THE ART OF PUBLIC SPEAKING E-Book

J. BERG ESENWEIN DALE CARNAGEY

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• Sprache: Deutsch
• Veröffentlichungsjahr: 2021

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Beschreibung

Table of Contents THINGS TO THINK OF FIRST--A FOREWORD ACQUIRING CONFIDENCE BEFORE AN AUDIENCE THE SIN OF MONOTONY EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION EFFICIENCY THROUGH CHANGE OF PITCH EFFICIENCY THROUGH CHANGE OF PACE PAUSE AND POWER EFFICIENCY THROUGH INFLECTION CONCENTRATION IN DELIVERY FORCE FEELING AND ENTHUSIASM FLUENCY THROUGH PREPARATION THE VOICE VOICE CHARM DISTINCTNESS AND PRECISION OF UTTERANCE THE TRUTH ABOUT GESTURE METHODS OF DELIVERY THOUGHT AND RESERVE POWER SUBJECT AND PREPARATION INFLUENCING BY EXPOSITION INFLUENCING BY DESCRIPTION INFLUENCING BY NARRATION INFLUENCING BY SUGGESTION INFLUENCING BY ARGUMENT INFLUENCING BY PERSUASION INFLUENCING THE CROWD RIDING THE WINGED HORSE GROWING A VOCABULARY MEMORY TRAINING RIGHT THINKING AND PERSONALITY AFTER-DINNER AND OTHER OCCASIONAL SPEAKING MAKING CONVERSATION EFFECTIVE FIFTY QUESTIONS FOR DEBATE THIRTY THEMES FOR SPEECHES, WITH SOURCE-REFERENCES SUGGESTIVE SUBJECTS FOR SPEECHES; HINTS FOR TREATMENT SPEECHES FOR STUDY AND PRACTISE

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J. BERG ESENWEIN DALE CARNAGEY

THE ART OF PUBLIC SPEAKING

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Inhaltsverzeichnis

Titel

A FOREWORD

THE ART OF PUBLIC SPEAKING

ACQUIRING CONFIDENCE BEFORE AN AUDIENCE

Assume Mastery Over Your Audience_

QUESTIONS AND EXERCISES.

THE SIN OF MONOTONY

QUESTIONS AND EXERCISES.

EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION

QUESTIONS AND EXERCISES.

EFFICIENCY THROUGH CHANGE OF PITCH

QUESTIONS AND EXERCISES

EFFICIENCY THROUGH CHANGE OF PACE

QUESTIONS AND EXERCISES

QUESTIONS AND EXERCISES

PAUSE AND POWER

QUESTIONS AND EXERCISES

EFFICIENCY THROUGH INFLECTION

--WILLIAM COWPER, _The Task_.

QUESTIONS AND EXERCISES

CONCENTRATION IN DELIVERY

QUESTIONS AND EXERCISES

FORCE

QUESTIONS AND EXERCISES

FEELING AND ENTHUSIASM

QUESTIONS AND EXERCISES

FLUENCY THROUGH PREPARATION

QUESTIONS AND EXERCISES

THE VOICE

QUESTIONS AND EXERCISES

VOICE CHARM

QUESTIONS AND EXERCISES

QUESTIONS AND EXERCISES

THE TRUTH ABOUT GESTURE

QUESTIONS AND EXERCISES

METHODS OF DELIVERY

QUESTIONS AND EXERCISES

THOUGHT AND RESERVE POWER

The Thinking Mind_

QUESTIONS AND EXERCISES

SUBJECT AND PREPARATION

QUESTIONS AND EXERCISES

INFLUENCING BY EXPOSITION

QUESTIONS AND EXERCISES

INFLUENCING BY DESCRIPTION

SELECTIONS FOR PRACTISE

QUESTIONS AND ANSWERS

INFLUENCING BY NARRATION

QUESTIONS AND EXERCISES

INFLUENCING BY SUGGESTION

QUESTIONS AND EXERCISES

INFLUENCING BY ARGUMENT

QUESTIONS AND EXERCISES

INFLUENCING BY PERSUASION

QUESTIONS AND EXERCISES

INFLUENCING THE CROWD

RIDING THE WINGED HORSE

QUESTIONS AND EXERCISES

GROWING A VOCABULARY

QUESTIONS AND EXERCISES

RIGHT THINKING AND PERSONALITY

QUESTIONS AND EXERCISES

AFTER-DINNER AND OTHER OCCASIONAL SPEAKING

QUESTIONS AND EXERCISES

MAKING CONVERSATION EFFECTIVE

QUESTIONS AND EXERCISES

APPENDICES FIFTY QUESTIONS FOR DEBATE

THIRTY THEMES FOR SPEECHES

SUGGESTIVE SUBJECTS FOR SPEECHES[36]

SPEECHES FOR STUDY AND PRACTISE

THE NEW AMERICANISM

THE CALL TO DEMOCRATS

LAST SPEECH

EULOGY OF WEBSTER

Impressum neobooks

A FOREWORD

The Art of Public Speaking

J. BERG ESENWEIN

AUTHOR OF

"HOW TO ATTRACT AND HOLD AN AUDIENCE,"

"WRITING THE SHORT-STORY,"

"WRITING THE PHOTOPLAY," ETC., ETC.,

AND

DALE CARNAGEY

PROFESSOR OF PUBLIC SPEAKING, BALTIMORE SCHOOL OF COMMERCE AND

FINANCE; INSTRUCTOR IN PUBLIC SPEAKING, Y.M.C.A. SCHOOLS, NEW

YORK, BROOKLYN, BALTIMORE, AND PHILADELPHIA, AND THE NEW YORK

CITY CHAPTER, AMERICAN INSTITUTE OF BANKING

=Things to Think of First=

The efficiency of a book is like that of a man, in one important

respect: its attitude toward its subject is the first source of its

power. A book may be full of good ideas well expressed, but if its

writer views his subject from the wrong angle even his excellent advice

may prove to be ineffective.

This book stands or falls by its authors' attitude toward its subject.

If the best way to teach oneself or others to speak effectively in

public is to fill the mind with rules, and to set up fixed standards for

the interpretation of thought, the utterance of language, the making of

gestures, and all the rest, then this book will be limited in value to

such stray ideas throughout its pages as may prove helpful to the

reader--as an effort to enforce a group of principles it must be

reckoned a failure, because it is then untrue.

It is of some importance, therefore, to those who take up this volume

with open mind that they should see clearly at the out-start what is the

thought that at once underlies and is builded through this structure. In

plain words it is this:

Training in public speaking is not a matter of externals--primarily; it

is not a matter of imitation--fundamentally; it is not a matter of

conformity to standards--at all. Public speaking is public utterance,

public issuance, of the man himself; therefore the first thing both in

time and in importance is that the man should be and think and feel

things that are worthy of being given forth. Unless there be something

of value within, no tricks of training can ever make of the talker

anything more than a machine--albeit a highly perfected machine--for the

delivery of other men's goods. So self-development is fundamental in our

plan.

The second principle lies close to the first: The man must enthrone his

will to rule over his thought, his feelings, and all his physical

powers, so that the outer self may give perfect, unhampered expression

to the inner. It is futile, we assert, to lay down systems of rules for

voice culture, intonation, gesture, and what not, unless these two

principles of having something to say and making the will sovereign have

at least begun to make themselves felt in the life.

The third principle will, we surmise, arouse no dispute: No one can

learn _how_ to speak who does not first speak as best he can. That may

seem like a vicious circle in statement, but it will bear examination.

Many teachers have begun with the _how_. Vain effort! It is an ancient

truism that we learn to do by doing. The first thing for the beginner in

public speaking is to speak--not to study voice and gesture and the

rest. Once he has spoken he can improve himself by self-observation or

according to the criticisms of those who hear.

But how shall he be able to criticise himself? Simply by finding out

three things: What are the qualities which by common consent go to make

up an effective speaker; by what means at least some of these qualities

may be acquired; and what wrong habits of speech in himself work against

his acquiring and using the qualities which he finds to be good.

Experience, then, is not only the best teacher, but the first and the

last. But experience must be a dual thing--the experience of others must

be used to supplement, correct and justify our own experience; in this

way we shall become our own best critics only after we have trained

ourselves in self-knowledge, the knowledge of what other minds think,

and in the ability to judge ourselves by the standards we have come to

believe are right. "If I ought," said Kant, "I can."

An examination of the contents of this volume will show how consistently

these articles of faith have been declared, expounded, and illustrated.

The student is urged to begin to speak at once of what he knows. Then he

is given simple suggestions for self-control, with gradually increasing

emphasis upon the power of the inner man over the outer. Next, the way

to the rich storehouses of material is pointed out. And finally, all the

while he is urged to speak, _speak_, _SPEAK_ as he is applying to his own

methods, in his own _personal_ way, the principles he has gathered from

his own experience and observation and the recorded experiences of

others.

So now at the very first let it be as clear as light that methods are

secondary matters; that the full mind, the warm heart, the dominant will

are primary--and not only primary but paramount; for unless it be a full

being that uses the methods it will be like dressing a wooden image in

the clothes of a man.

J. BERG ESENWEIN.

NARBERTH, PA.,

JANUARY 1, 1915.

THE ART OF PUBLIC SPEAKING

Sense never fails to give them that have it, Words enough to

make them understood. It too often happens in some

conversations, as in Apothecary Shops, that those Pots that are

Empty, or have Things of small Value in them, are as gaudily

Dress'd as those that are full of precious Drugs.

They that soar too high, often fall hard, making a low and level

Dwelling preferable. The tallest Trees are most in the Power of

the Winds, and Ambitious Men of the Blasts of Fortune. Buildings

have need of a good Foundation, that lie so much exposed to the

Weather.

--WILLIAM PENN.

ACQUIRING CONFIDENCE BEFORE AN AUDIENCE

There is a strange sensation often experienced in the presence

of an audience. It may proceed from the gaze of the many eyes

that turn upon the speaker, especially if he permits himself to

steadily return that gaze. Most speakers have been conscious of

this in a nameless thrill, a real something, pervading the

atmosphere, tangible, evanescent, indescribable. All writers

have borne testimony to the power of a speaker's eye in

impressing an audience. This influence which we are now

considering is the reverse of that picture--the power _their_

eyes may exert upon him, especially before he begins to speak:

after the inward fires of oratory are fanned into flame the eyes

of the audience lose all terror.

--WILLIAM PITTENGER, _Extempore Speech_.

Students of public speaking continually ask, "How can I overcome

self-consciousness and the fear that paralyzes me before an audience?"

Did you ever notice in looking from a train window that some horses feed

near the track and never even pause to look up at the thundering cars,

while just ahead at the next railroad crossing a farmer's wife will be

nervously trying to quiet her scared horse as the train goes by?

How would you cure a horse that is afraid of cars--graze him in a

back-woods lot where he would never see steam-engines or automobiles, or

drive or pasture him where he would frequently see the machines?

Apply horse-sense to ridding yourself of self-consciousness and fear:

face an audience as frequently as you can, and you will soon stop

shying. You can never attain freedom from stage-fright by reading a

treatise. A book may give you excellent suggestions on how best to

conduct yourself in the water, but sooner or later you must get wet,

perhaps even strangle and be "half scared to death." There are a great

many "wetless" bathing suits worn at the seashore, but no one ever

learns to swim in them. To plunge is the only way.

Practise, _practise_, _PRACTISE_ in speaking before an audience will tend

to remove all fear of audiences, just as practise in swimming will lead

to confidence and facility in the water. You must learn to speak by

speaking.

The Apostle Paul tells us that every man must work out his own

salvation. All we can do here is to offer you suggestions as to how best

to prepare for your plunge. The real plunge no one can take for you. A

doctor may prescribe, but _you_ must take the medicine.

Do not be disheartened if at first you suffer from stage-fright. Dan

Patch was more susceptible to suffering than a superannuated dray horse

would be. It never hurts a fool to appear before an audience, for his

capacity is not a capacity for feeling. A blow that would kill a

civilized man soon heals on a savage. The higher we go in the scale of

life, the greater is the capacity for suffering.

For one reason or another, some master-speakers never entirely overcome

stage-fright, but it will pay you to spare no pains to conquer it.

Daniel Webster failed in his first appearance and had to take his seat

without finishing his speech because he was nervous. Gladstone was often

troubled with self-consciousness in the beginning of an address.

Beecher was always perturbed before talking in public.

Blacksmiths sometimes twist a rope tight around the nose of a horse, and

by thus inflicting a little pain they distract his attention from the

shoeing process. One way to get air out of a glass is to pour in water.

_Be Absorbed by Your Subject_

Apply the blacksmith's homely principle when you are speaking. If you

feel deeply about your subject you will be able to think of little else.

Concentration is a process of distraction from less important matters.

It is too late to think about the cut of your coat when once you are

upon the platform, so centre your interest on what you are about to

say--fill your mind with your speech-material and, like the infilling

water in the glass, it will drive out your unsubstantial fears.

Self-consciousness is undue consciousness of self, and, for the purpose

of delivery, self is secondary to your subject, not only in the opinion

of the audience, but, if you are wise, in your own. To hold any other

view is to regard yourself as an exhibit instead of as a messenger with

a message worth delivering. Do you remember Elbert Hubbard's tremendous

little tract, "A Message to Garcia"? The youth subordinated himself to

the message he bore. So must you, by all the determination you can

muster. It is sheer egotism to fill your mind with thoughts of self when

a greater thing is there--_TRUTH_. Say this to yourself sternly, and

shame your self-consciousness into quiescence. If the theater caught

fire you could rush to the stage and shout directions to the audience

without any self-consciousness, for the importance of what you were

saying would drive all fear-thoughts out of your mind.

Far worse than self-consciousness through fear of doing poorly is

self-consciousness through assumption of doing well. The first sign of

greatness is when a man does not attempt to look and act great. Before

you can call yourself a man at all, Kipling assures us, you must "not

look too good nor talk too wise."

Nothing advertises itself so thoroughly as conceit. One may be so full

of self as to be empty. Voltaire said, "We must conceal self-love." But

that can not be done. You know this to be true, for you have recognized

overweening self-love in others. If you have it, others are seeing it in

you. There are things in this world bigger than self, and in working for

them self will be forgotten, or--what is better--remembered only so as

to help us win toward higher things.

_Have Something to Say_

The trouble with many speakers is that they go before an audience with

their minds a blank. It is no wonder that nature, abhorring a vacuum,

fills them with the nearest thing handy, which generally happens to be,

"I wonder if I am doing this right! How does my hair look? I know I

shall fail." Their prophetic souls are sure to be right.

It is not enough to be absorbed by your subject--to acquire

self-confidence you must have something in which to be confident. If you

go before an audience without any preparation, or previous knowledge of

your subject, you ought to be self-conscious--you ought to be ashamed to

steal the time of your audience. Prepare yourself. Know what you are

going to talk about, and, in general, how you are going to say it. Have

the first few sentences worked out completely so that you may not be

troubled in the beginning to find words. Know your subject better than

your hearers know it, and you have nothing to fear.

_After Preparing for Success, Expect It_

Let your bearing be modestly confident, but most of all be modestly

confident within. Over-confidence is bad, but to tolerate premonitions

of failure is worse, for a bold man may win attention by his very

bearing, while a rabbit-hearted coward invites disaster.

Humility is not the personal discount that we must offer in the presence

of others--against this old interpretation there has been a most healthy

modern reaction. True humility any man who thoroughly knows himself must

feel; but it is not a humility that assumes a worm-like meekness; it is

rather a strong, vibrant prayer for greater power for service--a prayer

that Uriah Heep could never have uttered.

Washington Irving once introduced Charles Dickens at a dinner given in

the latter's honor. In the middle of his speech Irving hesitated, became

embarrassed, and sat down awkwardly. Turning to a friend beside him he

remarked, "There, I told you I would fail, and I did."

If you believe you will fail, there is no hope for you. You will.

Rid yourself of this I-am-a-poor-worm-in-the-dust idea. You are a god,

with infinite capabilities. "All things are ready if the mind be so."

The eagle looks the cloudless sun in the face.

Assume Mastery Over Your Audience_

In public speech, as in electricity, there is a positive and a negative

force. Either you or your audience are going to possess the positive

factor. If you assume it you can almost invariably make it yours. If you

assume the negative you are sure to be negative. Assuming a virtue or a

vice vitalizes it. Summon all your power of self-direction, and remember

that though your audience is infinitely more important than you, the

truth is more important than both of you, because it is eternal. If your

mind falters in its leadership the sword will drop from your hands. Your

assumption of being able to instruct or lead or inspire a multitude or

even a small group of people may appall you as being colossal

impudence--as indeed it may be; but having once essayed to speak, be

courageous. _BE_ courageous--it lies within you to be what you will.

_MAKE_ yourself be calm and confident.

Reflect that your audience will not hurt you. If Beecher in Liverpool

had spoken behind a wire screen he would have invited the audience to

throw the over-ripe missiles with which they were loaded; but he was a

man, confronted his hostile hearers fearlessly--and won them.

In facing your audience, pause a moment and look them over--a hundred

chances to one they want you to succeed, for what man is so foolish as

to spend his time, perhaps his money, in the hope that you will waste

his investment by talking dully?

_Concluding Hints_

Do not make haste to begin--haste shows lack of control.

Do not apologize. It ought not to be necessary; and if it is, it will

not help. Go straight ahead.

Take a deep breath, relax, and begin in a quiet conversational tone as

though you were speaking to one large friend. You will not find it half

so bad as you imagined; really, it is like taking a cold plunge: after

you are in, the water is fine. In fact, having spoken a few times you

will even anticipate the plunge with exhilaration. To stand before an

audience and make them think your thoughts after you is one of the

greatest pleasures you can ever know. Instead of fearing it, you ought

to be as anxious as the fox hounds straining at their leashes, or the

race horses tugging at their reins.

So cast out fear, for fear is cowardly--when it is not mastered. The

bravest know fear, but they do not yield to it. Face your audience

pluckily--if your knees quake, _MAKE_ them stop. In your audience lies

some victory for you and the cause you represent. Go win it. Suppose

Charles Martell had been afraid to hammer the Saracen at Tours; suppose

Columbus had feared to venture out into the unknown West; suppose our

forefathers had been too timid to oppose the tyranny of George the

Third; suppose that any man who ever did anything worth while had been a

coward! The world owes its progress to the men who have dared, and you

must dare to speak the effective word that is in your heart to

speak--for often it requires courage to utter a single sentence. But

remember that men erect no monuments and weave no laurels for those who

fear to do what they can.

Is all this unsympathetic, do you say?

Man, what you need is not sympathy, but a push. No one doubts that

temperament and nerves and illness and even praiseworthy modesty may,

singly or combined, cause the speaker's cheek to blanch before an

audience, but neither can any one doubt that coddling will magnify this

weakness. The victory lies in a fearless frame of mind. Prof. Walter

Dill Scott says: "Success or failure in business is caused more by

mental attitude even than by mental capacity." Banish the fear-attitude;

acquire the confident attitude. And remember that the only way to

acquire it is--_to acquire it_.

In this foundation chapter we have tried to strike the tone of much that

is to follow. Many of these ideas will be amplified and enforced in a

more specific way; but through all these chapters on an art which Mr.

Gladstone believed to be more powerful than the public press, the note

of _justifiable self-confidence_ must sound again and again.

QUESTIONS AND EXERCISES.

1. What is the cause of self-consciousness?

2. Why are animals free from it?

3. What is your observation regarding self-consciousness in children?

4. Why are you free from it under the stress of unusual excitement?

5. How does moderate excitement affect you?

6. What are the two fundamental requisites for the acquiring of

self-confidence? Which is the more important?

7. What effect does confidence on the part of the speaker have on the

audience?

8. Write out a two-minute speech on "Confidence and Cowardice."

9. What effect do habits of thought have on confidence? In this

connection read the chapter on "Right Thinking and Personality."

10. Write out very briefly any experience you may have had involving the

teachings of this chapter.

11. Give a three-minute talk on "Stage-Fright," including a (kindly)

imitation of two or more victims.

THE SIN OF MONOTONY

One day Ennui was born from Uniformity.

--MOTTE.

Our English has changed with the years so that many words now connote

more than they did originally. This is true of the word _monotonous_.

From "having but one tone," it has come to mean more broadly, "lack of

variation."

The monotonous speaker not only drones along in the same volume and

pitch of tone but uses always the same emphasis, the same speed, the

same thoughts--or dispenses with thought altogether.

Monotony, the cardinal and most common sin of the public speaker, is not

a transgression--it is rather a sin of omission, for it consists in

living up to the confession of the Prayer Book: "We have left undone

those things we ought to have done."

Emerson says, "The virtue of art lies in detachment, in sequestering one

object from the embarrassing variety." That is just what the monotonous

speaker fails to do--he does _not_ detach one thought or phrase from

another, they are all expressed in the same manner.

To tell you that your speech is monotonous may mean very little to you,

so let us look at the nature--and the curse--of monotony in other

spheres of life, then we shall appreciate more fully how it will blight

an otherwise good speech.

If the Victrola in the adjoining apartment grinds out just three

selections over and over again, it is pretty safe to assume that your

neighbor has no other records. If a speaker uses only a few of his

powers, it points very plainly to the fact that the rest of his powers

are not developed. Monotony reveals our limitations.

In its effect on its victim, monotony is actually deadly--it will drive

the bloom from the cheek and the lustre from the eye as quickly as sin,

and often leads to viciousness. The worst punishment that human

ingenuity has ever been able to invent is extreme monotony--solitary

confinement. Lay a marble on the table and do nothing eighteen hours of

the day but change that marble from one point to another and back again,

and you will go insane if you continue long enough.

So this thing that shortens life, and is used as the most cruel of

punishments in our prisons, is the thing that will destroy all the life

and force of a speech. Avoid it as you would shun a deadly dull bore.

The "idle rich" can have half-a-dozen homes, command all the varieties

of foods gathered from the four corners of the earth, and sail for

Africa or Alaska at their pleasure; but the poverty-stricken man must

walk or take a street car--he does not have the choice of yacht, auto,

or special train. He must spend the most of his life in labor and be

content with the staples of the food-market. Monotony is poverty,

whether in speech or in life. Strive to increase the variety of your

speech as the business man labors to augment his wealth.

Bird-songs, forest glens, and mountains are not monotonous--it is the

long rows of brown-stone fronts and the miles of paved streets that are

so terribly same. Nature in her wealth gives us endless variety; man

with his limitations is often monotonous. Get back to nature in your

methods of speech-making.

The power of variety lies in its pleasure-giving quality. The great

truths of the world have often been couched in fascinating stories--"Les

Miserables," for instance. If you wish to teach or influence men, you

must please them, first or last. Strike the same note on the piano over

and over again. This will give you some idea of the displeasing, jarring

effect monotony has on the ear. The dictionary defines "monotonous" as

being synonymous with "wearisome." That is putting it mildly. It is

maddening. The department-store prince does not disgust the public by

playing only the one tune, "Come Buy My Wares!" He gives recitals on a

$125,000 organ, and the pleased people naturally slip into a buying

mood.

_How to Conquer Monotony_

We obviate monotony in dress by replenishing our wardrobes. We avoid

monotony in speech by multiplying our powers of speech. We multiply our

powers of speech by increasing our tools.

The carpenter has special implements with which to construct the several

parts of a building. The organist has certain keys and stops which he

manipulates to produce his harmonies and effects. In like manner the

speaker has certain instruments and tools at his command by which he

builds his argument, plays on the feelings, and guides the beliefs of

his audience. To give you a conception of these instruments, and

practical help in learning to use them, are the purposes of the

immediately following chapters.

Why did not the Children of Israel whirl through the desert in

limousines, and why did not Noah have moving-picture entertainments and

talking machines on the Ark? The laws that enable us to operate an

automobile, produce moving-pictures, or music on the Victrola, would

have worked just as well then as they do today. It was ignorance of law

that for ages deprived humanity of our modern conveniences. Many

speakers still use ox-cart methods in their speech instead of employing

automobile or overland-express methods. They are ignorant of laws that

make for efficiency in speaking. Just to the extent that you regard and

use the laws that we are about to examine and learn how to use will you

have efficiency and force in your speaking; and just to the extent that

you disregard them will your speaking be feeble and ineffective. We

cannot impress too thoroughly upon you the necessity for a real working

mastery of these principles. They are the very foundations of successful

speaking. "Get your principles right," said Napoleon, "and the rest is a

matter of detail."

It is useless to shoe a dead horse, and all the sound principles in

Christendom will never make a live speech out of a dead one. So let it

be understood that public speaking is not a matter of mastering a few

dead rules; the most important law of public speech is the necessity for

truth, force, feeling, and life. Forget all else, but not this.

When you have mastered the mechanics of speech outlined in the next few

chapters you will no longer be troubled with monotony. The complete

knowledge of these principles and the ability to apply them will give

you great variety in your powers of expression. But they cannot be

mastered and applied by thinking or reading about them--you must

practise, _practise_, _PRACTISE_. If no one else will listen to you,

listen to yourself--you must always be your own best critic, and the

severest one of all.

The technical principles that we lay down in the following chapters are

not arbitrary creations of our own. They are all founded on the

practices that good speakers and actors adopt--either naturally and

unconsciously or under instruction--in getting their effects.

It is useless to warn the student that he must be natural. To be natural

may be to be monotonous. The little strawberry up in the arctics with a

few tiny seeds and an acid tang is a natural berry, but it is not to be

compared with the improved variety that we enjoy here. The dwarfed oak

on the rocky hillside is natural, but a poor thing compared with the

beautiful tree found in the rich, moist bottom lands. Be natural--but

improve your natural gifts until you have approached the ideal, for we

must strive after idealized nature, in fruit, tree, and speech.

QUESTIONS AND EXERCISES.

1. What are the causes of monotony?

2. Cite some instances in nature.

3. Cite instances in man's daily life.

4. Describe some of the effects of monotony in both cases.

5. Read aloud some speech without paying particular attention to its

meaning or force.

6. Now repeat it after you have thoroughly assimilated its matter and

spirit. What difference do you notice in its rendition?

7. Why is monotony one of the worst as well as one of the most common

faults of speakers?

EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION

In a word, the principle of emphasis...is followed best, not

by remembering particular rules, but by being full of a

particular feeling.

--C.S. BALDWIN, _Writing and Speaking_.

The gun that scatters too much does not bag the birds. The same

principle applies to speech. The speaker that fires his force and

emphasis at random into a sentence will not get results. Not every word

is of special importance--therefore only certain words demand emphasis.

You say Massa_CHU_setts and Minne_AP_olis, you do not emphasize each

syllable alike, but hit the accented syllable with force and hurry over

the unimportant ones. Now why do you not apply this principle in

speaking a sentence? To some extent you do, in ordinary speech; but do

you in public discourse? It is there that monotony caused by lack of

emphasis is so painfully apparent.

So far as emphasis is concerned, you may consider the average sentence

as just one big word, with the important word as the accented syllable.

Note the following:

"Destiny is not a matter of chance. It is a matter of choice."

You might as well say _MASS-A-CHU-SETTS_, emphasizing every syllable

equally, as to lay equal stress on each word in the foregoing sentences.

Speak it aloud and see. Of course you will want to emphasize _destiny_,

for it is the principal idea in your declaration, and you will put some

emphasis on _not_, else your hearers may think you are affirming that

destiny _is_ a matter of chance. By all means you must emphasize

_chance_, for it is one of the two big ideas in the statement.

Another reason why _chance_ takes emphasis is that it is contrasted with

_choice_ in the next sentence. Obviously, the author has contrasted

these ideas purposely, so that they might be more emphatic, and here we

see that contrast is one of the very first devices to gain emphasis.

As a public speaker you can assist this emphasis of contrast with your

voice. If you say, "My horse is not _black_," what color immediately

comes into mind? White, naturally, for that is the opposite of black. If

you wish to bring out the thought that destiny is a matter of choice,

you can do so more effectively by first saying that "_DESTINY_ is _NOT_

a matter of _CHANCE_." Is not the color of the horse impressed upon us

more emphatically when you say, "My horse is _NOT BLACK_. He is _WHITE_"

than it would be by hearing you assert merely that your horse is white?

In the second sentence of the statement there is only one important

word--_choice_. It is the one word that positively defines the quality

of the subject being discussed, and the author of those lines desired to

bring it out emphatically, as he has shown by contrasting it with

another idea. These lines, then, would read like this:

"_DESTINY_ is _NOT_ a matter of _CHANCE_. It is a matter of _CHOICE_."

Now read this over, striking the words in capitals with a great deal of

force.

In almost every sentence there are a few _MOUNTAIN PEAK WORDS_ that

represent the big, important ideas. When you pick up the evening paper

you can tell at a glance which are the important news articles. Thanks

to the editor, he does not tell about a "hold up" in Hong Kong in the

same sized type as he uses to report the death of five firemen in your

home city. Size of type is his device to show emphasis in bold relief.

He brings out sometimes even in red headlines the striking news of the

day.

It would be a boon to speech-making if speakers would conserve the

attention of their audiences in the same way and emphasize only the

words representing the important ideas. The average speaker will deliver

the foregoing line on destiny with about the same amount of emphasis on

each word. Instead of saying, "It is a matter of _CHOICE_," he will

deliver it, "It is a matter of choice," or "_IT IS A MATTER OF

CHOICE_"--both equally bad.

Charles Dana, the famous editor of _The New York Sun_, told one of his

reporters that if he went up the street and saw a dog bite a man, to pay

no attention to it. _The Sun_ could not afford to waste the time and

attention of its readers on such unimportant happenings. "But," said Mr.

Dana, "if you see a man bite a dog, hurry back to the office and write

the story." Of course that is news; that is unusual.

Now the speaker who says "_IT IS A MATTER OF CHOICE_" is putting too

much emphasis upon things that are of no more importance to metropolitan

readers than a dog bite, and when he fails to emphasize "choice" he is

like the reporter who "passes up" the man's biting a dog. The ideal

speaker makes his big words stand out like mountain peaks; his

unimportant words are submerged like stream-beds. His big thoughts stand

like huge oaks; his ideas of no especial value are merely like the grass

around the tree.

From all this we may deduce this important principle: _EMPHASIS_ is a

matter of _CONTRAST_ and _COMPARISON_.

Recently the _New York American_ featured an editorial by Arthur

Brisbane. Note the following, printed in the same type as given here.

=We do not know what the President THOUGHT when he got that message, or

what the elephant thinks when he sees the mouse, but we do know what the

President DID.=

The words _THOUGHT_ and _DID_ immediately catch the reader's attention

because they are different from the others, not especially because they

are larger. If all the rest of the words in this sentence were made ten

times as large as they are, and _DID_ and _THOUGHT_ were kept at their

present size, they would still be emphatic, because different.

Take the following from Robert Chambers' novel, "The Business of Life."

The words _you_, _had_, _would_, are all emphatic, because they have been

made different.

He looked at her in angry astonishment.

"Well, what do _you_ call it if it isn't cowardice--to slink off

and marry a defenseless girl like that!"

"Did you expect me to give you a chance to destroy me and poison

Jacqueline's mind? If I _had_ been guilty of the thing with

which you charge me, what I have done _would_ have been

cowardly. Otherwise, it is justified."

A Fifth Avenue bus would attract attention up at Minisink Ford, New

York, while one of the ox teams that frequently pass there would attract

attention on Fifth Avenue. To make a word emphatic, deliver it

differently from the manner in which the words surrounding it are

delivered. If you have been talking loudly, utter the emphatic word in a

concentrated whisper--and you have intense emphasis. If you have been

going fast, go very slow on the emphatic word. If you have been talking

on a low pitch, jump to a high one on the emphatic word. If you have

been talking on a high pitch, take a low one on your emphatic ideas.

Read the chapters on "Inflection," "Feeling," "Pause," "Change of

Pitch," "Change of Tempo." Each of these will explain in detail how to

get emphasis through the use of a certain principle.

In this chapter, however, we are considering only one form of emphasis:

that of applying force to the important word and subordinating the

unimportant words. Do not forget: this is one of the main methods that

you must continually employ in getting your effects.

Let us not confound loudness with emphasis. To yell is not a sign of

earnestness, intelligence, or feeling. The kind of force that we want

applied to the emphatic word is not entirely physical. True, the

emphatic word may be spoken more loudly, or it may be spoken more

softly, but the _real_ quality desired is intensity, earnestness. It

must come from within, outward.

Last night a speaker said: "The curse of this country is not a lack of

education. It's politics." He emphasized _curse, lack, education,

politics_. The other words were hurried over and thus given no

comparative importance at all. The word _politics_ was flamed out with

great feeling as he slapped his hands together indignantly. His emphasis

was both correct and powerful. He concentrated all our attention on the

words that meant something, instead of holding it up on such words as

_of this_, _a_, _of_, _It's_.

What would you think of a guide who agreed to show New York to a

stranger and then took up his time by visiting Chinese laundries and

boot-blacking "parlors" on the side streets? There is only one excuse

for a speaker's asking the attention of his audience: He must have

either truth or entertainment for them. If he wearies their attention

with trifles they will have neither vivacity nor desire left when he

reaches words of Wall-Street and skyscraper importance. You do not dwell

on these small words in your everyday conversation, because you are not

a conversational bore. Apply the correct method of everyday speech to

the platform. As we have noted elsewhere, public speaking is very much

like conversation enlarged.

Sometimes, for big emphasis, it is advisable to lay stress on every

single syllable in a word, as _absolutely_ in the following sentence:

I ab-so-lute-ly refuse to grant your demand.

Now and then this principle should be applied to an emphatic sentence by

stressing each word. It is a good device for exciting special

attention, and it furnishes a pleasing variety. Patrick Henry's notable

climax could be delivered in that manner very effectively:

"Give--me--liberty--or--give--me--death." The italicized part of the

following might also be delivered with this every-word emphasis. Of

course, there are many ways of delivering it; this is only one of several

good interpretations that might be chosen.

Knowing the price we must pay, the sacrifice we must make, the

burdens we must carry, the assaults we must endure--knowing full

well the cost--yet we enlist, and we enlist for the war. For we

know the justice of our cause, and _we know, too, its certain

triumph._

--_From "Pass Prosperity Around,"_ by ALBERT J. BEVERIDGE,

_before the Chicago National Convention of the Progressive Party_.

Strongly emphasizing a single word has a tendency to suggest its

antithesis. Notice how the meaning changes by merely putting the

emphasis on different words in the following sentence. The parenthetical

expressions would really not be needed to supplement the emphatic words.

_I_ intended to buy a house this Spring (even if you did not).

I _INTENDED_ to buy a house this Spring (but something

prevented).

I intended to _BUY_ a house this Spring (instead of renting as

heretofore).

I intended to buy a _HOUSE_ this Spring (and not an automobile).

I intended to buy a house _THIS_ Spring (instead of next

Spring).

I intended to buy a house this _SPRING_ (instead of in the

Autumn).

When a great battle is reported in the papers, they do not keep

emphasizing the same facts over and over again. They try to get new

information, or a "new slant." The news that takes an important place in

the morning edition will be relegated to a small space in the late

afternoon edition. We are interested in new ideas and new facts. This

principle has a very important bearing in determining your emphasis. Do

not emphasize the same idea over and over again unless you desire to lay

extra stress on it; Senator Thurston desired to put the maximum amount

of emphasis on "force" in his speech on page 50. Note how force is

emphasized repeatedly. As a general rule, however, the new idea, the

"new slant," whether in a newspaper report of a battle or a speaker's

enunciation of his ideas, is emphatic.

In the following selection, "larger" is emphatic, for it is the new

idea. All men have eyes, but this man asks for a _LARGER_ eye.

This man with the larger eye says he will discover, not rivers or safety

appliances for aeroplanes, but _NEW STARS_ and _SUNS_. "New stars and

suns" are hardly as emphatic as the word "larger." Why? Because we

expect an astronomer to discover heavenly bodies rather than cooking

recipes. The words, "Republic needs" in the next sentence, are emphatic;

they introduce a new and important idea. Republics have always needed

men, but the author says they need _NEW_ men. "New" is emphatic because

it introduces a new idea. In like manner, "soil," "grain," "tools," are

also emphatic.

The most emphatic words are italicized in this selection. Are there any

others you would emphasize? Why?

The old astronomer said, "Give me a _larger_ eye, and I will

discover _new stars_ and _suns_." That is what the _republic

needs_ today--_new men_--men who are _wise_ toward the _soil_,

toward the _grains_, toward the _tools_. If God would only raise

up for the people two or three men like _Watt_, _Fulton_ and

_McCormick_, they would be _worth more_ to the _State_ than that

_treasure box_ named _California_ or _Mexico_. And the _real

supremacy_ of man is based upon his _capacity_ for _education_.

Man is _unique_ in the _length_ of his _childhood_, which means

the _period_ of _plasticity_ and _education_. The childhood of a

_moth_, the distance that stands between the hatching of the

_robin_ and its _maturity_, represent a _few hours_ or a _few

weeks_, but _twenty years_ for growth stands between _man's_

cradle and his citizenship. This protracted childhood makes it

possible to hand over to the boy all the _accumulated stores

achieved_ by _races_ and _civilizations_ through _thousands_ of

_years_.

--_Anonymous_.

You must understand that there are no steel-riveted rules of emphasis.

It is not always possible to designate which word must, and which must

not be emphasized. One speaker will put one interpretation on a speech,

another speaker will use different emphasis to bring out a different

interpretation. No one can say that one interpretation is right and the

other wrong. This principle must be borne in mind in all our marked

exercises. Here your own intelligence must guide--and greatly to your

profit.

QUESTIONS AND EXERCISES.

1. What is emphasis?

2. Describe one method of destroying monotony of thought-presentation.

3. What relation does this have to the use of the voice?

4. Which words should be emphasized, which subordinated, in a sentence?

5. Read the selections on pages 50, 51, 52, 53 and 54, devoting special

attention to emphasizing the important words or phrases and

subordinating the unimportant ones. Read again, changing emphasis

slightly. What is the effect?

6. Read some sentence repeatedly, emphasizing a different word each

time, and show how the meaning is changed, as is done on page 22.

7. What is the effect of a lack of emphasis?

8. Read the selections on pages 30 and 48, emphasizing every word. What

is the effect on the emphasis?

9. When is it permissible to emphasize every single word in a sentence?

10. Note the emphasis and subordination in some conversation or speech

you have heard. Were they well made? Why? Can you suggest any

improvement?

11. From a newspaper or a magazine, clip a report of an address, or a

biographical eulogy. Mark the passage for emphasis and bring it with you

to class.

12. In the following passage, would you make any changes in the author's

markings for emphasis? Where? Why? Bear in mind that not all words

marked require the same _degree_ of emphasis--_in a wide variety of

emphasis, and in nice shading of the gradations, lie the excellence of

emphatic speech_.

I would call him _Napoleon_, but Napoleon made his way to empire

over _broken oaths_ and through a _sea_ of _blood_. This man

_never_ broke his word. "No Retaliation" was his great motto and

the rule of his life; and the last words uttered to his son in

France were these: "My boy, you will one day go back to Santo

Domingo; _forget_ that _France murdered your father_." I would

call him _Cromwell_, but Cromwell was _only_ a _soldier_, and

the state he founded _went down_ with him into his grave. I

would call him _Washington_, but the great Virginian _held

slaves_. This man _risked_ his _empire_ rather than _permit_ the

slave-trade in the _humblest village_ of his dominions.

You think me a fanatic to-night, for you read history, _not_

with your _eyes_, but with your _prejudices_. But fifty years

hence, when _Truth_ gets a hearing, the Muse of History will put

_Phocion_ for the _Greek_, and _Brutus_ for the _Roman_,

_Hampden_ for _England_, _Lafayette_ for _France_, choose

_Washington_ as the bright, consummate flower of our _earlier_

civilization, and _John Brown_ the ripe fruit of our _noonday_,

then, dipping her pen in the sunlight, will write in the clear

blue, above them all, the name of the _soldier_, the

_statesman_, the _martyr_, _TOUSSAINT L'OUVERTURE_.

--WENDELL PHILLIPS, _Toussaint l'Ouverture_.

Practise on the following selections for emphasis: Beecher's "Abraham

Lincoln," page 76; Lincoln's "Gettysburg Speech," page 50; Seward's

"Irrepressible Conflict," page 67; and Bryan's "Prince of Peace," page

448.

EFFICIENCY THROUGH CHANGE OF PITCH

Speech is simply a modified form of singing: the principal

difference being in the fact that in singing the vowel sounds

are prolonged and the intervals are short, whereas in speech the

words are uttered in what may be called "staccato" tones, the

vowels not being specially prolonged and the intervals between

the words being more distinct. The fact that in singing we have

a larger range of tones does not properly distinguish it from

ordinary speech. In speech we have likewise a variation of

tones, and even in ordinary conversation there is a difference

of from three to six semi-tones, as I have found in my

investigations, and in some persons the range is as high as one

octave.

--WILLIAM SCHEPPEGRELL, _Popular Science Monthly_.

By pitch, as everyone knows, we mean the relative position of a vocal

tone--as, high, medium, low, or any variation between. In public speech

we apply it not only to a single utterance, as an exclamation or a

monosyllable (_Oh!_ or _the_) but to any group of syllables, words, and

even sentences that may be spoken in a single tone. This distinction it

is important to keep in mind, for the efficient speaker not only changes

the pitch of successive syllables (see Chapter VII, "Efficiency through

Inflection"), but gives a different pitch to different parts, or

word-groups, of successive sentences. It is this phase of the subject

which we are considering in this chapter.

_Every Change in the Thought Demands a Change in the Voice-Pitch_

Whether the speaker follows the rule consciously, unconsciously, or

subconsciously, this is the logical basis upon which all good voice

variation is made, yet this law is violated more often than any other by

_public_ speakers. A criminal may disregard a law of the state without

detection and punishment, but the speaker who violates this regulation

suffers its penalty at once in his loss of effectiveness, while his

innocent hearers must endure the monotony--for monotony is not only a

sin of the perpetrator, as we have shown, but a plague on the victims as

well.

Change of pitch is a stumbling block for almost all beginners, and for

many experienced speakers also. This is especially true when the words

of the speech have been memorized.

If you wish to hear how pitch-monotony sounds, strike the same note on

the piano over and over again. You have in your speaking voice a range

of pitch from high to low, with a great many shades between the

extremes. With all these notes available there is no excuse for

offending the ears and taste of your audience by continually using the

one note. True, the reiteration of the same tone in music--as in pedal

point on an organ composition--may be made the foundation of beauty, for

the harmony weaving about that one basic tone produces a consistent,

insistent quality not felt in pure variety of chord sequences. In like

manner the intoning voice in a ritual may--though it rarely

does--possess a solemn beauty. But the public speaker should shun the

monotone as he would a pestilence.

_Continual Change of Pitch is Nature's Highest Method_

In our search for the principles of efficiency we must continually go

back to nature. Listen--really listen--to the birds sing. Which of these

feathered tribes are most pleasing in their vocal efforts: those whose

voices, though sweet, have little or no range, or those that, like the

canary, the lark, and the nightingale, not only possess a considerable

range but utter their notes in continual variety of combinations? Even a

sweet-toned chirp, when reiterated without change, may grow maddening to

the enforced listener.

The little child seldom speaks in a monotonous pitch. Observe the

conversations of little folk that you hear on the street or in the home,

and note the continual changes of pitch. The unconscious speech of most

adults is likewise full of pleasing variations.

Imagine someone speaking the following, and consider if the effect would

not be just about as indicated. Remember, we are not now discussing the

inflection of single words, but the general pitch in which phrases are

spoken.

(High pitch) "I'd like to leave for my vacation tomorrow,--(lower)

still, I have so much to do. (Higher) Yet I suppose if I wait until I

have time I'll never go."

Repeat this, first in the pitches indicated, and then all in the one

pitch, as many speakers would. Observe the difference in naturalness of

effect.

The following exercise should be spoken in a purely conversational

tone, with numerous changes of pitch. Practise it until your delivery

would cause a stranger in the next room to think you were discussing an

actual incident with a friend, instead of delivering a memorized

monologue. If you are in doubt about the effect you have secured, repeat

it to a friend and ask him if it sounds like memorized words. If it

does, it is wrong.

_A SIMILAR CASE_

Jack, I hear you've gone and done it.--Yes, I know; most fellows

will; went and tried it once myself, sir, though you see I'm

single still. And you met her--did you tell me--down at Newport,

last July, and resolved to ask the question at a _soirée_? So

did I.

I suppose you left the ball-room, with its music and its light;

for they say love's flame is brightest in the darkness of the

night. Well, you walked along together, overhead the starlit

sky; and I'll bet--old man, confess it--you were frightened. So

was I.

So you strolled along the terrace, saw the summer moonlight pour

all its radiance on the waters, as they rippled on the shore,

till at length you gathered courage, when you saw that none was

nigh--did you draw her close and tell her that you loved her? So

did I.

Well, I needn't ask you further, and I'm sure I wish you joy.

Think I'll wander down and see you when you're married--eh, my

boy? When the honeymoon is over and you're settled down, we'll

try--What? the deuce you say! Rejected--you rejected? So was

I.

--_Anonymous_.

The necessity for changing pitch is so self-evident that it should be

grasped and applied immediately. However, it requires patient drill to

free yourself from monotony of pitch.

In natural conversation you think of an idea first, and then find words

to express it. In memorized speeches you are liable to speak the words,

and then think what they mean--and many speakers seem to trouble very

little even about that. Is it any wonder that reversing the process

should reverse the result? Get back to nature in your methods of

expression.

Read the following selection in a nonchalant manner, never pausing to

think what the words really mean. Try it again, carefully studying the

thought you have assimilated. Believe the idea, desire to express it

effectively, and imagine an audience before you. Look them earnestly in

the face and repeat this truth. If you follow directions, you will note

that you have made many changes of pitch after several readings.

It is not work that kills men; it is worry. Work is healthy; you

can hardly put more upon a man than he can bear. Worry is rust

upon the blade. It is not the revolution that destroys the

machinery but the friction.

--HENRY WARD BEECHER.

_Change of Pitch Produces Emphasis_

This is a highly important statement. Variety in pitch maintains the

hearer's interest, but one of the surest ways to compel attention--to

secure unusual emphasis--is to change the pitch of your voice suddenly

and in a marked degree. A great contrast always arouses attention. White

shows whiter against black; a cannon roars louder in the Sahara silence

than in the Chicago hurly burly--these are simple illustrations of the

power of contrast.

"What is Congress going to do next?

(High pitch) |

|

| I do not know."

-----------------

(Low pitch)

By such sudden change of pitch during a sermon Dr. Newell Dwight Hillis

recently achieved great emphasis and suggested the gravity of the

question he had raised.

The foregoing order of pitch-change might be reversed with equally good

effect, though with a slight change in seriousness--either method

produces emphasis when used intelligently, that is, with a common-sense

appreciation of the sort of emphasis to be attained.

In attempting these contrasts of pitch it is important to avoid

unpleasant extremes. Most speakers pitch their voices too high. One of

the secrets of Mr. Bryan's eloquence is his low, bell-like voice.

Shakespeare said that a soft, gentle, low voice was "an excellent thing

in woman;" it is no less so in man, for a voice need not be blatant to

be powerful,--and _must_ not be, to be pleasing.

In closing, let us emphasize anew the importance of using variety of

pitch. You sing up and down the scale, first touching one note and then

another above or below it. Do likewise in speaking.

Thought and individual taste must generally be your guide as to where to

use a low, a moderate, or a high pitch.

QUESTIONS AND EXERCISES

1. Name two methods of destroying monotony and gaining force in

speaking.

2. Why is a continual change of pitch necessary in speaking?

3. Notice your habitual tones in speaking. Are they too high to be

pleasant?

4. Do we express the following thoughts and emotions in a low or a high

pitch? Which may be expressed in either high or low pitch? Excitement.

Victory. Defeat. Sorrow. Love. Earnestness. Fear.

5. How would you naturally vary the pitch in introducing an explanatory

or parenthetical expression like the following:

He started--_that is, he made preparations to start_--on

September third.

6. Speak the following lines with as marked variations in pitch as your

interpretation of the sense may dictate. Try each line in two different

ways. Which, in each instance, is the more effective--and why?

What have I to gain from you? Nothing.

To engage our nation in such a compact would be an infamy.

Note: In the foregoing sentence, experiment as to where the

change in pitch would better be made.

Once the flowers distilled their fragrance here, but now see the

devastations of war.

He had reckoned without one prime factor--his conscience.

7. Make a diagram of a conversation you have heard, showing where high

and low pitches were used. Were these changes in pitch advisable? Why or

why not?

8. Read the selections on pages 34, 35, 36, 37 and 38, paying careful

attention to the changes in pitch. Reread, substituting low pitch for

high, and vice versa.

_Selections for Practise_

Note: In the following selections, those passages that may best be

delivered in a moderate pitch are printed in ordinary (roman) type.

Those which may be rendered in a high pitch--do not make the mistake of

raising the voice too high--are printed _in italics_. Those which might

well be spoken in a low pitch are printed in _CAPITALS_.

These arrangements, however, are merely suggestive--we cannot make it

strong enough that you must use your own judgment in interpreting a

selection. Before doing so, however, it is well to practise these

passages as they are marked.

_Yes, all men labor. RUFUS CHOATE AND DANIEL WEBSTER_ labor, say

the critics. But every man who reads of the labor question knows

that it means the movement of the men that earn their living

with their hands; _THAT ARE EMPLOYED, AND PAID WAGES: are

gathered under roofs of factories, sent out on farms, sent out

on ships, gathered on the walls._ In popular acceptation, the

working class means the men that work with their hands, for

wages, so many hours a day, employed by great capitalists; that

work for everybody else. Why do we move for this class? "_Why_,"

asks a critic, "_don't you move FOR ALL WORKINGMEN?" BECAUSE,

WHILE DANIEL WEBSTER GETS FORTY THOUSAND DOLLARS FOR ARGUING THE

MEXICAN CLAIMS, there is no need of anybody's moving for him.

BECAUSE, WHILE RUFUS CHOATE GETS FIVE THOUSAND DOLLARS FOR

MAKING ONE ARGUMENT TO A JURY, there is no need of moving for

him, or for the men that work with their brains_,--that do

highly disciplined and skilled labor, invent, and write books.

The reason why the Labor movement confines itself to a single

class is because that class of work _DOES NOT GET PAID, does not

get protection. MENTAL LABOR is adequately paid_, and _MORE THAN

ADEQUATELY protected. IT CAN SHIFT ITS CHANNELS; it can vary

according to the supply and demand_.

_IF A MAN FAILS AS A MINISTER, why, he becomes a railway

conductor. IF THAT DOESN'T SUIT HIM, he goes West, and becomes

governor of a territory. AND IF HE FINDS HIMSELF INCAPABLE OF

EITHER OF THESE POSITIONS, he comes home, and gets to be a city

editor_. He varies his occupation as he pleases, and doesn't

need protection. _BUT THE GREAT MASS, CHAINED TO A TRADE, DOOMED

TO BE GROUND UP IN THE MILL OF SUPPLY AND DEMAND, THAT WORK SO

MANY HOURS A DAY, AND MUST RUN IN THE GREAT RUTS OF

BUSINESS,--they are the men whose inadequate protection, whose

unfair share of the general product, claims a movement in their

behalf_.

--WENDELL PHILLIPS.

_KNOWING THE PRICE WE MUST PAY, THE SACRIFICE WE MUST MAKE, THE

BURDENS WE MUST CARRY, THE ASSAULTS WE MUST ENDURE--KNOWING FULL

WELL THE COST--yet we enlist, and we enlist for the war. FOR WE

KNOW THE JUSTICE OF OUR CAUSE, and we know, too, its certain

triumph.

NOT RELUCTANTLY THEN, but eagerly_, not with _faint hearts BUT

STRONG, do we now advance upon the enemies of the people. FOR

THE CALL THAT COMES TO US is the call that came to our fathers_.

As they responded so shall we.

"_HE HATH SOUNDED FORTH A TRUMPET that shall never call retreat.

HE IS SIFTING OUT THE HEARTS OF MEN before His judgment seat.

OH, BE SWIFT OUR SOULS TO ANSWER HIM, BE JUBILANT OUR FEET,

Our God is marching on_."

--ALBERT J. BEVERIDGE.

Remember that two sentences, or two parts of the same sentence, which