A. Give every word the same accent in public speaking as in common conversation. Q. Do many persons err here?

A. Yes. They protract syllables and mul tiply accents from a mistaken notion that it gives gravity and force to their discourse; whereas it gives an affected air and ruins the delivery.

Q. How does a speaker give grace and force to what he utters ?

A. By emphasis, pauses, tones, and gestures.

Q. What is Emphasis ?

A. A stronger and fuller sound of voice, than usual, by which we distinguish the accented syllable of some word on which we design to lay a particular stress, to show how it affects the rest of the sentence.*

Q. How will a speaker acquire the proper management of Emphasis ?

A. By attaining a just conception of the

* If the emphasis be placed wrong, we pervert and confound the meaning wholly. To give a common instance; such a simple question as this: "Do you ride to town to-day?" is capable of no fewer than four different acceptations, according as the emphasis is differently placed on the words. If it be pronounced thus; Do you ride to town to-day? the answer may naturally be, No; I send my servant in my stead. If thus; Do you ride to town to-day? Answer, No; I intend to walk. Do you ride to town to-day? No; I ride out into the fields. Do you ride to town to-day? No; but I shall to-morrow.

force and spirit of the sentiments he is to pre

nounce.

Q. Against what is he carefully to guard? A. Against multiplying emphatic words too much. If they recur too often they lose their effect.

Q. How many kinds of pauses are there? A. Two; emphatical pauses, and such as mark the distinctions of sense.

Q. When should emphatical pauses be made?

A. After something has been said of peculiar moment, and on which we want to fix the hearer's attention.

Q. What is essential to the graceful adjustment of those which mark the sense?

A. A constant and full supply of breath. Q. How many kinds of pauses belong to the Music of Verse?

A. Two; the pause at the end of the line; and the cæsural pause, in the middle.*

Q. Should a pause be made at the end of the line in blank verse?

A. In reading, but not in speaking on the stage.

Q. On what should be formed the tones of public speaking?

A. On the tones of sensible, animated conversation.

"Ye nymphs of Solyma! begin the song, "To heav'nly themes, sublimer strains belong."

POPE.

Q. How do many public speakers vitiate and ruin their delivery?

A. By substituting certain studied musical tones in place of the genuine expressions of sentiment, which the voice carries in natural discourse.

Q. How may men become good speakers? A. By following nature; speaking always with her voice, with ease and dignity.

Q. What should be the modes for gesture or action in public speaking?

A. The looks and gestures in which earnestness, indignation, compassion, or any other emotion discovers itself to most advantage, in the common intercourse of man.

Q. With which hand should gestures gene. rally be made?

A. With the right hand; and they should proceed from the shoulder, rather than from the elbow.

Q. What does it especially concern a public speaker to manifest?

A. Earnestness.*

Q. What to obtain ?
A. Self-possession.t

"Pleads he in earnest? Look upon his face. His eyes do drop no tears; his prayers are jest; His words come from his mouth; ours from our breast; He prays but faintly, and would be denied ;

We pray with heart and soul." KING RICHARD II.

+"Use all gently, and in the very torrent and tempest of passion, acquire a temperance that may give it smoothness." SHAKESPEARE,

.

82

Means of improving in Eloquence.

Q. What to shun?

A. All affectation.

MEANS OF IMPROVING IN ELOQUENCE.

Q. Is eloquence a common and easy attainment?

A. No. It is a great and rare exertion of the human powers.

Q. Which are most numerous, eminent Poets or Orators ?

ry

A. Eminent Poets.

Q. What advantage has the study of oratoabove that of poetry?

A. In poetry, one must be eminent or he is not supportable; in oratory, a moderate station may be maintained with dignity.

Q. What first demands attention in Oratory? A. Personal character and disposition. He only can be an eloquent and persuasive speaker who is a virtuous man.*

Q. What sentiments and dispositions should be cultivated?

A. The love of justice and truth; magnanimity of spirit; the love of liberty and country; zeal for great and noble designs; and a reverence for worthy and heroic characters.

Q. Next to moral qualifications, what is most necessary to an Orator?

* "Non posse oratorem esse nisi virum bonum."

A. A fund of knowledge. Good sense and knowledge are the foundation of good speak

ing.

Q. With what should he be fully acquainted?

A. His own profession; whether it be law, divinity, or politics. He should also be conversant with the general circle of polite literature.

Q. Of what use will be the study of Poetry?

A. It will embellish his style, suggest lively images and agreeable allusions.

Q. Of what the study of history?

A. It will furnish him with the knowledge of eminent characters and of the course of human affairs.

Q. What other means of improvement are there?

A. A habit of application and industry; attention to the best models; frequent exercise both in composing and speaking.

Q. What style should the Orator cultivate? A. One easy, copious, less fettered by rule than the essay style;-there being a great difference between written and spoken language.

Q. What rules should be observed by students associated for improvement in eloquence?

A. They should choose subjects manly and useful; speak always with care; keep good sense and persuasion in view; and ever advocate that side of a question which they believe to be right.