this volume and declaim them, with all attention to the principles we have put before you. William Ellery Channing, himself a distinguished speaker, years ago had this to say of practise in declamation:
"Is there not an amusement, having an affinity with the drama, which might be usefully introduced among us? I mean, Recitation. A work of genius, recited by a man of fine taste, enthusiasm, and powers of elocution, is a very pure and high gratification. Were this art cultivated and encouraged, great numbers, now insensible to the most beautiful compositions, might be waked up to their excellence and power."
Speaking from Notes
The third, and the most popular method of delivery, is probably also the best one for the beginner. Speaking from notes is not ideal delivery, but we learn to swim in shallow water before going out beyond the ropes.
Make a definite plan for your discourse (for a fuller discussion see Chapter XVIII) and set down the points somewhat in the fashion of a lawyer's brief, or a preacher's outline. Here is a sample of very simple notes:
ATTENTION
I. Introduction.
Attention indispensable to the performance of any
great work. Anecdote. II. Defined And Illustrated. 1. From common observation. 2. From the lives of great men {Carlyle, Robert E. Lee.} III. Its Relation To Other Mental Powers. 1. Reason. 2. Imagination. 3. Memory. 4. Will. Anecdote. IV. Attention May Be Cultivated. 1. Involuntary attention. 2. Voluntary attention. Examples. V. Conclusion. The consequences of inattention and of attention.
Few briefs would be so precise as this one, for with experience a speaker learns to use little tricks to attract his eye—he may underscore a catch-word heavily, draw a red circle around a pivotal idea, enclose the key-word of an anecdote in a wavy-lined box, and so on indefinitely. These points are worth remembering, for nothing so eludes the swift-glancing eye of the speaker as the sameness of typewriting, or even a regular pen-script. So unintentional a thing as a blot on the page may help you to remember a big "point" in your brief—perhaps by association of ideas.
An inexperienced speaker would probably require fuller notes than the specimen given. Yet that way lies danger, for the complete manuscript is but a short remove from the copious outline. Use as few notes as possible.
They may be necessary for the time being, but do not fail to look upon them as a necessary evil; and even when you lay them before you, refer to them only when compelled to do so. Make your notes as full as you please in preparation, but by all means condense them for platform use.
Extemporaneous Speech
Surely this is the ideal method of delivery. It is far and away the most popular with the audience, and the favorite method of the most efficient speakers.
"Extemporaneous speech" has sometimes been made to mean unprepared speech, and indeed it is too often precisely that; but in no such sense do we recommend it strongly to speakers old and young. On the contrary, to speak well without notes requires all the preparation which we discussed so fully in the chapter on "Fluency," while yet relying upon the "inspiration of the hour" for some of your thoughts and much of your language. You had better remember, however, that the most effective inspiration of the hour is the inspiration you yourself bring to it, bottled up in your spirit and ready to infuse itself into the audience.
If you extemporize you can get much closer to your audience. In a sense, they appreciate the task you have before you and send out their sympathy. Extemporize, and you will not have to stop and fumble around amidst your notes—you can keep your eye afire with your message and hold your audience with your very glance. You yourself will feel their response as you read the effects of your warm, spontaneous words, written on their countenances.
Sentences written out in the study are liable to be dead and cold when resurrected before the audience. When you create as you speak you conserve all the native fire of your thought. You can enlarge on one point or omit another, just as the occasion or the mood of the audience may demand. It is not possible for every speaker to use this, the most difficult of all methods of delivery, and least of all can it be used successfully without much practise, but it is the ideal towards which all should strive.
One danger in this method is that you may be led aside from your subject into by-paths. To avoid this peril, firmly stick to your mental outline. Practise speaking from a memorized brief until you gain control. Join a debating society—talk, talk, TALK, and always extemporize. You may "make a fool of yourself" once or twice, but is that too great a price to pay for success?
Notes, like crutches, are only a sign of weakness. Remember that the power of your speech depends to some extent upon the view your audience holds of you. General Grant's words as president were more powerful than his words as a Missouri farmer. If you would appear in the light of an authority, be one. Make notes on your brain instead of on paper.
Joint Methods of Delivery
A modification of the second method has been adopted by many great speakers, particularly lecturers who are compelled to speak on a wide variety of subjects day after day; such speakers often commit their addresses to memory but keep their manuscripts in flexible book form before them, turning several pages at a time. They feel safer for having a sheet-anchor to windward—but it is an anchor, nevertheless, and hinders rapid, free sailing, though it drag never so lightly.
Other speakers throw out a still lighter anchor by keeping before them a rather full outline of their written and committed speech.
Others again write and commit a few important parts of the address—the introduction, the conclusion, some vital argument, some pat illustration—and depend on the hour for the language of the rest. This method is well adapted to speaking either with or without notes.
Some speakers read from manuscript the most important parts of their speeches and utter the rest extemporaneously.
Thus, what we have called "joint methods of delivery" are open to much personal variation. You must decide for yourself which is best for you, for the occasion, for your subject, for your audience—for these four factors all have their individual claims.
Whatever form you choose, do not be so weakly indifferent as to prefer the easy way—choose the best way, whatever it cost you in time and effort. And of this be assured: only the practised speaker can hope to gain both conciseness of argument and conviction in manner, polish of language and power in delivery, finish of style and fire in utterance.
QUESTIONS AND EXERCISES
1. Which in your judgment is the most suitable of delivery for you? Why?
2. What objections can you offer to, (a) memorizing the entire speech; (b) reading from manuscript; (c) using notes; (d) speaking from memorized outline or notes; (ee) any of the "joint methods"?
3. What is there to commend in delivering a speech in any of the foregoing methods?
4. Can you suggest any combination of methods that you have found efficacious?
5. What methods, according to your observation, do most successful speakers use?
6. Select some topic from the list on page 123, narrow the theme so
