as the light touch, the quick retort, the apt illustration, the pleasant voice and gracious manner that make conversation charming and entertaining.

A good conversationalist is not too serious. He does not deal too much with facts, no matter how important. Facts, statistics, weary. Vivacity is absolutely necessary. Heavy conversation bores; too light disgusts.

While conversation is not "swapping stories," a practice much in vogue among Americans, a fund of anecdotes, apt and to the point, are a great aid in brightening talk or in illustrating a point one wishes to make.

Lincoln was master of the art of using anecdotes with telling effect. He knew the value of a hearty laugh in melting reserve and putting those he was talking to on a more intimate and familiar footing. He put people at ease with his stories and jokes, and made them feel so completely at home in his presence that they opened up their mental treasures to him without reserve. Strangers were always glad to talk with him because he was so cordial, quaint, and always gave more than he got.

To make yourself interesting and to hold attention, you must enter into the life of the people you are conversing with, and touch them along the lines of their interest. No matter how much you may know about a subject if it does not happen to interest those to whom you are talking, your efforts will be largely lost. The best conversa

tionalists are always tactful—interesting without offending. Neither do they stab people, hurt their feelings, or drag out their family skeletons, for the sake of making a witty remark.

To listen courteously and give others a chance to express themselves is as much a part of conversation as talking. The most popular conversationalist is the one who gives others a chance to reply. To be a good listener is a cardinal point in good manners, and will win more laurels than the most elaborate one-sided discourse. Indeed, the man or woman who monopolizes the talk—a monologue can't be called conversation-is the most dreaded of all bores. Even one's best friend grows tiresome when the talk is one-sided; when it does not permit an interchange of ideas, which is the very essence of conversation.

"I believe that the use of the human voice in speaking," said Lady Henry Somerset, the wellknown prohibition platform lecturer, "is as much an art as the use of the voice in singing." This is as true of the voice in conversation in the drawingroom or social circle as in speaking on the platform.

A discordant voice would seriously mar the most interesting conversation. There is nothing more disagreeable than a harsh, disagreeable voice, unless it be the high-pitched, nasal intonation, so characteristic of Americans, or the whine which is frequently heard from people who are narrowminded and discontented. A low, clear, well-modu

lated voice indicates refinement, and should be carefully cultivated by the person who wishes to make a good impression in speaking. The American-speaking voice especially needs to be trained.

"I will grant each of you one wish,' assented Fate to three women," wrote Minna Thomas Antrin, in a magazine article.

''I choose beauty,' exclaimed the youngest. "Give me power,' said another.

"And to me a low, persuasive voice,' the last murmured.

"Each had her will. ruined by an accident. lasted but ane season.

The beauty of the first las

The power of the secon.

But the third woman kept

her talisman through a long life, and from it came many things, among them power."

ARE YOU A GOOD

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OF YOURSELF?

The apparel oft proclaims the man.—Shakespeare.

"A good appearance is at a premium everywhere."

As a general thing an individual who is neat in his person is neat in his morals.—H. W. Shaw.

"Clothes don't make the man, but good clothes have got many a man a good job."

"T

HE longer I live, and the more sharply I look about me, the higher do I value appearances," said the famous English essayist, Hugh Bland.

Appearances certainly cut a tremendous figure, not only in the social, but also in the business world. The mind is powerfully influenced through the eye, and the intelligent merchant knows that it is as difficult to overcome an unfavorable impression in the appearance of merchandise as it is to overcome the prejudice of an unfortunate first impression upon a person at introduction.

People are guided largely by the eye in their purchases. Things must make a pleasing impression upon the eye, or the mind rejects them. For

this reason every man who depends upon public patronage tries to make his business, whatever he sells, look just as attractive as possible. Ordinary articles sometimes bring very high prices because of the attractive packages in which they are put up. For example, the confectionery for which one may pay several dollars, in many instances, does not cost a fraction of the price of the box in which it is put up. The purchaser does not object because the dainty painted receptacle appeals to the eye. The poor boy Huyler, who used to peddle molasses candy from a basket on the street, became a millionaire because he knew the secret of attractive suggestion. He knew that the best candies put up in the most attractive packages would appeal to people. He knew that when a young man gives away candy, the appearance of the package will have everything to do with the impression it makes.

Some one has said that the fruit commission merchant who should refuse to follow the custom of putting the best fruit on the top of a barrel or box would be forced out of business. Even honest merchants claim that this is necessary because of the imperative importance of appearances. However this may be, it is undeniable that a great deal of the trade in our large mercantile houses depends upon the good impression made upon the customers through the eye. It is not enough to have the best goods; they must be arranged in a pleasing, tasteful, tempting manner, so as to catch and hold the