Public Speaking: Principles and Practice Part 3

Since the occasion for this kind of speaking is frequent, and the opportunity for it is likely to fall to almost any educated man, proficiency in it might well be made an object in the course of one's educational training. The end aimed at is the ability to talk well.

This accomplishment is not so easy as it may seem. It marks, indeed, the stage of maturity in speech-making. Since authoritative opinion from the speaker and interest in the subject 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 grat.i.tude, but is able to accomplish results in full proportion to all that he puts into the improvement of his vocal work. An agreeable tone, easy formation of words, clear, well-balanced emphasis, good phrasing, or grouping of words in the sentence, some vigor without continual pounding, easy, unstudied bodily movement without manneristic repet.i.tion of certain motions, in short, good form without any obtrusive appearance of form,--these are the qualities desired.

ARGUMENTATIVE SPEECH

In the case of the forensic, we come nearer to the practical in public speaking. The speaker aims, as a rule, to effect a definite purpose, and he concentrates his powers upon this immediate object. Since the speech is for the most part an appeal to the reason, and therefore deals largely with fact and the logical relations of ideas, precision and clearness of statement are the chief qualities to be cultivated.

But since the aim is to overcome opposition, and 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 reenforcement 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 direct line of argument, and is carried out to a finish. In delivery the continuous line of pursuit thus followed often naturally leads to a kind of effective monotone style, wherein the speaker keeps an even force, or strikes blow after blow, or sends shot after shot. The characteristic feature of the forensic style is the climax--climax in brief successions of words, climax in the sentence, climax in giving sections of the speech, climax in the speech as a whole.

Special notice should be taken of the fact that, in earnest argument, sentences have, characteristically, a different run from that in ordinary expository speaking. Whereas in the expository style the sentence flows, 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, as if to a mark, with the last word made the telling one, and so kept well up in force and pitch. The acc.u.mulating force has the effect of sending the last word home, or of making it the one to clinch the statement.

The dangers to be guarded against in debate are wearying monotony, over-hammering--too frequent, too hard, too uniform an emphasis--too much, or too continued heat, too much speed, especially in speaking against time, a loss of poise in the bearing, a halting or jumbling in speech, nervous tenseness in action, an overcontentious or b.u.mptious spirit. Bodily control, restraint, good temper, balance, are the saving qualities. A debater must remember that he need not be always in a heat. Urbanity and graciousness have their place, and the relief afforded by humor is often welcome and effective.

In no form of speaking, except that of dramatic recitation, is the liability to impairment of voice so great as it is in debating. One of the several excellent features of debating is that of the self- forgetfulness that comes with an earnest struggle to win. But perhaps a man cannot safely forget himself until he has learned to know himself.

The intensity of debating often leads, 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 go straight back and begin all over, just as a golfer usually does when he has gone on without instruction. The necessity of going back is often not realized till later in life; then the process is much harder, and perhaps can never be entirely effective. The teacher in the course of his experience meets many, many such cases. The time to learn the right way is at the beginning.

Among the selections here offered for forensic practice, examples in debate serve for the cultivation of the aggressiveness that comes from immediate opposition; examples in the political speech for acquiring the abandon and enthusiasm of the so-called popular style; in the legal plea for practice in suppressed force. In the case of the last of these, it is well 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 obvious when we consider the task of a judge or a jury, who have to sit for hours and try to carry in their minds the substance of all that has been said, weighing point against point, balancing one body of facts against another. A student can arrange nearly the same conditions as to s.p.a.ce, and can, by exercise of imagination, enter into the spirit of a legal conflict.

THE AFTER-DINNER SPEECH

After-dinner speaking is another form that many men may have an opportunity to engage in. It can also be practiced under conditions resembling those of the actual occasion, that is, members of the cla.s.s can be so seated that the speaking may become intimate in tone, and speeches can be selected that will serve for cultivating that distinctive, sociable quality of voice that, in itself, goes far in contributing to the comfort and delight of the after-dinner audience.

The real after-dinner speech deals much in pleasantry. The tone of voice is characteristically unctuous. Old Fezziwig is described by d.i.c.kens 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 point at the finish of a story. It does no harm to keep the hearer waiting a bit, in expectation. The effect may be thus enhanced, while the effect will be entirely lost if the point, and the true touch, are spoiled by uncontrolled haste. The way to gain this ease and control is not by stiffening up to master one's self, but by relaxing, letting go of one's self. Practice in the speech of pleasantry may have great value in giving a man repose, in giving him that saving grace, an appreciation of the humorous, in affording him a means of relief or enlivenment to the serious speech.

THE OCCASIONAL POEM

The occasional poem is so frequently brought forth in connection with speech-making that some points regarding metrical reading may be quite in place in a speaker's training. Practice in verse reading is of use also because of the frequency of quoted lines from the poets in connection with the prose speech.

To read a poem well one must become in spirit a poet. He must not only think, he must feel. He must exercise imagination. He must, we will say it again, see visions and dream dreams. What was said about vividness in the discussion of expressional effects applies generally to the reading of poetry. One will read much better if he has tried to write-- in verse as well as in prose. He will then know how to put himself in the place of the poet, and will not 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 cover it up as entirely to lose its effect. In humorous verse, especially, rhyme plays an effective part; and in all verse, alliteration, variations in melody, the lighter and the heavier touch, acceleration and r.e.t.a.r.d in movement, the caesura, or pause in the line, and the happy effect of the occasional cadence, are features which one can come to appreciate and respect only with reading one's favorite poems many times, with spirit warm, with faculties alert.

THE MAKING OF THE SPEECH

Although the use of selected speeches is best for effective drill in delivery, yet a student's training for public speaking is of course not complete until he has had experience 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 public speech belong to a separate work. A few hints only can be given here, and these will be concerned with the informal, offhand speech rather than with the formal address.

The usual directions regarding the choosing of the subject, the collecting of material, and the arranging of it in the most effective order, with exceptions and variations, hold in all forms of the speech.

The subject chosen should be one of special interest to the speaker, one on which it is known he can speak with some degree 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 subjects are usually interesting.

The subject must be limited in its comprehensiveness to suit the time allowed for speaking, and the t.i.tle of the speech should be so phrased as to indicate exactly what the subject, or the part of a subject, is to be. To this carefully limited and defined subject, the speaker should rigidly adhere.

How to find a subject is generally a topic on which students are advised. Though it is often a necessity to hunt for a suitable special topic on which to speak, the student should know that when he gets outside the cla.s.sroom, he will find that he will not be invited to speak because he is ready at finding subjects and clever in speech. It is not strange, in view of the many advertis.e.m.e.nts that reach young men, offering methods of home training, or promising sure success from this or that special method of schooling, that they may come to 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. His subjects for discussion arise out of his personal interests, and, to a large extent, his method of treatment will be determined by his relation to these subjects. A young man may well be advised, then, not simply how to choose and how to present a subject, but first to secure a good mental training, and then to find for himself an all-absorbing work to do. The wisdom that comes from a concentrated intellectual activity, and an interest in men's affairs, both directed to some unselfish end, is the essential qualification of the speaker.

In considering the arrangement of a speech, the student will do well to ask himself first, not what is to be the beginning of it, but what is to be the end of it; what is the purpose of it; and what shall be the central idea; what impression, or what princ.i.p.al 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--must be carefully and thoroughly planned.

Extemporaneous speaking is putting spontaneously into words what has previously been well thought out and well arranged. Without this state of preparation, the way of wisdom is silence.

The language of a speech is largely determined by the man's habit of mind, the nature of his subject, and the character of his audience.

Students often err in one of two directions, either by being too bookish in language or by allowing the other extreme of looseness, weak colloquialism in words, and formless monotony of sentence, with the endless repet.i.tion of the connective "and." Language should be fresh, vital, varied. It should have some dignity. Much reading, writing, and speaking are necessary to secure an adequate vocabulary, and a readiness in putting in firm form a variety of sentences. Concreteness of expression and occasional ill.u.s.tration are more needed in speech than in writing, and the brief anecdote or story is welcome and 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 to think they must, appear to have full knowledge or final judgment on the largest of subjects. It is more fitting that he should speak as a student, an inquirer, not as an authority. If his statements are guarded and qualified; if he speaks as one only inclined to an opinion when finality of judgment is obviously beyond his reach; if he directly refers, and defers, to opinions that must be better than his can be, his speech will have much more weight, and he will grow in strength of character by always being true to himself. It is a question whether students are not too often inspired to be bold and absolute, for the sake of apparent strength in speaking, rather than modest and judicious and sensible, for the sake of being strong as men.

In the form of delivering one's thought to an audience, it is of the first importance that one should speak and not declaim. There is, of course, a way of talking on the platform that is merely negatively good, a way that is fitting enough in general style, but weak. There should be breadth, and strength, and reach. But 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 teacher must be continually insisting on, that the student say something to somebody, not chant or declaim into s.p.a.ce. And the student should be continually testing himself on this point, whether he is looking into the faces of his hearers and speaking, though on a larger scale, yet in the usual way of communicating ideas.

It is not desirable that men should become overready speakers. Methods of training in extemporaneous discussion that require speaking without thought, on anything or nothing that can be at the moment invented, are likely to be mischievous. Thought suggests expression, and 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 purpose is accomplished, and that as soon as can be. Many speeches are spoiled by the last third or quarter of them, when a point well made has lost its effect by being overenforced or obscured by a wordy conclusion. Let the student study for rare thought and economy of speech.

Books on speaking have repeatedly insisted that after all has been said, the public speaker's word will be taken for what he is known to be worth as a man; that his utterances will have effect according as they are given out with soul-felt earnestness. This has already been touched upon here, and it is well that it should be often repeated. It may be well, however, also to consider quite carefully what part is played in 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 man with great skill will, at some moment of crisis, make the worse appear to be the better cause. Equally skilled men are therefore wanted to contend for the side of right. The man whose service to men depends largely upon his power of speech--in the pulpit, at the bar, or in non-professional capacity--must have, either from gift or from training, the speaker's full equipment, for matching himself against opposing strength.

REVIEW EXERCISES

For convenience of practice, a few pages of brief exercises, exemplifying the foregoing principles, are given at the end of the book. By using each day one example in each group, and changing from time to time, the student will have sufficient variety to serve indefinitely. This vocal practice may be made a healthful and pleasurable daily exercise.

PART TWO

TECHNICAL TRAINING

ESTABLISHING THE TONE

O SCOTIA!

From "The Cotter's Sat.u.r.day Night"

BY ROBERT BURNS

O Scotia! my dear, my native soil!

For whom my warmest wish to Heaven is sent, Long may thy hardy sons of rustic toil Be blest with health, and peace, and sweet content!

And oh! may Heaven their simple lives prevent From luxury's contagion, weak and vile!

Then, howe'er crowns and coronets be rent, A virtuous populace may rise the while, And stand a wall of fire around their much-loved isle.

O Thou! who poured the patriotic tide, That streamed through Wallace's undaunted heart, Who dared to n.o.bly stem tyrannic pride, Or n.o.bly die, the second glorious part, (The patriot's G.o.d, peculiarly Thou art, His friend, inspirer, guardian and reward!) Oh never, never, Scotia's realm desert; But still the patriot, and the patriot bard, In bright succession raise, her ornament and guard!

O ROME! MY COUNTRY!