TO THE STUDENT OF SPEECH

A Foreword

"As the man, so is his speech." — Strus

Let your work in the speech arts be characterized by simplicity,

sincerity, and directness.

Seek and find your individuality. Take it for granted that you

have, undeveloped or developed, all the desirable qualities of a

good conversationalist, an effective speaker, or an interesting

reader, — assurance, initiative, sympathy, originality, responsive-

ness. Recognize no limitation. Then these qualities, so essential

in every undertaking of today — commercial, political, social —

will unfold as you seize every opportunity to express the best that

is within you in the best way that you can command, — whether

it be in the home, in the recitation room, upon the platform, or

upon the school stage. Do not try to learn through imitating

either your teacher or your fellow students. Listen attentively

to the work of the other students — you will gain much thereby —

but let your work be individual and original both in content and

in the style of delivery.

Keep your work so balanced that it will be neither too emo-

tional nor too intellectual. Develop heart and head equally.

Read both extensively and intensively and you will thereby give

foundation to your work in the speech arts. But books are only

a means to an end, and that end is real living. Experiences of the

right sort are of inestimable value; therefore, seek interesting and

varied experiences that will give you vital and absorbing subject

matter for your talks.

"Who seeks and loves the company of great

Ideals, and moves among them, soon or late

Will learn their ways and language, unaware

Take on their likeness."

Visit art galleries, hear speakers of note, talk with interesting

conversationalists, see good plays, witness pageants, observe the

wonders of nature, do your share in the production of things useful

and beautiful, and you will find that your work in oral expression

will be many times strengthened.

Master the fundamentals of delivery and of speech composition

as one masters the scales and arpeggios in music, or the strokes

and good form in outdoor sports. The technique then becomes a

part of yourself and leaves you free to express your ideas.

Choose topics in which you are interested. You will always

challenge the attention of an audience when you yourself are

vitally concerned in your subject. If possible, choose topics based

upon your experience, whether gained through observation,

experimentation, or reflection.

Respond immediately when you are called upon to give your

first talk or reading from the platform. Overcome any feeling of

timidity before it has opportunity or time to grow. Under no

condition let yourself yield continually to this form of self-con-

sciousness until it finally governs you and you refuse to talk

altogether. It is a very poor automobile today that has not a

self-starter !

Maintain the standard you set for yourself. At no time belittle

your ideas and think that you have nothing to share with others.

Every student has something to give every other student in the

way of ideas and he should be as willing to give as he is to take.

Sometimes a student forgets that the strength and development

of a class depend upon the strength and development of every

student, himself included.

After a successful appearance of any kind, it is well to avoid

rather than to seek compliments. One or two discerning criti-

cisms from those whose opinion you value is sufficient. More

talent in the bud has been ruined by flattering praise than by the

most severe criticism. Experience has proved that certain ster-

ling traits of character are fully as requisite as marked and unusual

talent to insure success in life. If you can replace a feeling of

pride with a feeling of gratitude for the privilege of doing your

share in the upward trend of things, if you can say "I'm glad,"

rather than "I'm proud," you will grow in power and at the same

time uphold the standard of your art more than you ever dreamed.

The foregoing word of advice is of the greatest importance,

especially to those who have had one or two triumphs in a school

or a community, and who wish to continue their progress.

Whether you are to be a banker, an actor, a teacher, a salesman,

a lawyer, a statesman, or a home maker, you will find that any

and all phases of the speech arts will provide opportunities for

the development of your native abilities and qualities of character

that will bring success to you and consequent service to the com-

munity in which you choose to live.

CHAPTER I

SPONTANEITY

Nothing great was ever achieved without enthusiasm.

— Ralph Waldo Emeeson

Spontaneity and its value. When you are alight with interest

and your imagination has free play, you express yourself with

animation and buoyancy. When you are glad or intensely inter-

ested, you do not need to have anyone tell you what to say. If

you think actively and spontaneously, you can always arouse like

activity and spontaneity in the audience.

Enthusiasm and spontaneity are allied. Enthusiasm is eager-

ness in behalf of an idea or project; spontaneity is the quality of

acting without constraint. Make broader use of these enlivening

qualities, for they are of basic importance and of far greater value

in every line of endeavor than you perhaps realize. Let the glow

and keen zest you evidence in games and sports prevail in your

oral expression and, if you are in earnest and sincere, you may feel
assured of success in any one of the speech arts. A talk or a

reading without spontaneity and enthusiasm is like an automobile

without the springs, or biscuits without the baking powder!

Spontaneity in itself is free and cannot be forced. In your

endeavor to make your words heard and appreciated, avoid any

feeling of pounding or pushing your work. As the sun gives forth

the sunshine and the tree radiates strength and beauty, so express

your ideas, freely and naturally. All true art is seemingly effort-

less. The man who plays the best game of tennis or wins the race

usually seems to make the least effort.

FUNDAMENTALS OF SPEECH

In order to have a joyous spontaneity that will enable you to

express yourself on all occasions in a way that is pleasing to your

auditors, you should cultivate this quality as a habit until it be-

comes an integral part of you. Just as the normal position of the

human being is upright and erect, so- the natural manner of every-

one should be one of happiness and spontaneity. If a person

falls to the ground, he immediately picks himself up and resumes

his normal position; so, should he, if he lapses from his natural

joyousness, endeavor to regain this condition of thought as the

normal law of his being. Both his platform address and his

conversation will thereby gain life and interest.

Experience for yourself the thrill of the open road, hear the beat of
the drum, feel the sea breezes, be the sea captain. Activity of the
imagination, whether

the picture is purely imaginative or recalled by memory, is absolutely

necessary to obtain the full value of the exercise. Think and imagine;
then the voice will find its own pitch. See, feel, and breathe before
giving each idea so that your readings will be full of vigor and
spontaneity.

CHAPTER II

POISE AND POSITION

Whate'er he did was done with so much ease. — John Dryden

Poise. Poise is a mental quality expressed outwardly as equi-

librium of bearing. Self-control, calmness, serenity are words that

express this mental quality; ease, dignity, freedom from unneces-

sary restraint, its outward manifestation. Many students have

this quality naturally and maintain it under the most trying cir-

cumstances; others need to develop it. Poise is established by the

overcoming of habits of tensity, impulsiveness, and hurry. The

taking of long rhythmical breaths, whether you are speaking in

ordinary conversation or upon the public platform, conduces to

poise and ease.

Position in general. The position at all times and upon all

occasions should be unaffected, and free from peculiarities. You

should *not only appear at ease but be at ease.

The subject matter of the speech or reading is the important

consideration, and, therefore, you should do nothing that would call

attention to yourself. If you have a mannerism or an eccentricity,

do not excuse yourself by saying that it is natural to you and that

it expresses your individuality; rather overcome it as quickly as

possible. Not that all speakers should be cut out after one pattern,

or that all speeches should be stereotyped!

Individuality, however, is more than a matter of mere externals.

Everyone has his individuality, and he should seek to retain and to

develop it, but not along the lines of peculiarities. Individuality

is mental, and is expressed in quality of tone and in earnestness

and sincerity of manner, which come from richness and depth of

thought. Placing the head upon one side, thrusting the lip for-

ward twisting and fidgeting of the hands or body, and stiffness of

attitude are not indications of individuality but are merely manner-

isms that need to be corrected. Poise of thought and repose of the

body always indicate inward power of character and true individu-

ality.

The importance of attaining and maintaining good form in

athletics is frequently impressed upon us. In fact, a teacher of

any phase of athletics instructs his pupil in the good form of that

particular sport before allowing him to put the movements or

strokes into definite practice. To keep the body free from stiffness

and in a responsive condition, it is well to establish and maintain

good form in general bodily movements by some definite setting-up

exercises, 1 taken preferably in the early morning, that will:

1. Stretch and free the body.

2. Fix the habit of holding the body erect with the spine kept

in a vertical position, the shoulder blades flattened, the

chin at right angles to the body — that is, neither extended

out too far nor drawn too closely in — and the hips drawn

back.

3. Fix the habit of breathing fully and regularly.

4. Establish the general feeling of litheness of the body, giving

special attention to the flexibility of the waist line. The

girls should strive for grace and the boys for suppleness.

5. Establish a general feeling of stable equilibrium and ease.

Sitting position. Sit restfully straight. Too stiff an attitude

is almost as bad as a slumping one. Rest lightly against the back

of the chair. Place the base of the spine against the angle of the

chair, thus avoiding the curvature-of-the-spine attitude that leads

to carelessness in manner and speech.

The arms should be in a natural position, with the hands resting

upon the lap. Folded arms give the appearance of stiffness; this

attitude may feel restful to the one that assumes it, but it appears

stiff and formal to the beholder. What is more, crossed arms

usually interfere with the free action of the diaphragm, the muscle

that is so necessary for correct and free breathing.

CHAPTER III

VOICE: TONE-PRODUCTION

A living voice, a breathing harmony. — Lord Byron

 The speaking voice. A clear speaking voice is a prime requisite

in every field of activity of today. The business, as well as the

social, world demands a well-placed speaking voice with correct

pronunciation and distinct enunciation. When one realizes that

homes are sometimes rendered unpleasant by disagreeable voices

and that positions are oft times denied because of the rasping
voices

of the applicants, he is aroused to take advantage of the opportuni-

ties offered to remedy these deficiencies. There is no excuse today

for anyone's having a raucous, nasal, muffled, high-pitched, stri-

dent, or weak voice. Every person owes it to himself as well as

to his associates and auditors to overcome as rapidly as possible

all displeasing peculiarities in his voice.

The practical theory of starting from the standpoint that the

speaking voice is perfect is a most excellent one for the securing

of correct voice placement and word-formation. In art, if you are

drawing a straight line freehand, you keep your eye upon the point

toward which you wish to draw your pencil; in mathematics,

you start with a theorem or principle; in music, you think of the

laws of harmony as you play; in painting, you have the land-

scape — or the memory of it — before you. The ideal speaking

voice — clear, resonant, flexible, and forcible — should be in your

mind as you take the exercises for achieving it.

There are numerous ways in which unwittingly some persons

place

hindrances upon the organs of speech and thus inhibit the speech

tones. In certain instances these restrictions may be easily re-

moved, and in other instances vigilant effort alone will overcome

them. A few boys who naturally have good voices limit their

power of voice and resonance by placing a collar button directly

over the larynx. Others wear too tight collars and in this way shut

off the volume and richness of tone. A large majority of persons

talk with the middle of the tongue instead of with the tip. Some

talk entirely with the back of the tongue and then wonder why

people cannot understand them. Some breathe incorrectly or just

enough to keep themselves alive. Many boys stiffen the upper lip

or set the lower jaw, thus preventing the sounds from coming forth

clearly. Many girls, and some boys for that matter, place their

voice on what might be termed the edge of the throat, causing

the tones to be harsh and grating. Many pitch their voices

too high, especially when speaking or reading before the public.

Some cut off the nasal resonators, and thus produce the nasal
quality that is unpleasant to everyone. Each of these faults may

be easily remedied, but the individual must take note of his fault

and endeavor to overcome it with definite exercises, as well as by

constant watchfulness.

Ear training is fully as important as sound production; and, the

two are closely related. The ear should be trained to perceive the

correct and resonant tones, as well as the tongue to produce them.

If only all of us could talk into phonograph records and have the

sounds repeated to us, how astonished we would be at our

imperfec-

tions! Along with other omissions and commissions of diction we

would be able to distinguish habits we may have of pronouncing

words according to the section of the country from which we come.

Sectional pronunciation can be overcome only through a careful

training of the ear. For instance, if you are from the South, you

should listen carefully to the correct way of pronouncing the diph-

thongs ou and ow, as in the words out and how. A provincialism

in pronunciation is to be avoided as much as is a provincialism in

the usage of words.

Train the ear to detect imperfections and weaknesses of voice

and diction, but train it with even greater care to perceive the

harmonies of good tone-production.

Conditions for good speech tones. Preliminary to taking voice

exercises, see that you have established the prerequisite conditions

for free speech tones, namely :

1. Ease and relaxation of the body

2. Correct posture

3. Breath control.

The exercises for the establishment of these preliminary condi-

tions, as well as for the voice exercises proper, are simple and few in

number. If you desire immediate and marked progress, give fif-

teen minutes to this phase of the work several times a day and only

that much at one time; let every moment of the fifteen, however,

be thoughtfully occupied. The establishment and maintenance of

a good speaking voice is not so much a matter of time given to

exercises as it is of definite thinking.

Ease and relaxation. The first condition to establish is one of

complete rest and relaxation. Any tension in the body seems to

evidence itself immediately in the throat and hence, we might say,

to tighten the speech tones. Therefore, free the body from all

that constrains — fatigue, strain, tensity — and the voice will

respond in freer and richer tones. It should be remembered that

neither carelessness nor apathy is a synonym for ease. The condi-

tion to be established is one of restful activity — alive, but not

tense. When the body is at ease and relaxed and hence in perfect

control, all its parts are in coordination, and the voice is responsive

to this harmonization.

CHAPTER IV
VOICE: WORD-PRODUCTION 1

Language, whether spoken or sung, consists of two separate and

distinct processes, carried on simultaneously: word-production and

tone-

production. — Dora Duty Jones

Diction. The word diction (L. dicere, to say) in written composi-

tion and in speech composition means the choice of words; in

speech and in singing, it means the clear and correct utterance

of the words themselves. According to the derivation either

meaning is correct. In this chapter, however, the word is used in

the latter significance, — to mean clear and correct utterance.

Good diction is considered one of the greatest assets of a suc-

cessful speaker, a singer, or an actor; it is none the less important

for a person of business or of social interests.

It is a delight to listen to one whose diction may be considered

perfect. Sometimes such a one has good diction naturally;

sometimes he has labored hours and days to acquire it. Be

that as it may, the standard of correct and distinct speech is

being recognized throughout the educated world as it has never

been before, and this standard is rapidly being adopted and

utilized.

Some one has said, "The same natural law which commands

each of us to defend the place of his birth obliges us also to guard

the dignity of our tongue." We show true patriotism toward our

country in purifying our individual diction. The little pebble

thrown into the pond makes ripples that circle ever outward.

A clear understanding of what good diction is and of the habits

necessary to acquire that diction will greatly aid in insuring its

permanency. Pronunciation and enunciation of words are the

two main phases of diction.

Diphthongs

A diphthong is a compound of two sounds. The two vowel

diphthongal sounds are oi or oy, pronounced as (a-e), and ou

or ow pronounced as (a-oo). The letter y is classed as a vowel

when it is part of the diphthong oy; the letter w is classed as a

vowel when it is part of the diphthong ow. The diphthongs have

no distinguishing diacritics.
Syllabication. Syllabication, as the name implies, is the method

of dividing words into the proper syllables for pronunciation. In

the primary grades, the young people of today are taught to recog-

nize certain phonograms or phonic units; for example, ed, en,

an, ot, ig, un, which serve as key sounds to the pronunciation of

words. The children thus learn to pronounce easily at sight words

that are unfamiliar.

RULES OF SYLLABICATION

Make use of the following rules:

1. A syllable, wherever possible, should be opened with a con-

sonant, and closed with a vowel, as : beau ti ful; pho tog-

raph y.

2. Two consonants occurring together are separated, as:

il his traie; plat form. However, this rule does not apply

to digraphs, such as ch, gh, ph, th, which are pronounced

as single sounds.
3. Two vowels occurring together are separated, as: idea,

sci ence. However, this rule does not apply to diphthongs,

such as o/, oy, ou, ow, which are pronounced as single

sounds.

4. A consonant between two vowels goes with the later syllable,

as : ex pe di ent, ve he merit. (Practically same rule as

Rule 1.)

5. An initial vowel forms a syllable by itself, as : a midst; i ci cle.

However, this rule does not apply when the vowel forms

the initial letter of a one-syllable prefix.

CHAPTER, V

RELATION OF SPEAKER AND AUDIENCE

 He spoke, and in the measured cadence of his quiet voice
there was

intense feeling, but no declamation, no passionate appeal, no

superficial

and feigned emotion. It was simple colloquy — a gentleman

conversing,

(about Wendell Phillips). — George W. Curtis

Approaching the audience. As you enter upon the platform,

the central theme of your speech should be uppermost in your

mind. Your whole attitude and expression should indicate that

you are intensely interested in what you have to say, — that you

have something to share and that you are glad to share it.

The manner in which you walk forward should be frank and

unaffected. Do not walk across the stage in a straight line, and

then make a military turn before advancing. Do not mince for-

ward in an apologetic manner. The audience likes the straight-

forward manner of a positive speaker, and you will immediately

gain their confidence as well as interest, if, instead of shrinking to

one side of the stage, you take the center of the platform and look

directly at your hearers.

 Greet the audience with perfect poise. Let them feel a warm

cordiality in your manner. What is more, — your kindly feeling

will do much toward overcoming any tendency towards self-con-

sciousness or stage fright. It is well, before beginning to talk or

read, to include the audience in a welcoming glance. If you look

quickly and easily first at those in the center of the room, then at

those to one side, and then to the other side, and then back to the

center again, you will find that you have gained the attention of

the whole audience. By addressing your opening and closing re-

marks directly to the body of the house you will thereby impart a

sense of centralization to your speech.

CHAPTER VI

GOOD USAGE IN SPEECH

Mend your speech a little,

Lest it mar your fortunes. — William Shakespeare

Good usage. The practice of using words in correct relationship

with one another, and of employing only words that are considered

standard is called good usage.

 Be alert both in platform address and in conversation to

comply with every rule and law of language that have formed the

basis of your study of English. These laws, no less important

than are the principles or rules pertaining to mathematics, art, and

the sciences, have been established by the consensus of opinions of

well-educated people, and they must be uniformly followed if for

no other reason than that the best in our language may be pre-

served. And it is well to remember that cultivated though you

may be in other respects, a breach in the use of good grammar or

of standard English is like a breach in the observance of good

manners — one error implies the possibility of many others.

CHAPTER VII

SENTENCES AND PARAGRAPHS IN SPEECH

Variety in unity — the secret of all interesting talk and thought.

— Henry James

Variety in sentence structure. In sentence structure, as in all

forms of art, variety is necessary for interest, clearness, and force.

A most monotonous and uninteresting speech it would be if all

sentences of a person's speech began and ended in the same way,

and were of the same length. And yet there are but comparatively

few ways of forming sentences. A violin has only four strings;

nevertheless, the violinist plays on these strings in such a manner

as to bring forth an infinite variety of sound combinations. Sen-

tence structure will admit of a similar endless variety.

Long, short, and medium sentences. The purpose of the long

sentence is to permit the enumeration of details and shadings of

thought, to offer opportunities for climax, and to give fluency,

rhythm, and dignity to expression.

CHAPTER VIII

SPEECH STYLE: ELEMENTS AND QUALITIES

— Each for the joy of the working, and each, in his separate star,

Shall draw the Thing as he sees It for the God of Things as They are.

— Rudyard Kipling

Elements of style. Unity, coherence, and emphasis are the ele-

ments of style indispensable to every talk or speech, and these three

elements are interdependent.

Unity and coherence. Unity deals with the relation of the part

to the whole, whereas coherence deals with the relation of the

part to the part.

There must be unity in every sentence, in every paragraph, and

in the speech as a whole. We see the same system of units and

unity in the divisions and subdivisions of the country, — the city,

the county, the state, and the nation. Every division complete in

itself serves to make up a larger unit complete in itself. The use

of topic and summary sentences assists in producing unity of para-

graph structure, for speech composition requires the division of

ideas into paragraphs just as does written composition. Use a

topic sentence as the key sentence from which you develop the in-

cidents, details, facts, or reasons, as:

Expositions are the timekeepers of progress. They record the

world's

advancement. They stimulate the energy, enterprise, and intellect

of the people, and quicken human genius. They go into the home.
They

open mighty storehouses of information to the student. Every

exposition,

great or small, has helped to some onward step.

CHAPTER IX

ORAL READING AND WORD ILLUMINATION

Thought once awakened does not again slumber. — Thomas

Caelyle

Oral reading 1 and its value. The majority of persons study the

art of reading, not with a view of making public appearances, but

for cultural reasons and to enrich the personal life. A great deal

of pleasure may be given to the members of one's home or social

circle by the frequent reading aloud of editorials from the best

newspapers, items of world interest from the good magazines,

modern poems — of which there is an abundance in current publi-

cations — and the best of the one-act and full-length plays and

dramas. The universality of the appeal of music and of art is

conceded by all ; oral reading should have the same general

appeal.

When reading orally establish the feeling that you are telling
the

story or explaining the ideas to your hearers. Let the pictures

that you visualize exist neither in the book that you are reading,

nor in the room before you, but in your mind. See, and then tell

others what you see. If you think, feel, and imagine, you will

never read in an affected manner. Be definite and convincing

in thought; then, you will never lack the attention of your hearers.

Much is said today regarding the poor reading by the average

high-school student. Practice, and continued practice, is needed

in any line of endeavor to bring about progress. Read aloud at

every opportunity offered you and read better each time. It may

happen that your school work is so arranged that you are given
1 The term oral reading is used to include: ordinary reading aloud
from

the printed page; a memorized reading; a platform reading. The

term in-

terpretation is a more general term and is used with the one

meaning: the artis-

tic presentation of an author's ideas, sympathies and moods, or

personal

insight into character and situation.

CHAPTER XI

OBSERVATION AND IMAGINATION

It is the seeing eye that looks deepest into Nature's heart, and the
hear-

ing ear that catches her simplest and most delicate tones. — S. S.
Curry

Observation. Observation is a very valuable form of experi-

ence. However, some persons look but do not see; and some

persons listen but do not hear. Some people, living in cities, look

only at the store windows and high buildings and do not see the

sky illumined with a glorious sunset; some people, working upon

farms, listen only to the click of the reaper but do not hear the
song of the meadow lark.

The infinitesimal and the immeasurable are alike worthy of

thoughtful observation and deep meditation. See things in the

small, see things in the large; observe the colorings on the wings

of a butterfly as well as the nocturnal sky with its luminous stars

and planets. Ulysses, in Tennyson's poem, intimates the value

and importance of observation when he says, "I am a part of all

that I have met." Be alert. Be wide-awake to your opportuni-

ties. Be observant of the good things about you and that observa-

tion will amplify your experience, which in turn will enrich your

speech expression.

It is but a truism to say that the more you bring to the interpre-

tation of a reading or a play, the more you will illuminate that

play or reading for others.

Imagination and its value. The imagination is the faculty by

which the mind constructs or gives form to an idea or picture. A

child once defined it as, "Dreams you have in the daytime."

Webster defines it as "that power or function of the mind whereby

we have ideal experience."

CHAPTER XII

NATURAL OR CONVERSATIONAL READING

Every art must be preceded by a certain mechanical expertness.

— Johann W. Goethe

Comparison of reading and conversation. In conversation you

very naturally group your words into thought phrases, pause be-

tween the phrases, and emphasize the most important words in

each phrase. You phrase, pause, and centralize because you

think both before and as you speak.

The rules for reading are the same as the principles for art

composition. These principles may best be expressed in the

three primary rules followed in landscape gardening, namely:

the avoidance of straight lines (monotony), seeking of open spaces

(pauses), having masses (emphasis). Effective results are always

obtained when landscape gardeners proceed to lay out the

grounds
of an estate according to these rules; and, effective results are

always gained when the reader obeys the same simple principles

in reading.

Phrasing. The separation of words into groups that constitute

distinct ideas is termed phrasing.

You will gain a sense of clearness in the meaning of what you

are

reading, as well as give rhythm to your interpretation, if, instead

of seeing a mass of words separated once in a while by a comma,

you recognize at a glance the thought phrases. Remember that

each phrase means something in itself and at the same time is

related to the thought as a whole.

The simplest reading unit is the individual letter of the alphabet;

the second unit is the phonogram, or sound combination, as bl,

er, or st; the next unit is the word of one syllable ; then the words

of several syllables. The final span of recognition is the reading

phrase. Most persons never take the last-named step in the proc-

ess of learning to read, and yet it is only with the cultivation of

this wider span of recognition and expression that a person learns

to read with intelligence and ease.

The reading phrase is the same as the speaking phrase, but it

may

or may not be the same as the grammatical phrase. It consists

of from one to seven words — seldom more — according to the

thought. The printed punctuation for the most part is helpful as a

guide in phrasing. However, speech punctuation and theme punc-

tuation are somewhat different.

In your endeavor to phrase correctly, be careful that you do

not

lower your voice at the end of each phrase, unless you are reading

the final phrase in the sentence. The phrases must be merged into

one another by slight upward inflections, otherwise the reading

will be disjointed.

Pausing. When speaking or conversing, you very naturally

pause to think of what you are going to say next; you pause be-

tween phrases, you pause at the end of sentences, and you pause

between the main ideas or paragraphs of your speech. When you

read, you should pause in the same manner. A pause is fully as

necessary to give the audience time to think of the idea just pre-

sented, as it is to give you an opportunity to think of the new idea

you are about to read. During the reading of a thought phrase,

you and the audience are thinking of the same idea. The moment

you give the phrase to the audience, you immediately contemplate

the next phrase; but the audience is not aware of even a pause, for

they are occupied in thinking of what you have just read.

Although the marks of punctuation are very helpful to indicate

pauses in oral reading, you cannot entirely depend upon them.

When reading, you always pause for a period; and you pause a

little longer if the period occurs at the end of a paragraph. You

always pause for a question mark, a colon, and a semicolon. For a

comma you may or may not pause.

It is well to remember that marks of punctuation are much like

automobile signs and signals. They are not primary but second-

ary. When you drive, if your whole thought is upon the signs and

signals, you will miss much of the scenery. When you read, if

your thoughts are upon the marks of punctuation, you will miss

much of the meaning of the selection. The punctuation marks

are used to indicate changes in thought and should be used only as

guides.

CHAPTER XIII

PANTOMIME AND GESTURE

There was speech in their dumbness, language in their very gesture.

— William Shakespeahe

Thought with bodily response. Ideas and sentiments are ex-

pressed through activity of the body as well as through utterance

of words. Let the body be responsive to the thinking; sincerity

and simplicity of expression will be the result.

Pantomime and gesture are the two words that are employed
to

indicate bodily action in response to the thought. These words

are used more or less interchangeably, but the present significance

of the two words is somewhat different. The word 'pantomime

comes from two Greek words which mean all-mimic. The word
gesture comes from a Latin word which means to act or to perform;

and, in its true significance, it means expression by means of

the whole body. Through misuse, the term gesture has come

popularly to signify expression by means of the hands or arms.

Recently the word pantomime has supplanted the word gesture in

indicating the expression through bodily movements. It is diffi-

cult to indicate where the meaning of one word leaves off and the

other begins.

Pantomirne and its value. Although the word pantomime, as

has been said, in its original significance means all-mimic, it is not

necessarily imitative only, for through bodily action a story may

be presented with events in sequence. A brief history of pan-

tomime itself will serve to illustrate its various uses. The pan-

tomime of the Greek and Roman drama was a bodily mimicry

given by masked actors with the myths as themes. In the early

drama of Italy, pantomime developed the characters of Harle-

quin, Pantaloon, and Columbine.

Pantomime is important in itself as well as serving as an adjunct

to the more complete form of interpretative art — the drama. Pan-

tomimic exercises develop presence of mind, stimulate the powers
of

observation, deepen the sympathies, free the imaginative abilities,

give ease and freedom to both mind and body, make the memory

more accurate, and awaken a responsiveness of the whole body

that will later aid in giving sureness, unity, and completeness to the

portrayal of character.

Suggestions and directions for pantomimes. Pantomimic exer-

cises should be uniformly dignified and artistic. They should

not be given with any thought of caricature or of ridicule unless

for purposes of study. Life studies that are different from the

ordinary ways of doing things are far more effective and more

conducive to the development of a vivid and keen imagination

than are those that represent merely the commonplace. If you

give a pantomime other than those in the following lists, be sure

that you select one that will give you the opportunity of telling

your spectators something new, different, and interesting.

Do not hesitate to take part in this form of silent language.

Everyone can express himself easily and intelligibly in actions

without words if he has in mind a definite idea which he wishes to

convey. Pretend, if you will, that you are taking part in a true-

to-life motion picture.

When giving pantomimic exercises, observe the following direc-

tions :

1. Use no properties (except a table, a chair, or perhaps a screen).

2. Rehearse by yourself at least twice before giving the pan-

tomime to the class. Time it, so that you will neither hurry

nor drag the action. Omit all unnecessary details and

repetitions. No pantomime from the following list should

occupy more than approximately three minutes.

3. When in the recitation room, act a little distance from the

class, keeping in mind a definite stage line.

4. Turn towards the class as much as possible in order that your

facial expressions may be seen by everyone present.

5. Above all, vividly imagine the details of the action as well as

the setting and environment; give finish to the pantomime

by entering as if coming from some definite place, and mak-

ing the exit as if going to some definite place

CHAPTER XV

SPEECHES: PREPARATION AND DELIVERY

Speak not at all, in any wise, till you have somewhat to speak.

— Thomas Carlyle

Preparation of speech. In platform speaking you should make

adequate preparation before addressing your audiences. It is

requisite that you not only prepare the speech but prepare your-

self for its delivery. This preparation may be said to consist of

three main steps: gathering the material; making the outline; and,

practising the speech itself.

Gathering and organizing the material. Before beginning to

read intensively upon any subject, collect and place in the order
of importance a list of references that you could use. Check the

references that you would read if you had time, and double check

those that you expect to read as essential to a thorough presenta-

tion of your topic.

Original sources — government documents, encyclopedias,

and

books of statistics — are considered more reliable, and therefore

more valuable than magazine articles. Nevertheless, if you do

not understand your subject very clearly, and you wish to get

your bearings regarding it, you w r ould do well to read one or two

magazine articles that are simply written and easily understood,

before turning to the books of more solid information.

"A thought is his who puts new youth into it. " Every student

has a right to present as his own, information that he has read

and assimilated from different sources, provided he makes a

complete bibliography of the references used and therein gives

credit to whomever credit is due. Quotations are of little value,

unless they are from persons who are conceded to know whereof

they speak.
 Taking of notes. When taking notes in preparation for your

speech, use cards of uniform size in order that you may arrange

them later according to the topics and subtopics into a kind of

card-index system. Copy notes with discrimination. Learn to

select and to put down everything of importance, and then to

eliminate the less important. Unless you wish to quote it do not

copy a passage word for word; neither copy statistics in too great

detail, for most audiences are interested only in approximate

figures. Organize your material. See pages 283-284.

References and the use of the library. The library of today,

including the school or college library, is a well-filled storehouse

of information. But one can waste much time in searching for

and compiling references upon a given subject, if he does not

have a workable knowledge of "the how" and "the where" of

finding the information he desires. The several aids provided for

quickly finding a book or reference material are: the Dewey

Decimal Classification; the Card Catalog; and, the Readers' Guide

to

Periodical Literature. Gain a thorough understanding of these

aids; and, after a little exploration of the shelves, you will find that

the time thus saved is much worth the effort given to the investiga-
tion of these "guide posts."

CHAPTER XVII

IMPROMPTU SPEAKING

Opinion in good men is but knowledge in the making. — John Milton"

Impromptu speaking and its value. The ability to speak at a

moment's notice upon almost any subject is well worth cultivating.

Do not let the phrase impromptu speaking alarm you. This

term does not mean that the talks shall be given without any pre-

vious thought whatsoever, nor that they are to be constructed out

of thin air! Impromptu speaking is based primarily upon personal

observations, reading, and reflection, and your talks will be success-

ful in proportion to your experience along these lines. Webster

gave his famous reply to Hayne both impromptu and extempore.

Hayne had feared the reply Webster would make, and had stated

that Webster would be able to sleep on his (Hayne's) speech, and

Webster, at the beginning of his reply stated, — "The honorable

member complained that I had slept on his speech. But if it

be meant, by sleeping upon his speech, that I took time to prepare

a reply to it, it is quite a mistake. I did sleep on the gentleman's

speech, and slept soundly." In other words, Webster had been

indirectly preparing the speech for many years, in fact, during all

of his educational experiences.

The value of impromptu speaking consists in being able to talk

from personal observations and reflections, choosing the words as

one proceeds.

At first, your impromptu talks may be relatively short; but you

will be able to think more clearly, and to speak with greater fluency,

as you make the most of every opportunity to speak in public.

Suggestions for the giving of impromptu talks: The general

subject, — city,

state, national, or international affairs, — should be announced to

the class a

week previous to the day set for the talks in order that the students
may widen

their knowledge concerning topics that are likely to be placed

under that
heading. Let the specific topics be placed on quarter-sheets of
foolscap and

let the students draw the slips of paper. The student should be given
about

three minutes to collect his thoughts and to make a little mental

outline con-

sisting of a brief introduction, two or three main points for the body of
the talk,

and a few words in conclusion.

CHAPTER XVIII

SHORT SPEECHES FOR SPECIAL OCCASIONS

Education is not a mere operation; it is a cooperation. — George

Herbert Palmer

Preparation. Speeches for special occasions require adequate

preparation. They are necessarily brief, but should none the

less be individual in character. Even though you may feel that you

are especially talented in giving impromptu talks, it would be

well to think out beforehand something that is appropriate and

different, and that at the same time will include all the statements

that the occasion demands.

You may be prompted to say things that you had not planned
to

say and perhaps improve upon your outline, but, at least, you will

have some method of procedure upon which to rely.

When giving the speeches for the imaginary special occasions,

be sure to make clear to the class who you are supposed to be,

who they are supposed to be, and the name of the event that is

supposed to be taking place.

Platform courtesy. As host, the chairman should endeavor not

only to set at ease the speaker and the audience but to establish
the

friendliest of relationships between them.

When entering upon the platform, the chairman may, or may

not, precede the speaker. A gentleman always allows the lady —

whether chairman or speaker — to precede him and always waits

for her to be seated before he takes his seat.

All arrangements for the program and the dismissal of the audi-

ence should be made beforehand so that the chairman will not find

it necessary to disturb the speaker by whispered conferences with

messengers sent with notices to the platform.

During the introduction, the speaker or reader should give his

undivided attention to the chairman ; during the address the chair-

man should give his undivided attention to the speaker. If either

chairman or speaker allows his glance to wander hither and yon,

or perhaps looks over papers he may have with him, he is more than

likely to disturb the audience and even make them restless.

If the speaker or reader drops a paper or something needed in

his speech or interpretation, the chairman should not feel that he is

interrupting the speech by picking up the article. In fact, a feeling

of expectancy or uneasiness on the part of the audience would un-

doubtedly result if this little act of courtesy were not extended to

the speaker. A seeming rudeness on the stage is amplified in

proportion to the size of the room and the importance of the occa-

sion. Therefore, the manner of the one extending the courtesy

should be such that the audience is aware not only of the courtesy,

but of the responsive word of appreciation.

Announcements. To arouse interest in the announcement of a

school event requires a sincere enthusiasm that is contagious. Such

a speech must of necessity be selfless, — the speaker remembering

that the event or artist is of far greater interest to the audience than

he is, and that the service he is rendering the school as well as the

success of the entertainment is of greater importance than his

popularity. The prospective attendance at the event is of the

utmost concern, and the speaker must remember that he has

come before his audience only to give necessary information and to

arouse interest in order that he may augment appreciation for and

attendance at the event.

An announcement of a students' affair should include:

Name of event and its importance

Date, time, and place

If a game, names of principal participants

If a play, names of principal members of the cast with a brief sketch

of the plot of the play, not divulging its outcome.

An announcement of an artist recital should include:

Date, time, and place

Name of artist and names of those assisting

Reputation of artist

Educational value of event

Price of tickets (reserved and unreserved)

Place where tickets may be purchased

Organizing the Speech

Selecting the Speech Subject

· Subject – proposes to talk about

· Purpose – proposes to do to his audience

· Motive – reasons for thinking his subject and his purpose

Subject

– suitable subject which will be his chief topic throughout his speech.

- courtroom and legislative oratory – both subject and purpose are

commonly determined ahead of time.

- general oratory – the subject is suggested by the occasion and the

purpose is previously fixed by the orator.

- in general, one should choose a subject within his range of

development.

Selecting and Narrowing the subject

o The speaker must narrow the subject down to suit the time limit
of his speech and the interest and capacity of his audience.

o A subject may be interesting to an audience for the ff. reasons:

§ Vitally concerns their affairs

§ Concerns the solution of a definite problem

§ New or timely
§ There is a conflict of opinion on it

o Points to consider for an effective speech:

· Analyzing the audience – the speaker must have a clear

picture of the circumstances under which he is to speak.

§ Reaction of the audience

§ Kind of attention the speaker can get

§ Manner of approach the speaker should take

· Analyzing the occasion and yourself as a speaker

§ The speaker must overcome the lethargy of the audience or

counteract the opposite tendency by setting in motion some
essential reaction which will move them in the direction of the
speaker’s purpose.

§ 4 primary motives which influence human being:

Self-preservation and the desire for physical well-being.

Freedom from external restraint

Preservation and increase of self-esteem

Preservation of the human race

· Selecting the specific speech purpose.

b. b.
Gathering the Speech materials

· drawing together what he already knows and decide what

points to include
· must gather additional information (facts, illustrations,
anecdotes and quotations)

· must inquire those who know the subject

· investigate written sources

· consult the vertical files and periodical indexes

c. Making the outline

Outline – a rough sketch of the points in his speech
Parts of the outline:

*Exordium / Introduction of the questions

Functions of Exordium

Puts the audience in a friendly receptive mood

Makes the hearers interested

Makes the listeners well- informed

*Narration/ Explanation of the question

*Confirmation/ Proof of the question

*Peroration/ Final appeal on the question

*Proposition/ Explicit statement of the question

*Division/ Grouping of the proofs of the question under definite

headings

*Reputation/ Reply to any objections against the question

d. Organizing the discussion

Patterns of Development:
NARRATION- should be developed in clear, simple language, usually
following the chronological order.

EXPOSITION- a convincing explanation may be attained by a clear

definition of terms, by a comment on the historical background of
the subject, by an inclusion of the opinions of authorities, and by an
inference from the general principle involved.

DESCRIPTION- ensures a clearer understanding and a fuller

appreciation of an abstract concept or ideal.

ARGUMENTATION- may sway the audience to his side in a given

proposition or to disdain the erroneous position taken by an
opponent.