such studied speeches fall flat and soulless upon the ear, and consequently do not produce half the effect that an inferior effort would do if delivered with extemporaneous vivacity. Others content themselves with drawing out their main argument and selecting their illustrations in the form of copious notes, writing out fully the exordium and peroration only. But even this form of preparation requires frequent rehearsal, unless the speaker is very methodical and has a copious Vocabulary at command. And in this connection it may be remarked that words seldom fail a man in describing and expressing what he thoroughly understands and means. The man who flounders is generally inexact in his modes of thought and undecided as to his convictions. Others again, past-masters of rhetorical art, full of knowledge and experience, of exuberant verbosity, fertile in resource, ever ready in repartee, and withal cool-headed and capable of continuous thought, require but little preparation and little in the form of notes to keep them straight on, and enable them to round off their utterances with proper effect. And yet even such old hands as these lay down their line of thought, arrange facts, and select illustrations beforehand when they have to deal with subjects of special importance, and upon occasions which are out of their usual range. It, indeed, savours of impertinence, in all but a gifted few, to attempt to instruct, sway, or arouse * John Bright says: "I never write my speeches. Sometimes I make a few notes, when accuracy is demanded. Other writing is unnecessary." In the Strand Magazine for February, 1891, there is given, in fac-simile, Mr. Bright's notes for a famous speech he delivered in the House of Commons, on Women's Suffrage, April 25th, 1876, together with the Times report of the speech. an intelligent audience, without some special preliminary effort. With regard to minor kinds of speech-making, which most men are called upon to undertake impromptu now and then, such as proposing a resolution, moving a vote of thanks, &c., as it is usual to give some little notice, there is brief time for preparation. We would say-fix upon one leading idea, and deviate from it ast little as possible; make no digression in order to score a point over a previous speaker, you may have difficulty in getting back again upon the main road; stick to what you have been called upon to do, and express it as simply, gracefully, and as briefly as you can; do not drag in anecdotes in order to raise a laugh merely; you have no opportunity for originality, or for saying anything startling, as you have no time for weighing over any new point in all its bearings; content yourself, therefore, by discharging a subordinate duty with finish. and despatch. An effective after-dinner speech requires all the skill and finesse of a master hand. It should be racy, humorous, graceful, and sparkling with epigrammatic wit and paradox. It need not be intellectual, but it must not be commonplace-the audience are not in a condition for much mental exertion, they do not wish to be roused into laughter, but they enjoy being tickled. Amongst high-class Americans this peculiar art is more cultured than in English society. Thackeray once said that the best speeches he ever made were those that he delivered to himself when going home after the event. No doubt many of us who have not had perseverance enough to master the art are equally satisfied that our best efforts should be lost to mankind. The student may find some little help in the acquisi tion of speech-making in the following hints : : 1. Read, read, read-standard books especially-but read. Your knowledge can never be too broad, deep, or varied. 2. Get into the habit of marking choice passages that strike you, either in prose or poetry; you can then re-taste the cream of a book any time in an hour, and thus become familiarised with beautiful thoughts and choice language. 3. Commit to memory as many gems of the language as your taste and fancy fix upon; you are thus unconsciously enriching your own vocabulary, acquiring striking epithets and phrases, and forming a museum of quotations. 4. Study, analyse, and read aloud, again and again, the varied and extensive selection of recitations given for the purpose in this volume. 5. Write out, peruse, and re-write short original speeches suitable to occasions that are likely to arise, and deliver them to yourself, or, still better, to friends who are interested in the same acquisition; such as seconding a vote of thanks, proposing a toast, replying on behalf of the bridesmaids at a wedding breakfast, and the like. 6. Study and draw out in writing the heads of speeches on the current topics of the day, and then try your hand, impromptu, on the opposition side of the questions. 7. Decline no opportunity of taking part in discussions, debates in local parliamentary forums, and the like, and avail yourself of every occasion of hearing the best speakers of the day. 8. Above all, do not be discouraged by preliminary failure. III. GESTURE BY HENRY NEVILLE, ACTOR AND DRAMATIST, Author of "The Stage: its Past and Present in relation to Fine Art," eto. |