This is intense, but not loud, though at times it may break through its restraint.

ing power. It is rather difficult to manage, and may lead to some strained effort. The speaker should keep a steady, controlled movement, without too much haste, but rath

h, mellowness, sympathy and expansiveness to the

G THE

h no suggestion of it in the voice. Too often it is erroneously taken for granted that the human voice, because it is human, will at any call, respond to all promptings of the mind. It will no more do so, of course

e sea is hoarse; the waves wash; the winds blow; the ocean is level, or it dashes high and breaks; happy things sing, and sad things mourn. All life and nature speak just as we speak. How easy it ought to be for us to speak just as nature speaks. And when our abstract notions are put in concret

to hasten over the language of imagination as over the commonplace words. The speaker or reader had better be sure to see the image himself before, and indeed after, he speaks it. Others will then be with him. Although among most young speakers the tone of imagination is lacking, yet often young pers

SION B

gesture, not the gesture itself. Arm movement, when not preceded or supplemented by body movement, or body pose, is obtrusive action; it brings a member of the body into noticeable prominence, attracting the auditor's eye and taking his mind from the speaker's thought. Better have no gesture than gesture of this kind. The student, then, should first learn to appreciate the force of ideas, to see and feel the full significance of what he would say, and indicate by some general movement of body and expression of face, the changing moods of mind. Then the arm and hand may come-in not too conspicuous a way-to the aid of the b

. The funeral oration by Mark Antony is full of action because it is really intended to excite the will of his audience; in a funeral address simply expressive of sorrow and appreciation, gesture would, as a rule, be out of place. A sharply contested debate may need action that punctuates and enforces; the pleasantry of after-dinner talk may need only the voice. So, one audience, not quick in grasping ideas, may need, both in language and action, much clear, sharp indication of the point by illustration, much stirring up by physical attack, so to speak, whi

jective, concerned only with outer objects or with ideas more apart from the person or the inward feeling of the speaker. But it can easily be shown that one idea, or one dominant feeling, may be expressed by many kinds of action, in fact, so far at least as prescribed movements are concerned, in directly opposite kinds, and gesture is so largely a matter of the individual, and is governed so much by mixed mo

turned, like his thought, more directly upon his audience. As his statement is more exactly to a point, so his gesture becomes more pointed and definite. When the speaker is not talking to or at his audience, to move them to his will, but is rather voicing the ide

le can be given. It can only be said that the eye must play its part. Observing actions in real life, we see that when one person points out an object to another, he looks now at the object, now at the person, as if to guide that person's look. When he hears a sound he

sis. At the final pointing of the action, the hand is, for a moment or for moments, fixed, as the mind and the man are fixed, for the purpose of holding the attention of the auditor; then follows the recovery, so-called, from the gesture, or it may be, the passing to another gesture. And all the while, let it again be said, slight changes of bodily pose with proper adjustments of the feet, will make the harmonious, unified action. It should be remembered that, as in viewing a house or a picture we should be impressed by the main body and the general effect, rather than by any one feature, so on the same principle, no striking feature of a man's action should attract attention to itself. On the same principle, no part of the hand should be made conspicuous-the thumb or forefinger shou

erect, and eyes straight-of all bad kinds, this kind is the worst. This is often referred to as school declamation, or the speaking of a piece. We have discarded many old ideas of restriction in education. Let us discard the strait-jacket in platform speaking. Nobody else ever speaks as stu

king at his auditors, begin simply to say something to them. As to the feet, they will, of course, be variously placed or adjusted according to the pose of the body in the varying moods of the speech. In general, the body will rest more on one foot than on the other. In a position of ease, as usually at the beginning of a speech, one foot will bear most of the weight. In this case, this foot will normally be pointed nearly to the front; the other foot will be only very slightly in advance of this and will be turned more outward. T

ops one hand upon this, or he lets one arm rest at the waist, or he brings the two hands together. Any of these things may be done, if done simply, easily, without nervous tightening, or too frequent shifting. One thing, for practical reasons, should not be allowed, the too common habit of clasping the hands behind the back.

l the audience; nervous shaking of the head, as of one greatly in earnest; repeated, meaningless punching or pounding of the air, always in the same way; shifting of one foot regularly backward and forward; rising on the toes with each emphatic word,-although single movements similar to these often have appropriate place, none of these or others should be allowed to become fixed mannerisms, habitually recurring movements, without a purpose.

form of objects or actions, it is undoubtedly easier to begin with the more concrete in language, or with the discussion of tangible objects, and work from these to the more abstract and remotely imaginary-from the more, to the less, familiar. Let the student indicate the locati

to enforce, not the superficial, or incidental, ideas appearing in a statement, but the ideas which lie behind

e vivid forms of expression. Graphic, detailed gestures may have the effect of making the pictures in themselves the main object. The action here should be informal, unstudied, and merely remotely suggestive. The speaker should keep to his one central idea, and keep with his audience. Otherwise the speech will be insincere and purposeless, perhaps absurd. The fundamental, not the superficial, should determine the action. Young speakers almost invariably pick out words or phrases, suggesting the possibility of a gesture, and give exact illustration to them, as if th

should be there; let him so bear himself, entering with simplicity, honesty, earnestness, and modesty, into his work, that no one will think much about how his work is done. Spirited oratory, with the commanding presence, the sweeping action, and an overmastering force of utterance, may at times be called forth, b

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delivery should correspond. The tone should be, in some degree, ennobled; the movement deliberate, and comparatively even and measured; the modulation not marked by striking variations in pitch; the pauses rather regular, and the gesture always sparing, perhaps wholly omitted. The voice should be generally pure and fine; the enunciation should be finished and true. Whatever action there may be should be restrained, wel

ut unseen. This restrained, repressed feeling is the most difficult fittingly to express. In this kind of speech some marring of just the right effect is difficult to avoid. Simplicity, absolute genuin

BLIC L

of predisposition among his auditors. He must compel, or he must win; he must charm or thrill; or he must do each in turn. Animation, force, beauty, dramatic contrast, vividness, variety, are the qualities that will more or less serve, according to the style of the composition. Aptness i

to be taken for its own sake, wherein excellence in the doing is principally the end in view. This means, generally, that individual talent, and training in all artistic requirements, count

ORMAL D

udience and speaker. While the subject may be weighty, and the language may be necessarily of the literary or scientific sort, the style of speaking should be c

on the part of the audience are prime elements in this form of discussion, little cultivation of form is usually given to this kind of speaking. The result is much complaining from auditors about inaudibleness, dullness, monotony, annoying mannerisms, or a too formal, academic tone that keeps the audience remote, a lack of what is called the human quality. A good talker from the desk not only has the reward of appreciation and gratitude, but is

NTATIV

d produce conviction, and so to impress and stir as to affect the will to a desired action, the element of force, and the moving quality of persuasion enters in as a re?nforcement of the speaker's logic. Generally the speech is very direct, and often it is intense. It has in greater degree than any other form the feature of aggressiveness. Some form of attack is adopted, for the purpose of overthrowing the opposing force. That attack is followed up in a dire

as a rule, easily forth, with the voice rising and falling, in an undulatory sort of way, and dropping restfully to a finish, in the heated forensic style, the sentence is given the effect of being sent straight forth

ing against time, a loss of poise in the bearing, a halting or jumbling in speech, nervous tenseness in action, an overcontentious or bumptious spirit. Bodily control, restraint, good temper, balanc

s, in the case of a speaker vocally untrained, to a tightening of the throat in striving for force, to a stiffening of the tongue and lips for making incisive articulation, to a rigidness of the jaw from shutting down on words to give decisive emphasis. Soon the voice has the juice squeezed out of it. The tone becomes harsh and choked; then ragged and weak. The only remedy is to

l that the audience be near to the speaker, as is the case in an address to a judge or jury. The idea is to be forcible without being loud and high; to cultivate a subdued tone that shall, at the same time, be vital and impressive. The importance of a manner of speaking that is not only clear and effective, but also agreeable, easy to listen to, is quite obviou

ER-DINN

iwig is described by Dickens as calling out "in a comfortable, rich, fat, jovial, oily voice." Something like this is perhaps the ideal after-dinner voice, although there is a dry humor as well as an unctuous, and each speaker will, after all, have his own way of making his hearers comfortable, happy, and attentive. Ease and deliberation are first requisites. Nervous intensity may not so much mar the effect of earnest debate. The social chat is spoiled by it. Humor, as a rule, requires absolute restfulness. Especially should a beginner guard himself against haste in making the

CASION

egarding metrical reading may be quite in place in a speaker's training. Practice in verse reading is

be so likely to mar the poet's verses by "reading them ill-favoredly." He will know the value of words that have been so far sought, and may not slur over them; he may feel the sound of a line formed to suggest a sound in nature. He will know that a meter has been carefully worked out, and that, in the reading, that meter is of the spirit of the poem; it is not to be disregarded. Likewise he will appreciate the place of rhyme, and may not try so to cove

NG OF TH

erience in applying his acquired skill to the presenting of his own thought. Thinking and speaking should be made one operation. The principles of composition for the pub

of authority, because of his personal study of it, or because of his having had exceptional personal relations with it. It must also be, because of the nature of it, or because of some special treatment, of particular interest to the audience to be addressed. Either new, out-of-the-way subjects, or new, fresh phases of old sub

believe that any one has only to learn to stand up boldly on a platform, and with voice and gesture exercise some mysterious sort of magical control over an audience, and his success as an orator is secure. They will find that their time and money have been wasted, so far as public speaking is concerned, unless, having at the start some native ability, they have secured, in addition, a kind of training that is fundamental. A man is wanted as a speaker primarily because he stands for something; because he has done some noteworthy work. H

; what impression, or what principal thought or thoughts, shall be left with the audience. When this is determined, then a way of working out this central idea or of working up to it-in a short speech, by a few points only-m

useful if there is room for it, and if it comes unbidden, by virtue of its fitness and spontaneity, and is not drawn in by the ears for half- hearted service. The inevitable story at the opening of an after-dinner speech might often be spared. Although a good story is in itself enjoyable, yet when a speaker feels that he must make one fit into the speech, whether or no, by applying it to himself or his subject or the occasion, the effect is often very unhappy. A man is best guided in these things simply by being true, by being sincere rather than artful. On this same principle, a student may need some advice with regard to his spirit and manner in giving expression to his own ideas before an audience. He need not, as students often seem

this does not mean any necessity of sending forth pointless successive sentences over the heads of an audience. A college president recently said, "Our boys declaim a good deal, though they're not so bad as they used to be. It seems to me," he added, "that the idea is to say something to your audience." That is what a te

exact thought will find fit form. Sound thinking is the main thing. Practice for mere fluency tends to the habit of superficial thinking, and produces the wearisome, endless talker. In this connection emphasis may be laid upon the point of ending a speech when its purpos

men's efforts by the element of skill. Of two equally worthy and equally earnest men, the man of the superior skill, acquired by persistent training in method, will be the stronger man, the man who will be of more service to his fellows. More than this, inasmuch as public men can seldom be perfectly known or judged as to character, and may often, for a time at least, deceive, it is quite possible that the unscrupulous ma

W EXE

end of the book. By using each day one example in each group, and changing from time to time, the student will have

RT

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ountry! city

the heart mus

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O THE ROMA

Julius

IAM SHA

thou lead these me

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rejoice? What conq

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NIEL

ate from New England to Georgia; and there they will lie forever. And, sir, where American liberty raised its first voice, and where its youth was nurtured and sustained, there it still lives in the strength of its manhood and full of its original spirit. If discord and disunion shall wound it; if party strife and blind ambition shall hawk at and tear it; if folly and madness, if uneasiness under salutary and necessary

MENT OF WAR

House of Lords,

MUND

public, and of suppression of the whole system of the English government, in order to vest in the worst of the natives all the power that could possibly exist in any government; in order to defeat

onfidence that, ordered

ren Hastings of high c

of Great Britain in Parliament assembled,

ommons of Great Britain, whose nat

people of India, whose laws, righ

India, whose property he has destroyed, w

pressed, in both sexes. And I impeach him in the name and by the virtue of those eternal laws of

KER

e laying of the corner

Brown and Company, Bo

and Orations of

NIEL

s, glowing with sympathy and joy, and from the impulses of a common gratitude turned reverently to heaven in this spacious temple

pose had never been conceived, if we ourselves had never been born, the 17th of June, 1775, would have been a day on which all subsequent history would have poured its light, and the eminence where we stand a point of attraction to the eyes of successive generations. But we are Americans. We live in what may be called the early age of this great continent; and we know that our posterity, through all time, are her

TYSBURG

ional Cemetery at Gettys

AHAM L

this continent a new nation, conceived in Liberty, and de

dure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field, as a final resting-plac

hat they did here. It is for us, the living, rather, to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us-that from these honored dead we take increased devotion to tha

FLEX

THE F

of, and by Special arrangement with, Houghton Miffli

Y W. LO

ul man was

nd I am a fighter,

nd fight, and in both

nd spake John Alden, t

illed, as you say, with

ad, but where I for

e, at the same time

e Captain, not heedin

ful man was Cai

e said, in a littl

e, and I think he was

before he was twenty,

e fought, and a thousa

Flanders, as he h

bbed by his friend

he did on a certain

his army retreated, t

fth Legion was crowde

their swords? Why, he

ld

at the head of his tr

tai

his name, to order

nks, and give more r

, the battle of s

say; if you wish a

self, you must not

CIAL

DORE RO

utive officers, toward wealth, and the attitude that should be observed in return by men of me

rofess, and for those that listen to him by their plaudits to insist upon his professing something which they know he cannot live up to, as it is for him to go below

ormers and then to do everything for the organization. I think I can say that, whatever I have promised on the stump or off the stump, either exp

t them when, on a great moral question, he feels that they are taking the wrong side. Let him go

L TO YOU

the permission of the author, and of Thom

E HERBER

cases of talking, he can seldom pull himself up to strength and exactitude in the hundredth case of writing. A person is made in one piece, and the same being runs through a multitude of performances. Whether words are uttered on paper or to the air, the effect on the utterer is the same. Vigor or feebleness results according as energy or slackness has been in command. I know that certain adaptations to a new field are often necessary. A good speaker may find awkwardnesses in himself when he comes to write, a good w

o large disadvantage as compared with the leisured rich. It is true the strong impulse which comes from the suggestion and approval of society may in some cases be absent; but this can be compensated by the sturdy purpose of the learner. A

TO THE

"Ha

IAM SHA

ll gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to

I warrant

up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskillful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o'erweigh a whole theater of others. O, there be

RIO'S

Merchant

IAM SHA

doth commend A young and learned

hard by, To know your answe

ou Go give him courteous conduct to this place.

oversy between the Jew and Antonio the merchant: we turned o'er many books together: he is furnished with my opinion; which, bettered with his own learning, the greatness whereof I cannot enough commend, comes with him, at my importunity, to fill up your grace

PEAKING

Julius

IAM SHA

e by the cloak; wou

s what hath chanc'd to-da

u were with hi

ot, then, ask Casc

ing offered him, he put it by with the back of hi

was the sec

hy, for

ted thrice: what w

hy, for

he crown offe

ice, every time gentler than other; and at ev

o offered h

Why,

the manner of

ave had it. Then he offered it to him again; then he put it by again: but, to my thinking, he was very loth to lay his fingers off it. And then he offered it the third time; he put it the third time by: and still as he refused it, the rabblement shouted, and clapped their chopped han

ING OF T

n Oratory" BY HE

are to acquit himself with pathos and fervor! And the men are themselves mechanical and methodical in the bad way who are most afraid of the arti

ld! The music of no chorded instruments brought together is, for sweetness, like the

of the secret instruments by which the elements of nature may be touched, having no skill and no power in this direction, they stand as machines before living, sensitive men. A man may be a master before an instrument; only the instrument is dead; and he has the living hand; and out of that dead

ING OF TH

special arrangement with, Houghton Mifflin Compa

LIAM J

ion. We imitate, we follow the better fashion of society, the better behavior of men. Good breeding consists first in the attention of others in our behalf to certain necessary details, then in our attention to them. We come in time to draw close and nice distinctions. This little thing is right, that is not quite right. So we grow into the formal

t healthy instinct in a true man which scorns a mean act, which will not allow him to take part in the making of a mean custom, which for

coming out, and of helping one another to come out, as gentlemen. Do not miss, I beseech you, the greatness of the task. Do not miss its constancy. It is more than the incidental

G THE

THE ROMA

Julius

IAM SHA

nt till

laves, than that C?sar were dead, to live all free men? As C?sar loved me, I weep for him; as he was fortunate I rejoice at it; as he was valiant, I honor him: but, as he was ambitious, I slew him. There is tears for his love; joy for his fortune; honor for his valor; and death for his ambition. Who is here so base that would be a bondman? If any, speak; for him have I offended. Who is here so rude that would not be a Roman? If any, speak; for him have I offended. Who is here so vile that will not love his country? If any, speak; for him have I offende

EPTS OF

"Ha

IAM SHA

es! aboard, abo

in the shoulde

d for. There; my

w precepts i

er. Give thy tho

portion'd tho

iar, but by n

ou hast, and the

thy soul with

l thy palm wit

ch'd, unfledg'd

o a quarrel,

e opposed may

thy ear, but

censure, but res

abit as thy

s'd in fancy;

rel oft proc

nce of the best

t and generous

orrower nor

oses both itse

dulls the edge

: to thine own

ollow, as the

t then be fal

lessing season

IGH S

's address, Universi

RD RO

m of him who loved Scotland best would lie not so much in the direction of antiquarian revival, as in the hope that his country might be pointed out as one that in spite of rocks, and rigor, and poverty, could yet teach the world by precept and example, could lead the van and point the moral, where greater nations and fairer states had failed. Those who believe the Scots to be so eminently vain a race, will say that already we are in our opinion the tenth legion of civilization

of this hard fight, and ill-health, the most terrific of them all, shall never chain us down. By the river Styx i

your fellow men: some will study and interpret our laws, and so become a power; others will again be in a position to solace and exalt, as destined to be doctors and

NG THE

e House of Comm

MUND

s, new restraining laws, new acts for dragging men to England for trial. You must send out new fleets, new armies. All is to begin again. From this day forward the emp

that opinion. His project was rather designed for breaking the union of the colonies than for establishing a revenue. But whatever his views may be,

certain colonies only. This is immediate in its conciliatory operation; the other remote, contingent, full of hazard. Mine is what becomes the dignity of a ruling people-gratuitous, unconditional, and not held out as a matter of bargain and sale. I have done my duty

NG THE P

ch in the S

N C. S

ose to retire?" "No." "Do you propose to grant us independence?" "No, not now." "Well, why, then, an armistice?" The President would doubtless be expected to reply: "Some distinguished gentlemen in the United States, members of the United States Senate, and others, have discovered a doubt about our right to be here at all, some question whether we have acquired the P

ng the utmost forbearance, all his acts characterized by a desire to do precisely what the Congress had placed upon him by its ratification of the treaty and its increase of the army. He has done

N AND

n the House of Co

OHN

ience, and is supposed to be wiser on the subject than any other man in the House, will say that "Rule Britannia," that noble old song, may become obsolete. Well, inasmuch as the supremacy of the seas means arrogance and the assumption of dictatorial power on the part of this country, the sooner that becomes obsolete the better. I do not believe that it is for the advantage of this country, or of any country in the wo

more than 1,000,000 of persons per year. Who is to gainsay it? Will constant snarling at a great republic alter this state of things, or swell us up in these islands to 40,000,000 or 50,000,000, or bring them down to our 30,000,000? Honorable m

AND TRA

BERT OF

d by special arrangement with, Houghton Mifflin Co

Y W. LO

went; and now

he old Satu

ngel's gove

nd danced with

Robert yielde

silent and

motley garb tha

ildered and a

ve the ears, as

cked, by pages

end the ape,

eft,-he still

Angel met h

nest, half in j

h tenderly, th

bbard held a s

King?" the pas

im in resist

gh his forehead

wer back, "I am

ars were ended;

of great rep

d, Emperor

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moned them fo

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the menials,

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ode, making h

ry towns through

d them with grea

mpets, on Saint

benediction

full of apos

gratulations a

ned the Ang

ter, bursting t

sence rushed,

ng! Look, an

brother, Ki

ars my semblanc

er in a king

ow me? does n

y, and say w

lence, but wit

Angel's count

ghing, said, "It

man for thy F

baffled Jest

back among t

HE ATLAN

Masters of the Si

ES T.

kept plowing across the Atlantic, flying from city to city, soliciting capital, holding meetings and forcing down this most colossal discouragement. At last day dawned again, and another cable was paid out-this time from the deck of the "Great Eastern." Twelve hundred miles of it were laid down, and the ship was just lifting her head to a stiff breeze then springing up, when, without a moment's warning, the cable suddenly snapped short off, and plunged into the sea. Nine days and nights they dragged the bottom of the sea for this lost treasu

cians' room, to see if our long- sought treasure was dead or alive. A few minutes of suspense and a flash told of the lightning current again set free. Then the feeling long pent up burst forth. Some turned away their heads and wept. Others broke into cheers, and the cry ran from man to man, and was heard down in the engine rooms, deck below deck, and from the boats on the water, and the other ships, while the rockets lighted up the darkness of the sea. Then, with thankful hearts, we turned our faces again to the Wes

ggle and that one moment of almost superhuman victory, I think we

LL, THE

ures," with the permiss

Boston, p

DELL P

g O'Connell, he exclaimed, "This is the man, these are the lips, the most eloquent that speak the English tongue in my day!" I think he was right. I remember the solemnity of Webster, the grace of Everett, the rhetoric of Choate; I know the eloquence that lay hid in the iron logic of Calhoun; I have melted

mpressive in bearing, massive, like that of Jupiter. Webster himself hardly outdid him in the majesty of his proportions. To be sure, he had not Webster's craggy face, and precipice of brow, not his eyes gl

held our breath, thinking where he could go. If he had been five feet three, we should have said, 'Who cares where you go?'" So it was with O'Connell. There was something majestic in his presence before he spoke; and he added to it what Webster had not, what Clay might have lent-infinite grace, that magnetism that melts all hearts into one. I saw him at over sixty-six years of age; every attitude was beauty, every gesture grace. You could only think of a greyhound as you looked at him; it would have been delig

ady breaking." You seemed to hear the tones come echoing back to London from the Rocky Mountains. Then, with the slightest possible Irish brogue, he would tell a story, whil

less as wo

up, and pai

TION FOR

tings, House of Lo

MUND

ons of England, I charg

this last moment of

o we want a cause, my Lords? You have the cause of oppressed princes, of und

of any one? No, my Lords, you must not look to punish any other such delinquent from India

ess round the world, does not behold a more glorious sight than that of men, separated from a remote people by the material bounds and barriers of nature, united by t

ge of human imagination, can supply us with a tribunal like this. My Lords, here we see virtually, in the

, between the sovereign and the subject- offering a pledge, in that situation, for the support o

HILLIPS,

Addresses of George Wil

94, by Harper

E WILLIA

nate Chamber, twenty years afterward, awed the whole country with a sense of vast and momentous peril. Never since the people of Boston thronged Faneuil Hall on the day after the massacre in State Street, had that ancient hall seen a more solemn and significant assembly. It was the more solemn,

He had come with the multitude, and he had heard with sympathy and approval the speeches that condemned the wrong; but when the cruel voice justified the murderers of Lovejoy, the heart of the young man burned within him. This speech, he said to himself, must be answered. As the malign strain proceeded, the Boston boy, all on fire, with Concord and Lexington tugging at his heart, unconsciously murmured, "Such a speech in Faneuil Hall must be answered in Faneuil Hall." "Why not answer it yourself?" whispered a neighbor, who overheard him. "Help me to the platform and I will,"-and pushing and struggling through the dense and threatening crowd, the young man reached the platform, was lifted upon it, and, advancing to speak, was greeted with a roar of hostile cries. But riding the whirlwind undismayed, as for many a year afterward he directed the same wild storm, he stood upon the platform in all the beauty and grace of imperial youth,-the Greeks would have said a

riumphs when a supreme emotion, a sentiment which is to mold a people anew, lifted the orator to adequate expression. Three such scenes are illustrious in our h

POSAL OF P

ster-Hayne debate in th

ary,

ERT Y.

. When the gentleman refers to the conditions of the grants under which the United States have acquired these lands, and insists that, as they are declared to be "for the common benefit of all the States," they can only be treated as so much treasure, I think he has applied a rule of construction too narrow for the case. If, in the deeds of cession, it has been declared that the grants were intended "for the c

old, liberty, principle, and justice. But, sir, if we are bound to act on the narrow principles contended for by the gentleman, I am wholly at a loss to conceive how he can reconcile his principles with his own practice. The lands are, it seems, to be treated "as so much treasure," and must be applied to the "common benefit of all the States." Now,

ATION OF I

residential Addresse

g Company

AHAM L

e men who assembled here and framed and adopted that Declaration. I have pondered over the toils that were endured by the officers and soldiers of the army who achieved that independence. I have often inquired of myself what great principle or idea it was that kept this Confederacy so long together. It was not the mere matter of separation of the colonies from the motherland, but that sentiment in the Declaration of Independence which gave liberty not alone to the people of this country, but hope to all the world, for all future time. It was that which gave promise that in due time the weights would be lifted from the shoulders of all men, and that all should have an equal chance. This is the sentiment embodied in th

I supposed I was merely to do something toward raising a flag. I may, therefore, have said something indiscreet.

ING THE

ETING TO SOU

esses," with the permis

flin Company

RY CAB

left of him once more to the battlefields of the Republic. I saw Andrew, standing bareheaded on the steps of the State House, bid the men godspeed. I cannot remember the words he said, but I can never forget the fervid eloquence which brought tears to the eyes and fire to the hearts of

nd the result of the war a mistake. To the men who fought the battles of the Confederacy we hold out our hands freely, frankly, and gladly. We have no bitter memories to revive, no reproa

presence here, and at the sound of your voices beneath this historic roof, the years roll back, and we see the figure and hear again the ringing tones of your great orator, Patrick Henr

capable of a great reconciliation. Side by side Virginia and Massachusetts led the colonies into the War for Independence. Side by side they founded the government of the United States. Mor

timent, true sentiment, that has moved the world. Se

ain upon the country the sons of Virginia and Massachusetts would, as in the olden days, stand once more shoulder to shoulder, with no distinction in the colors that they

AND OV

ted States Senate, January, 1830, Little

NIEL

ional or more serious and deliberate, which may be bestowed on others, as so much unjustly withholden from themselves. But the tone and manner of the gentleman's question forbid me thus to interpret it, I am not at liberty to consider it as nothing more than a civility to his friend. It had an air of taunt and disparagement, something of the loftiness of asserte

l for mutual consultation and discussion; not an arena for the exhibitions of champions. I offer myself, sir, as a match for no man; I throw the challenge of debate at no man's feet. But then, sir, since the honorable member has put the question in a manner that calls for an answer, I will give him an answer; and tell him that, holding myself to be the humb

COAL

e reply

of Daniel Webster," Little, Brown

NIEL

and recrimination, the honorable member may perhaps find that, in that contest, there will be blows to take as well as to give; that others can state comparisons as significant,

ow origin, and a still lower present condition. It is one of the thousand calumnies with which the press teemed during an excited political canvass. It was a charge of which there was not only no proof or probability, but which was in itself wholly impossible to be true. No man of common information ever believed a syllable of it. Yet it was of that class of falsehoods which, by continued repetition, through all the organs of detraction and abuse, are capable of misleading those who are already far misled, and of further fanning passion already kindling into flame. Doubtless it served in its day, and in greater o

OWN D

BERT

sentence of death should not be

y; and my ambition was to hold a place among the deliverers of my country, not in power nor in profit, but in the glory of the achievement. Sell my country's independence to France! and for what? Was it for a change of masters? No, but for ambition. O my country! was it personal ambition that could influe

have but one request to ask at my departure from this world: it is-the charity of its silence. Let no man write my epitaph; for, as no man who knows my motives dares now vindicate them, let not prejudice or ignorance asperse them. Let them and me re

NCE TO GRE

Provincial Convention

TRICK

every light of which it is capable; but it has been all in vain. Shall we resort to entreaty and humble supplication? What terms shall we find which have not been already exhausted? Let us not, I beseech you, sir, deceive ourselves longer. Sir, we have done everything that could be done to avert the storm which is now coming on. We have petitioned, we have remonstrated, we have supplicated, we have prostrated ourselves before the throne, and have implored its interposition to arrest the tyrannical hands of the ministry and parliament. Our petitions have been slighted; our remonstrances have produced additional violence and insult; our supplications have

GAINST LOUI

Modern Reader and Spe

ompany, New Yo

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holds France; and he who holds France holds the world. He is master of the votes, master of consciences, master of the people; he names his successor, does away with eternity, and places the future in a sealed envelope. Thirty eager newspaper correspondents inform the world that he has frowned, and every electric wire quivers if he rais

s. Well, this master, this triumphant conqueror, this vanquisher, this dictator, this empe

tack him boldly and recklessly for love of the people and for love of France. He is going to be an emperor. Le

ages, by all the incredible drivel which he parades in the "Moniteur," this emigrant, who knows not France, teaches France her lesson! and this ruffian tells France he