How to Speak In Public
How to Speak In Public
There was once a young preacher who boasted that he could make a sermon out of anything anyone would say, and urged the members to send up their slips with suggestions.
A tease among those present sent up a blank slip of paper. The preacher looked at it, turned it over and said, "Here is nothing and there is nothing."
He paused for a moment, considering what text he could get out of this. Then his face brightened and he was off. "Out of nothing, God created the world," he said.
Unfortunately we are not always so successful when we have to produce an idea out of nothing.
It is the people with ideas who win most of the desirable places in the world. The person who can create something new and different is wantedand rarely by the police!
He is in demand for his ability to develop ideas.
Those who achieve conspicuous success in business and advertising, in radio, drama, literature, journalism, in politics, society, and indeed all the professions and walks of life can attribute the large portion of their success to their capacity for getting and using their ideas.
Many large corporations maintain research departments which do nothing but look for and create new ideas.
The only permanent thing in the world is change that's why there is steady demand for ideas.
How To Get Ideas will open your eyes to the various ways to conceive ideas and how to greatly benefit from them.
PART ONEMECHANICS OF ELOCUTION
I. BREATHING AND VOCAL HYGIENE 3-9
BREATHING EXERCISES 3
RELAXATION EXERCISES 5
VOCAL ORGANS 6
VOCAL HYGIENE 8
II. VOCAL EXPRESSION 10-25
TABLE OF ELEMENTARY SOUNDS 10
LIST OP WORDS FOR PRACTISE 12
ARTICULATION EXERCISES 14
MISCELLANEOUS EXERCISES 16
EXERCISES IN ALLITERATION 19
WORDS FREQUENTLY MISPRONOUNCED ... 20
VOCAL DEFECTS 24
III. VOICE CULTURE 26-33
FLEXIBILITY AND COMPASS 27
IV. MODULATION 34-60
V. MODULATION, CONTINUED 61-82
VI. MODULATION, CONTINUED 83-98
IMITATIVE MODULATION 96
VII. GESTURE 99-110
PART TWOMENTAL ASPECTS
VIII. PAUSING 113-119
RULES FOR PAUSING 114
GENERAL EXERCISES 115
RULES FOR EMPHASIS 121
USES OF INFLECTION 126
IX. PICTURING 132-138
X. CONVERSATION 146-151
AIM AND PURPOSE 159-163
XI. CONFIDENCE 164-166
THE EMOTIONS 170-179
XII. BIBLE READING 180-181
PASSAGES FOB PRACTISE 181
PART THREEPUBLIC SPEAKING
XIII. PREVIOUS PREPARATION 185-195
General Knowledge 187
* Khetoric 188
Personal Magnetism 192
Logical Instincts 192
Figures of Oratory 192
XIII. PREVIOUS PREPARATIONMORAL.(Continued)
Perseverance and Industry .... 194
Strong Opinions and Convictions . . 195
XIV. PREPARATION OF THE SPEECH 196-200
GATHERING MATERIAL 196
ARRANGING MATERIAL 197
XV. DIVISIONS OF THE SPEECH 201-211
THE INTRODUCTION 201
THE DISCUSSION 205
THE CONCLUSION 209
XVI. DELIVERY OF THE SPEECH 212-215
THE AUDIENCE 212
THE BEGINNING 212
THE CLIMAX 213
THE CLOSE 214
AFTERWARD . 214
GENERAL SUGGESTIONS 214
PART FOURSELECTIONS FOR PRACTISE
CLOSE OF THE ORATION ON THE CROWN . . Demosthenes 219
ORATORY Henry Ward Beecher 224
ON THE AMERICAN WAR Lord Chatham 229
IMPEACHMENT OF WARREN HASTINGS . . Edmund Burke 232
THE FORCE BILL John C. Calhoun 235
DEFENSE OF JOHN STOCKDALE Lord Erskine 237
ADDRESS TO THE YOUNG MEN OF ITALY . Joseph Mazzini 240
SOUTH CAROLINA AND MASSACHUSETTS . Daniel Webster 243
THE DEATH PENALTY Victor Hugo 246
OUR RELATIONS TO ENGLAND .... Edward Everett 248
REPLY TO HAYNE Daniel Webster 250
SPEECH OF SERJEANT BUZFUZ .... Charles Dickens 253
CATILINE'S DEFIANCE Rev. George Croly 257
CATILINE DENOUNCED Cicero 259
THE ELOQUENCE OF ADAMS Daniel Webster 261
THE POWER OF HABIT John B. Gough 266
INVECTIVE AGAINST CORRY Henry Grattan 269
TOUSSAINT L'OUVERTURE Wendell Phillips 271
THE SECRET OF LINCOLN'S POWER . . Henry Watterson 273
THE DEATH OF ABRAHAM LINCOLN . Henry Ward Beecher 276
INAUGURAL ADDRESS Theodore Roosevelt 278
A VISION OF WAR AND A VISION OF THE FUTURE . Ingersoll 281
GIVE ME LIBERTY OR GIVE ME DEATH ! . . Patrick Henry 285
SECOND INAUGURAL ADDRESS .... Abraham Lincoln 289
FAREWELL ADDRESS George Washington 291
ON THE POLITICAL SITUATION . . . John James Ingalls 312
AGAINST CAPITAL PUNISHMENT .... Robespierre 325
SIMPLICITY AND GREATNESS Fenelon 330
SPEECH WHEN UNDER SENTENCE OF DEATH . Robert Emmet 337
KING HENRY VIII.,ACT III, SCENE 2 . . Shakespeare 346
KING JOHN, PARTS OF ACTS III AND IV . . Shakespeare 350
JULIUS CESAR, ACT III, SCENE 2 .... Shakespeare 357
JULIUS CESAR, ACT IV, SCENE 3 .... Shakespeare 366
As You LIKE IT, ACT I, SCENE 3 .... Shakespeare 370
HAMLET, PART OF ACT V Shakespeare 374
OTHELLO, ACT I, SCENE 3 Shakespeare 380
THE SHIPWRECK Charles Dickens 384
COMO Joaquin Miller 386
THE REVENGE Alfred, Lord Tennyson 390
MAGDALENA; OR, THE SPANISH DUEL . . J. F. Waller 395
JEAN VALJEAN THE CONVICT Victor Hugo 402
THE REVOLUTIONARY RISING . . Thomas Buchanan Read 408
THE LEGEND OF THE ORGAN-BUILDER . . Julia C. B. Dorr 411
SHIPWRECKED Francois Coppee 415
THE FIRST SETTLER'S STORY Will Carleton 420
THE MONSTER CANNON Victor Hugo 426
TIME'S SILENT LESSON 436
THE BATTLE OF "WATERLOO Lord Byron 439
ODE ON SAINT CECILIA John Dryden 442
WILLIAM TELL Wm. Baine 444
THE DIVER Schiller 446
SCENE FROM "THE RIVALS" Sheridan 450
ON THE EXPUNGING RESOLUTIONS .... Henry Clay 454
SPARTACUS TO THE GLADIATORS AT CAPUA . . E. Kellogg 458
ON THE USE OF PRIVATE JUDGMENT . . J. H. Newman 460
PART OF LECTURE ON "EMERSON" . . Matthew Arnold 477
THE "CROSS OF GOLD" SPEECH . . . . W. J. Bryan 488
OWYHEE JOE'S STORY B. Wildman 498
THE YACHT CLUB SPEECH 503
THE TWO PICTURES 505
GOD G. B. Derzhavin 508
THE LITTLE STOWAWAY 511
ARNOLD WINKELREID James Montgomery 515
ON THE RAPPAHANNOCK 517
DEATH OF LITTLE JO Charles Dickens 520
THE DISCONTENTED PENDULUM .... Jane Taylor 523
THE MASQUERADE John G. Saxe 526
THE STAR-SPANGLED BANNER F. S. Key 532
A major requirement in getting an idea is to believe that it is possible. In other words, we said something above about faith. Before you can do anything, you have to believe it can be done. This more than anything, sets the mind in motion to find the way.
Your mind always takes its cue from your beliefs. If you believe it cannot be done, your mind will produce the reasons why it cannot. If you believe it can, your mind will be equally proficient in showing how it can. That is a necessary step in releasing creative power.
Of course to get an idea you must be receptive. A dog on Fifth Avenue, New York, may be surrounded by all the idea material which the creative thinker sees.
Receptiveness is what you as a human being can make of it.
You cannot harbor in your mind such negative attitudes as fear, worry, resentment, jealousy, anger, anxiety and the like, and at the same time expect to receive any inspiration from the finer portions of your being.
The creativeness of a person is of the same substance as universal creativeness. You must ask this creativeness within for what you want, visualizing it as clearly as possible in picture form.
Then you must still your mind in an attitude of faith, expectation and confidence that you will get your reply.
You can't pour grain into a sack unless the sack is open to receive, and your subconscious cannot pour ideas into your mind unless your mind is receptive.