CEO Courses:  Executive Education

The Art of Public Speaking

BY J. BERG ESENWEIN
AUTHOR OF
"HOW TO ATTRACT AND HOLD AN AUDIENCE,"
"WRITING THE SHORT-STORY,"
"WRITING THE PHOTOPLAY," ETC., ETC.,
AND DALE CARNAGEY
PROFESSOR OF PUBLIC SPEAKING, BALTIMORE SCHOOL OF COMMERCE AND
FINANCE; INSTRUCTOR IN PUBLIC SPEAKING, Y.M.C.A. SCHOOLS, NEW
YORK, BROOKLYN, BALTIMORE, AND PHILADELPHIA, AND THE
NEW YORK CITY CHAPTER, AMERICAN INSTITUTE OF BANKING

THE WRITER'S LIBRARY
EDITED BY J. BERG ESENWEIN

THE HOME CORRESPONDENCE SCHOOL
SPRINGFIELD, MASS.
PUBLISHERS
Copyright 1915
THE HOME CORRESPONDENCE SCHOOL

ALL RIGHTS RESERVED

TO
F. ARTHUR METCALF
FELLOW-WORKER AND FRIEND

Table of Contents
THINGS TO THINK OF FIRST—A FOREWORD
CHAPTER I—ACQUIRING CONFIDENCE BEFORE AN AUDIENCE
CHAPTER II—THE SIN OF MONOTONY
CHAPTER III—EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION
CHAPTER IV—EFFICIENCY THROUGH CHANGE OF PITCH
CHAPTER V—EFFICIENCY THROUGH CHANGE OF PACE
CHAPTER VI—PAUSE AND POWER
CHAPTER VII—EFFICIENCY THROUGH INFLECTION
CHAPTER VIII—CONCENTRATION IN DELIVERY
CHAPTER IX—FORCE
CHAPTER X—FEELING AND ENTHUSIASM
CHAPTER XI—FLUENCY THROUGH PREPARATION
CHAPTER XII—THE VOICE
CHAPTER XIII—VOICE CHARM
CHAPTER XIV—DISTINCTNESS AND PRECISION OF UTTERANCE
CHAPTER XV—THE TRUTH ABOUT GESTURE
CHAPTER XVI—METHODS OF DELIVERY
CHAPTER XVII—THOUGHT AND RESERVE POWER
CHAPTER XVIII—SUBJECT AND PREPARATION
CHAPTER XIX—INFLUENCING BY EXPOSITION
CHAPTER XX—INFLUENCING BY DESCRIPTION
CHAPTER XXI—INFLUENCING BY NARRATION
CHAPTER XXII—INFLUENCING BY SUGGESTION
CHAPTER XXIII—INFLUENCING BY ARGUMENT
CHAPTER XXIV—INFLUENCING BY PERSUASION
CHAPTER XXV—INFLUENCING THE CROWD
CHAPTER XXVI—RIDING THE WINGED HORSE
CHAPTER XXVII—GROWING A VOCABULARY
CHAPTER XXVIII—MEMORY TRAINING
CHAPTER XXIX—RIGHT THINKING AND PERSONALITY
CHAPTER XXX—AFTER-DINNER AND OTHER OCCASIONAL SPEAKING
CHAPTER XXXI—MAKING CONVERSATION EFFECTIVE
APPENDIX A—FIFTY QUESTIONS FOR DEBATE
APPENDIX B—THIRTY THEMES FOR SPEECHES, WITH SOURCE-REFERENCES
APPENDIX C—SUGGESTIVE SUBJECTS FOR SPEECHES; HINTS FOR TREATMENT
APPENDIX D—SPEECHES FOR STUDY AND PRACTISE
GENERAL INDEX

THINGS TO THINK OF FIRST
A FOREWORD
The efficiency of a book is like that of a man, in one important respect: its attitude toward its subject is the first source of its power. A book may be full of good ideas well expressed, but if its writer views his subject from the wrong angle even his excellent advice may prove to be ineffective.
This book stands or falls by its authors' attitude toward its subject. If the best way to teach oneself or others to speak effectively in public is to fill the mind with rules, and to set up fixed standards for the interpretation of thought, the utterance of language, the making of gestures, and all the rest, then this book will be limited in value to such stray ideas throughout its pages as may prove helpful to the reader—as an effort to enforce a group of principles it must be reckoned a failure, because it is then untrue.
It is of some importance, therefore, to those who take up this volume with open mind that they should see clearly at the out-start what is the thought that at once underlies and is builded through this structure. In plain words it is this:
Training in public speaking is not a matter of externals—primarily; it is not a matter of imitation—fundamentally; it is not a matter of conformity to standards—at all. Public speaking is public utterance, public issuance, of the man himself; therefore the first thing both in time and in importance is that the man should be and think and feel things that are worthy of being given forth. Unless there be something of value within, no tricks of training can ever make of the talker anything more than a machine—albeit a highly perfected machine—for the delivery of other men's goods. So self-development is fundamental in our plan.
The second principle lies close to the first: The man must enthrone his will to rule over his thought, his feelings, and all his physical powers, so that the outer self may give perfect, unhampered expression to the inner. It is futile, we assert, to lay down systems of rules for voice culture, intonation, gesture, and what not, unless these two principles of having something to say and making the will sovereign have at least begun to make themselves felt in the life.
The third principle will, we surmise, arouse no dispute: No one can learn how to speak who does not first speak as best he can. That may seem like a vicious circle in statement, but it will bear examination.
Many teachers have begun with the how. Vain effort! It is an ancient truism that we learn to do by doing. The first thing for the beginner in public speaking is to speak—not to study voice and gesture and the rest. Once he has spoken he can improve himself by self-observation or according to the criticisms of those who hear.
But how shall he be able to criticise himself? Simply by finding out three things: What are the qualities which by common consent go to make up an effective speaker; by what means at least some of these qualities may be acquired; and what wrong habits of speech in himself work against his acquiring and using the qualities which he finds to be good.

Experience, then, is not only the best teacher, but the first and the last. But experience must be a dual thing—the experience of others must be used to supplement, correct and justify our own experience; in this way we shall become our own best critics only after we have trained ourselves in self-knowledge, the knowledge of what other minds think, and in the ability to judge ourselves by the standards we have come to believe are right. "If I ought," said Kant, "I can."
An examination of the contents of this volume will show how consistently these articles of faith have been declared, expounded, and illustrated. The student is urged to begin to speak at once of what he knows. Then he is given simple suggestions for self-control, with gradually increasing emphasis upon the power of the inner man over the outer. Next, the way to the rich storehouses of material is pointed out. And finally, all the while he is urged to speak, speak, SPEAK as he is applying to his own methods, in his own personal way, the principles he has gathered from his own experience and observation and the recorded experiences of others.
So now at the very first let it be as clear as light that methods are secondary matters; that the full mind, the warm heart, the dominant will are primary—and not only primary but paramount; for unless it be a full being that uses the methods it will be like dressing a wooden image in the clothes of a man.
J. BERG ESENWEIN.
NARBERTH, PA.,
JANUARY 1, 1915.

THE ART OF PUBLIC SPEAKING

Sense never fails to give them that have it, Words enough to make them understood. It too often happens in some conversations, as in Apothecary Shops, that those Pots that are Empty, or have Things of small Value in them, are as gaudily Dress'd as those that are full of precious Drugs.
They that soar too high, often fall hard, making a low and level Dwelling preferable. The tallest Trees are most in the Power of the Winds, and Ambitious Men of the Blasts of Fortune. Buildings have need of a good Foundation, that lie so much exposed to the Weather.
—William Penn.

CHAPTER I
ACQUIRING CONFIDENCE BEFORE AN AUDIENCE
There is a strange sensation often experienced in the presence of an audience. It may proceed from the gaze of the many eyes that turn upon the speaker, especially if he permits himself to steadily return that gaze. Most speakers have been conscious of this in a nameless thrill, a real something, pervading the atmosphere, tangible, evanescent, indescribable. All writers have borne testimony to the power of a speaker's eye in impressing an audience. This influence which we are now considering is the reverse of that picture—the power their eyes may exert upon him, especially before he begins to speak: after the inward fires of oratory are fanned into flame the eyes of the audience lose all terror.—William Pittenger, Extempore Speech.
Students of public speaking continually ask, "How can I overcome self-consciousness and the fear that paralyzes me before an audience?"
Did you ever notice in looking from a train window that some horses feed near the track and never even pause to look up at the thundering cars, while just ahead at the next railroad crossing a farmer's wife will be nervously trying to quiet her scared horse as the train goes by?
How would you cure a horse that is afraid of cars—graze him in a back-woods lot where he would never see steam-engines or automobiles, or drive or pasture him where he would frequently see the machines?
Apply horse-sense to ridding yourself of self-consciousness and fear: face an audience as frequently as you can, and you will soon stop shying. You can never attain freedom from stage-fright by reading a treatise. A book may give you excellent suggestions on how best to conduct yourself in the water, but sooner or later you must get wet, perhaps even strangle and be "half scared to death." There are a great many "wetless" bathing suits worn at the seashore, but no one ever learns to swim in them. To plunge is the only way.
Practise, practise, PRACTISE in speaking before an audience will tend to remove all fear of audiences, just as practise in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.
The Apostle Paul tells us that every man must work out his own salvation. All we can do here is to offer you suggestions as to how best to prepare for your plunge. The real plunge no one can take for you. A doctor may prescribe, but you must take the medicine.
Do not be disheartened if at first you suffer from stage-fright. Dan Patch was more susceptible to suffering than a superannuated dray horse would be. It never hurts a fool to appear before an audience, for his capacity is not a capacity for feeling. A blow that would kill a civilized man soon heals on a savage. The higher we go in the scale of life, the greater is the capacity for suffering.
For one reason or another, some master-speakers never entirely overcome stage-fright, but it will pay you to spare no pains to conquer it. Daniel Webster failed in his first appearance and had to take his seat without finishing his speech because he was nervous. Gladstone was often troubled with self-consciousness in the beginning of an address. Beecher was always perturbed before talking in public.
Blacksmiths sometimes twist a rope tight around the nose of a horse, and by thus inflicting a little pain they distract his attention from the shoeing process. One way to get air out of a glass is to pour in water.
Be Absorbed by Your Subject
Apply the blacksmith's homely principle when you are speaking. If you feel deeply about your subject you will be able to think of little else. Concentration is a process of distraction from less important matters. It is too late to think about the cut of your coat when once you are upon the platform, so centre your interest on what you are about to say—fill your mind with your speech-material and, like the infilling water in the glass, it will drive out your unsubstantial fears.
Self-consciousness is undue consciousness of self, and, for the purpose of delivery, self is secondary to your subject, not only in the opinion of the audience, but, if you are wise, in your own. To hold any other view is to regard yourself as an exhibit instead of as a messenger with a message worth delivering. Do you remember Elbert Hubbard's tremendous little tract, "A Message to Garcia"? The youth subordinated himself to the message he bore. So must you, by all the determination you can muster. It is sheer egotism to fill your mind with thoughts of self when a greater thing is there—TRUTH. Say this to yourself sternly, and shame your self-consciousness into quiescence. If the theater caught fire you could rush to the stage and shout directions to the audience without any self-consciousness, for the importance of what you were saying would drive all fear-thoughts out of your mind.
Far worse than self-consciousness through fear of doing poorly is self-consciousness through assumption of doing well. The first sign of greatness is when a man does not attempt to look and act great. Before you can call yourself a man at all, Kipling assures us, you must "not look too good nor talk too wise."
Nothing advertises itself so thoroughly as conceit. One may be so full of self as to be empty. Voltaire said, "We must conceal self-love." But that can not be done. You know this to be true, for you have recognized overweening self-love in others. If you have it, others are seeing it in you. There are things in this world bigger than self, and in working for them self will be forgotten, or—what is better—remembered only so as to help us win toward higher things.
Have Something to Say
The trouble with many speakers is that they go before an audience with their minds a blank. It is no wonder that nature, abhorring a vacuum, fills them with the nearest thing handy, which generally happens to be, "I wonder if I am doing this right! How does my hair look? I know I shall fail." Their prophetic souls are sure to be right.
It is not enough to be absorbed by your subject—to acquire self-confidence you must have something in which to be confident. If you go before an audience without any preparation, or previous knowledge of your subject, you ought to be self-conscious—you ought to be ashamed to steal the time of your audience. Prepare yourself. Know what you are going to talk about, and, in general, how you are going to say it. Have the first few sentences worked out completely so that you may not be troubled in the beginning to find words. Know your subject better than your hearers know it, and you have nothing to fear.
After Preparing for Success, Expect It
Let your bearing be modestly confident, but most of all be modestly confident within. Over-confidence is bad, but to tolerate premonitions of failure is worse, for a bold man may win attention by his very bearing, while a rabbit-hearted coward invites disaster.
Humility is not the personal discount that we must offer in the presence of others—against this old interpretation there has been a most healthy modern reaction. True humility any man who thoroughly knows himself must feel; but it is not a humility that assumes a worm-like meekness; it is rather a strong, vibrant prayer for greater power for service—a prayer that Uriah Heep could never have uttered.
Washington Irving once introduced Charles Dickens at a dinner given in the latter's honor. In the middle of his speech Irving hesitated, became embarrassed, and sat down awkwardly. Turning to a friend beside him he remarked, "There, I told you I would fail, and I did."
If you believe you will fail, there is no hope for you. You will.

Rid yourself of this I-am-a-poor-worm-in-the-dust idea. You are a god, with infinite capabilities. "All things are ready if the mind be so." The eagle looks the cloudless sun in the face.
Assume Mastery Over Your Audience
In public speech, as in electricity, there is a positive and a negative force. Either you or your audience are going to possess the positive factor. If you assume it you can almost invariably make it yours. If you assume the negative you are sure to be negative. Assuming a virtue or a vice vitalizes it. Summon all your power of self-direction, and remember that though your audience is infinitely more important than you, the truth is more important than both of you, because it is eternal. If your mind falters in its leadership the sword will drop from your hands. Your assumption of being able to instruct or lead or inspire a multitude or even a small group of people may appall you as being colossal impudence—as indeed it may be; but having once essayed to speak, be courageous. BE courageous—it lies within you to be what you will. MAKE yourself be calm and confident.
Reflect that your audience will not hurt you. If Beecher in Liverpool had spoken behind a wire screen he would have invited the audience to throw the over-ripe missiles with which they were loaded; but he was a man, confronted his hostile hearers fearlessly—and won them.
In facing your audience, pause a moment and look them over—a hundred chances to one they want you to succeed, for what man is so foolish as to spend his time, perhaps his money, in the hope that you will waste his investment by talking dully?
Concluding Hints
Do not make haste to begin—haste shows lack of control.
Do not apologize. It ought not to be necessary; and if it is, it will not help. Go straight ahead.
Take a deep breath, relax, and begin in a quiet conversational tone as though you were speaking to one large friend. You will not find it half so bad as you imagined; really, it is like taking a cold plunge: after you are in, the water is fine. In fact, having spoken a few times you will even anticipate the plunge with exhilaration. To stand before an audience and make them think your thoughts after you is one of the greatest pleasures you can ever know. Instead of fearing it, you ought to be as anxious as the fox hounds straining at their leashes, or the race horses tugging at their reins.
So cast out fear, for fear is cowardly—when it is not mastered. The bravest know fear, but they do not yield to it. Face your audience pluckily—if your knees quake, MAKE them stop. In your audience lies some victory for you and the cause you represent. Go win it. Suppose Charles Martell had been afraid to hammer the Saracen at Tours; suppose Columbus had feared to venture out into the unknown West; suppose our forefathers had been too timid to oppose the tyranny of George the Third; suppose that any man who ever did anything worth while had been a coward! The world owes its progress to the men who have dared, and you must dare to speak the effective word that is in your heart to speak—for often it requires courage to utter a single sentence. But remember that men erect no monuments and weave no laurels for those who fear to do what they can.
Is all this unsympathetic, do you say?
Man, what you need is not sympathy, but a push. No one doubts that temperament and nerves and illness and even praiseworthy modesty may, singly or combined, cause the speaker's cheek to blanch before an audience, but neither can any one doubt that coddling will magnify this weakness. The victory lies in a fearless frame of mind. Prof. Walter Dill Scott says: "Success or failure in business is caused more by mental attitude even than by mental capacity." Banish the fear-attitude; acquire the confident attitude. And remember that the only way to acquire it is—to acquire it.
In this foundation chapter we have tried to strike the tone of much that is to follow. Many of these ideas will be amplified and enforced in a more specific way; but through all these chapters on an art which Mr. Gladstone believed to be more powerful than the public press, the note of justifiable self-confidence must sound again and again.
QUESTIONS AND EXERCISES.
1. What is the cause of self-consciousness?
2. Why are animals free from it?

3. What is your observation regarding self-consciousness in children?
4. Why are you free from it under the stress of unusual excitement?
5. How does moderate excitement affect you?
6. What are the two fundamental requisites for the acquiring of self-confidence? Which is the more important?
7. What effect does confidence on the part of the speaker have on the audience?
8. Write out a two-minute speech on "Confidence and Cowardice."
9. What effect do habits of thought have on confidence? In this connection read the chapter on "Right Thinking and Personality."
10. Write out very briefly any experience you may have had involving the teachings of this chapter.
11. Give a three-minute talk on "Stage-Fright," including a (kindly) imitation of two or more victims.

CHAPTER II
THE SIN OF MONOTONY
One day Ennui was born from Uniformity.—Motte.
Our English has changed with the years so that many words now connote more than they did originally. This is true of the word monotonous. From "having but one tone," it has come to mean more broadly, "lack of variation."
The monotonous speaker not only drones along in the same volume and pitch of tone but uses always the same emphasis, the same speed, the same thoughts—or dispenses with thought altogether.
Monotony, the cardinal and most common sin of the public speaker, is not a transgression—it is rather a sin of omission, for it consists in living up to the confession of the Prayer Book: "We have left undone those things we ought to have done."
Emerson says, "The virtue of art lies in detachment, in sequestering one object from the embarrassing variety." That is just what the monotonous speaker fails to do—he does not detach one thought or phrase from another, they are all expressed in the same manner.
To tell you that your speech is monotonous may mean very little to you, so let us look at the nature—and the curse—of monotony in other spheres of life, then we shall appreciate more fully how it will blight an otherwise good speech.

If the Victrola in the adjoining apartment grinds out just three selections over and over again, it is pretty safe to assume that your neighbor has no other records. If a speaker uses only a few of his powers, it points very plainly to the fact that the rest of his powers are not developed. Monotony reveals our limitations.
In its effect on its victim, monotony is actually deadly—it will drive the bloom from the cheek and the lustre from the eye as quickly as sin, and often leads to viciousness. The worst punishment that human ingenuity has ever been able to invent is extreme monotony—solitary confinement. Lay a marble on the table and do nothing eighteen hours of the day but change that marble from one point to another and back again, and you will go insane if you continue long enough.
So this thing that shortens life, and is used as the most cruel of punishments in our prisons, is the thing that will destroy all the life and force of a speech. Avoid it as you would shun a deadly dull bore. The "idle rich" can have half-a-dozen homes, command all the varieties of foods gathered from the four corners of the earth, and sail for Africa or Alaska at their pleasure; but the poverty-stricken man must walk or take a street car—he does not have the choice of yacht, auto, or special train. He must spend the most of his life in labor and be content with the staples of the food-market. Monotony is poverty, whether in speech or in life. Strive to increase the variety of your speech as the business man labors to augment his wealth.
Bird-songs, forest glens, and mountains are not monotonous—it is the long rows of brown-stone fronts and the miles of paved streets that are so terribly same. Nature in her wealth gives us endless variety; man with his limitations is often monotonous. Get back to nature in your methods of speech-making.
The power of variety lies in its pleasure-giving quality. The great truths of the world have often been couched in fascinating stories—"Les Miserables," for instance. If you wish to teach or influence men, you must please them, first or last. Strike the same note on the piano over and over again. This will give you some idea of the displeasing, jarring effect monotony has on the ear. The dictionary defines "monotonous" as being synonymous with "wearisome." That is putting it mildly. It is maddening. The department-store prince does not disgust the public by playing only the one tune, "Come Buy My Wares!" He gives recitals on a $125,000 organ, and the pleased people naturally slip into a buying mood.
How to Conquer Monotony
We obviate monotony in dress by replenishing our wardrobes. We avoid monotony in speech by multiplying our powers of speech. We multiply our powers of speech by increasing our tools.
The carpenter has special implements with which to construct the several parts of a building. The organist has certain keys and stops which he manipulates to produce his harmonies and effects. In like manner the speaker has certain instruments and tools at his command by which he builds his argument, plays on the feelings, and guides the beliefs of his audience. To give you a conception of these instruments, and practical help in learning to use them, are the purposes of the immediately following chapters.
Why did not the Children of Israel whirl through the desert in limousines, and why did not Noah have moving-picture entertainments and talking machines on the Ark? The laws that enable us to operate an automobile, produce moving-pictures, or music on the Victrola, would have worked just as well then as they do today. It was ignorance of law that for ages deprived humanity of our modern conveniences. Many speakers still use ox-cart methods in their speech instead of employing automobile or overland-express methods. They are ignorant of laws that make for efficiency in speaking. Just to the extent that you regard and use the laws that we are about to examine and learn how to use will you have efficiency and force in your speaking; and just to the extent that you disregard them will your speaking be feeble and ineffective. We cannot impress too thoroughly upon you the necessity for a real working mastery of these principles. They are the very foundations of successful speaking. "Get your principles right," said Napoleon, "and the rest is a matter of detail."
It is useless to shoe a dead horse, and all the sound principles in Christendom will never make a live speech out of a dead one. So let it be understood that public speaking is not a matter of mastering a few dead rules; the most important law of public speech is the necessity for truth, force, feeling, and life. Forget all else, but not this.

When you have mastered the mechanics of speech outlined in the next few chapters you will no longer be troubled with monotony. The complete knowledge of these principles and the ability to apply them will give you great variety in your powers of expression. But they cannot be mastered and applied by thinking or reading about them—you must practise, practise, PRACTISE. If no one else will listen to you, listen to yourself—you must always be your own best critic, and the severest one of all.
The technical principles that we lay down in the following chapters are not arbitrary creations of our own. They are all founded on the practices that good speakers and actors adopt—either naturally and unconsciously or under instruction—in getting their effects.
It is useless to warn the student that he must be natural. To be natural may be to be monotonous. The little strawberry up in the arctics with a few tiny seeds and an acid tang is a natural berry, but it is not to be compared with the improved variety that we enjoy here. The dwarfed oak on the rocky hillside is natural, but a poor thing compared with the beautiful tree found in the rich, moist bottom lands. Be natural—but improve your natural gifts until you have approached the ideal, for we must strive after idealized nature, in fruit, tree, and speech.
QUESTIONS AND EXERCISES.
1. What are the causes of monotony?
2. Cite some instances in nature.
3. Cite instances in man's daily life.

4. Describe some of the effects of monotony in both cases.
5. Read aloud some speech without paying particular attention to its meaning or force.
6. Now repeat it after you have thoroughly assimilated its matter and spirit. What difference do you notice in its rendition?
7. Why is monotony one of the worst as well as one of the most common faults of speakers?

CHAPTER III
EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION
In a word, the principle of emphasis ... is followed best, not by remembering particular rules, but by being full of a particular feeling.—C.S. Baldwin, Writing and Speaking.
The gun that scatters too much does not bag the birds. The same principle applies to speech. The speaker that fires his force and emphasis at random into a sentence will not get results. Not every word is of special importance—therefore only certain words demand emphasis.
You say MassaCHUsetts and MinneAPolis, you do not emphasize each syllable alike, but hit the accented syllable with force and hurry over the unimportant ones. Now why do you not apply this principle in speaking a sentence? To some extent you do, in ordinary speech; but do you in public discourse? It is there that monotony caused by lack of emphasis is so painfully apparent.
So far as emphasis is concerned, you may consider the average sentence as just one big word, with the important word as the accented syllable. Note the following:
"Destiny is not a matter of chance. It is a matter of choice."
You might as well say MASS-A-CHU-SETTS, emphasizing every syllable equally, as to lay equal stress on each word in the foregoing sentences.
Speak it aloud and see. Of course you will want to emphasize destiny, for it is the principal idea in your declaration, and you will put some emphasis on not, else your hearers may think you are affirming that destiny is a matter of chance. By all means you must emphasize chance, for it is one of the two big ideas in the statement.
Another reason why chance takes emphasis is that it is contrasted with choice in the next sentence. Obviously, the author has contrasted these ideas purposely, so that they might be more emphatic, and here we see that contrast is one of the very first devices to gain emphasis.
As a public speaker you can assist this emphasis of contrast with your voice. If you say, "My horse is not black," what color immediately comes into mind? White, naturally, for that is the opposite of black. If you wish to bring out the thought that destiny is a matter of choice, you can do so more effectively by first saying that "DESTINY is NOT a matter of CHANCE." Is not the color of the horse impressed upon us more emphatically when you say, "My horse is NOT BLACK. He is WHITE" than it would be by hearing you assert merely that your horse is white?
In the second sentence of the statement there is only one important word—choice. It is the one word that positively defines the quality of the subject being discussed, and the author of those lines desired to bring it out emphatically, as he has shown by contrasting it with another idea. These lines, then, would read like this:
"DESTINY is NOT a matter of CHANCE. It is a matter of CHOICE." Now read this over, striking the words in capitals with a great deal of force.
In almost every sentence there are a few MOUNTAIN PEAK WORDS that represent the big, important ideas. When you pick up the evening paper you can tell at a glance which are the important news articles. Thanks to the editor, he does not tell about a "hold up" in Hong Kong in the same sized type as he uses to report the death of five firemen in your home city. Size of type is his device to show emphasis in bold relief. He brings out sometimes even in red headlines the striking news of the day.
It would be a boon to speech-making if speakers would conserve the attention of their audiences in the same way and emphasize only the words representing the important ideas. The average speaker will deliver the foregoing line on destiny with about the same amount of emphasis on each word. Instead of saying, "It is a matter of CHOICE," he will deliver it, "It is a matter of choice," or "IT IS A MATTER OF CHOICE"—both equally bad.
Charles Dana, the famous editor of The New York Sun, told one of his reporters that if he went up the street and saw a dog bite a man, to pay no attention to it. The Sun could not afford to waste the time and attention of its readers on such unimportant happenings. "But," said Mr. Dana, "if you see a man bite a dog, hurry back to the office and write the story." Of course that is news; that is unusual.
Now the speaker who says "IT IS A MATTER OF CHOICE" is putting too much emphasis upon things that are of no more importance to metropolitan readers than a dog bite, and when he fails to emphasize "choice" he is like the reporter who "passes up" the man's biting a dog. The ideal speaker makes his big words stand out like mountain peaks; his unimportant words are submerged like stream-beds. His big thoughts stand like huge oaks; his ideas of no especial value are merely like the grass around the tree.
From all this we may deduce this important principle: EMPHASIS is a matter of CONTRAST and COMPARISON.
Recently the New York American featured an editorial by Arthur Brisbane. Note the following, printed in the same type as given here.
We do not know what the President THOUGHT when he got that message, or what the elephant thinks when he sees the mouse, but we do know what the President DID.
The words THOUGHT and DID immediately catch the reader's attention because they are different from the others, not especially because they are larger. If all the rest of the words in this sentence were made ten times as large as they are, and DID and THOUGHT were kept at their present size, they would still be emphatic, because different.
Take the following from Robert Chambers' novel, "The Business of Life." The words you, had, would, are all emphatic, because they have been made different.
He looked at her in angry astonishment.
"Well, what do you call it if it isn't cowardice—to slink off and marry a defenseless girl like that!"

"Did you expect me to give you a chance to destroy me and poison Jacqueline's mind? If I had been guilty of the thing with which you charge me, what I have done would have been cowardly. Otherwise, it is justified."
A Fifth Avenue bus would attract attention up at Minisink Ford, New York, while one of the ox teams that frequently pass there would attract attention on Fifth Avenue. To make a word emphatic, deliver it differently from the manner in which the words surrounding it are delivered. If you have been talking loudly, utter the emphatic word in a concentrated whisper—and you have intense emphasis. If you have been going fast, go very slow on the emphatic word. If you have been talking on a low pitch, jump to a high one on the emphatic word. If you have been talking on a high pitch, take a low one on your emphatic ideas. Read the chapters on "Inflection," "Feeling," "Pause," "Change of Pitch," "Change of Tempo." Each of these will explain in detail how to get emphasis through the use of a certain principle.
In this chapter, however, we are considering only one form of emphasis: that of applying force to the important word and subordinating the unimportant words. Do not forget: this is one of the main methods that you must continually employ in getting your effects.
Let us not confound loudness with emphasis. To yell is not a sign of earnestness, intelligence, or feeling. The kind of force that we want applied to the emphatic word is not entirely physical. True, the emphatic word may be spoken more loudly, or it may be spoken more softly, but the real quality desired is intensity, earnestness. It must come from within, outward.

Last night a speaker said: "The curse of this country is not a lack of education. It's politics." He emphasized curse, lack, education, politics. The other words were hurried over and thus given no comparative importance at all. The word politics was flamed out with great feeling as he slapped his hands together indignantly. His emphasis was both correct and powerful. He concentrated all our attention on the words that meant something, instead of holding it up on such words as of this, a, of, It's.
What would you think of a guide who agreed to show New York to a stranger and then took up his time by visiting Chinese laundries and boot-blacking "parlors" on the side streets? There is only one excuse for a speaker's asking the attention of his audience: He must have either truth or entertainment for them. If he wearies their attention with trifles they will have neither vivacity nor desire left when he reaches words of Wall-Street and skyscraper importance. You do not dwell on these small words in your everyday conversation, because you are not a conversational bore. Apply the correct method of everyday speech to the platform. As we have noted elsewhere, public speaking is very much like conversation enlarged.
Sometimes, for big emphasis, it is advisable to lay stress on every single syllable in a word, as absolutely in the following sentence:
I ab-so-lute-ly refuse to grant your demand.
Now and then this principle should be applied to an emphatic sentence by stressing each word. It is a good device for exciting special attention, and it furnishes a pleasing variety. Patrick Henry's notable climax could be delivered in that manner very effectively: "Give—me—liberty—or—give—me—death." The italicized part of the following might also be delivered with this every-word emphasis. Of course, there are many ways of delivering it; this is only one of several good interpretations that might be chosen.
Knowing the price we must pay, the sacrifice we must make, the burdens we must carry, the assaults we must endure—knowing full well the cost—yet we enlist, and we enlist for the war. For we know the justice of our cause, and we know, too, its certain triumph.
—From "Pass Prosperity Around," by Albert J. Beveridge, before the Chicago National Convention of the Progressive Party.
Strongly emphasizing a single word has a tendency to suggest its antithesis. Notice how the meaning changes by merely putting the emphasis on different words in the following sentence. The parenthetical expressions would really not be needed to supplement the emphatic words.
I intended to buy a house this Spring (even if you did not).
I INTENDED to buy a house this Spring (but something prevented).
I intended to BUY a house this Spring (instead of renting as heretofore).
I intended to buy a HOUSE this Spring (and not an automobile).
I intended to buy a house THIS Spring (instead of next Spring).
I intended to buy a house this SPRING (instead of in the Autumn).
When a great battle is reported in the papers, they do not keep emphasizing the same facts over and over again. They try to get new information, or a "new slant." The news that takes an important place in the morning edition will be relegated to a small space in the late afternoon edition. We are interested in new ideas and new facts. This principle has a very important bearing in determining your emphasis. Do not emphasize the same idea over and over again unless you desire to lay extra stress on it; Senator Thurston desired to put the maximum amount of emphasis on "force" in his speech on page 50. Note how force is emphasized repeatedly. As a general rule, however, the new idea, the "new slant," whether in a newspaper report of a battle or a speaker's enunciation of his ideas, is emphatic.
In the following selection, "larger" is emphatic, for it is the new idea. All men have eyes, but this man asks for a LARGER eye.
This man with the larger eye says he will discover, not rivers or safety appliances for aeroplanes, but NEW STARS and SUNS. "New stars and suns" are hardly as emphatic as the word "larger." Why? Because we expect an astronomer to discover heavenly bodies rather than cooking recipes. The words, "Republic needs" in the next sentence, are emphatic; they introduce a new and important idea. Republics have always needed men, but the author says they need NEW men. "New" is emphatic because it introduces a new idea. In like manner, "soil," "grain," "tools," are also emphatic.
The most emphatic words are italicized in this selection. Are there any others you would emphasize? Why?

The old astronomer said, "Give me a larger eye, and I will discover new stars and suns." That is what the republic needs today—new men—men who are wise toward the soil, toward the grains, toward the tools. If God would only raise up for the people two or three men like Watt, Fulton and McCormick, they would be worth more to the State than that treasure box named California or Mexico. And the real supremacy of man is based upon his capacity for education. Man is unique in the length of his childhood, which means the period of plasticity and education. The childhood of a moth, the distance that stands between the hatching of the robin and its maturity, represent a few hours or a few weeks, but twenty years for growth stands between man's cradle and his citizenship. This protracted childhood makes it possible to hand over to the boy all the accumulated stores achieved by races and civilizations through thousands of years.
—Anonymous.
You must understand that there are no steel-riveted rules of emphasis. It is not always possible to designate which word must, and which must not be emphasized. One speaker will put one interpretation on a speech, another speaker will use different emphasis to bring out a different interpretation. No one can say that one interpretation is right and the other wrong. This principle must be borne in mind in all our marked exercises. Here your own intelligence must guide—and greatly to your profit.
QUESTIONS AND EXERCISES
1. What is emphasis?
2. Describe one method of destroying monotony of thought-presentation.
3. What relation does this have to the use of the voice?
4. Which words should be emphasized, which subordinated, in a sentence?

5. Read the selections on pages 50, 51, 52, 53 and 54, devoting special attention to emphasizing the important words or phrases and subordinating the unimportant ones. Read again, changing emphasis slightly. What is the effect?
6. Read some sentence repeatedly, emphasizing a different word each time, and show how the meaning is changed, as is done on page 22.
7. What is the effect of a lack of emphasis?
8. Read the selections on pages 30 and 48, emphasizing every word. What is the effect on the emphasis?
9. When is it permissible to emphasize every single word in a sentence?
10. Note the emphasis and subordination in some conversation or speech you have heard. Were they well made? Why? Can you suggest any improvement?
11. From a newspaper or a magazine, clip a report of an address, or a biographical eulogy. Mark the passage for emphasis and bring it with you to class.
12. In the following passage, would you make any changes in the author's markings for emphasis? Where? Why? Bear in mind that not all words marked require the same degree of emphasis—in a wide variety of emphasis, and in nice shading of the gradations, lie the excellence of emphatic speech.
I would call him Napoleon, but Napoleon made his way to empire over broken oaths and through a sea of blood. This man never broke his word. "No Retaliation" was his great motto and the rule of his life; and the last words uttered to his son in France were these: "My boy, you will one day go back to Santo Domingo; forget that France murdered your father." I would call him Cromwell, but Cromwell was only a soldier, and the state he founded went down with him into his grave. I would call him Washington, but the great Virginian held slaves. This man risked his empire rather than permit the slave-trade in the humblest village of his dominions.
You think me a fanatic to-night, for you read history, not with your eyes, but with your prejudices. But fifty years hence, when Truth gets a hearing, the Muse of History will put Phocion for the Greek, and Brutus for the Roman, Hampden for England, Lafayette for France, choose Washington as the bright, consummate flower of our earlier civilization, and John Brown the ripe fruit of our noonday, then, dipping her pen in the sunlight, will write in the clear blue, above them all, the name of the soldier, the statesman, the martyr, TOUSSAINT L'OUVERTURE.
—Wendell Phillips, Toussaint l'Ouverture.
Practise on the following selections for emphasis: Beecher's "Abraham Lincoln," page 76; Lincoln's "Gettysburg Speech," page 50; Seward's "Irrepressible Conflict," page 67; and Bryan's "Prince of Peace," page 448.

CHAPTER IV
EFFICIENCY THROUGH CHANGE OF PITCH
Speech is simply a modified form of singing: the principal difference being in the fact that in singing the vowel sounds are prolonged and the intervals are short, whereas in speech the words are uttered in what may be called "staccato" tones, the vowels not being specially prolonged and the intervals between the words being more distinct. The fact that in singing we have a larger range of tones does not properly distinguish it from ordinary speech. In speech we have likewise a variation of tones, and even in ordinary conversation there is a difference of from three to six semi-tones, as I have found in my investigations, and in some persons the range is as high as one octave.—William Scheppegrell, Popular Science Monthly.
By pitch, as everyone knows, we mean the relative position of a vocal tone—as, high, medium, low, or any variation between. In public speech we apply it not only to a single utterance, as an exclamation or a monosyllable (Oh! or the) but to any group of syllables, words, and even sentences that may be spoken in a single tone. This distinction it is important to keep in mind, for the efficient speaker not only changes the pitch of successive syllables (see Chapter VII, "Efficiency through Inflection"), but gives a different pitch to different parts, or word-groups, of successive sentences. It is this phase of the subject which we are considering in this chapter.

Every Change in the Thought Demands a Change in the Voice-Pitch
Whether the speaker follows the rule consciously, unconsciously, or subconsciously, this is the logical basis upon which all good voice variation is made, yet this law is violated more often than any other by public speakers. A criminal may disregard a law of the state without detection and punishment, but the speaker who violates this regulation suffers its penalty at once in his loss of effectiveness, while his innocent hearers must endure the monotony—for monotony is not only a sin of the perpetrator, as we have shown, but a plague on the victims as well.
Change of pitch is a stumbling block for almost all beginners, and for many experienced speakers also. This is especially true when the words of the speech have been memorized.
If you wish to hear how pitch-monotony sounds, strike the same note on the piano over and over again. You have in your speaking voice a range of pitch from high to low, with a great many shades between the extremes. With all these notes available there is no excuse for offending the ears and taste of your audience by continually using the one note. True, the reiteration of the same tone in music—as in pedal point on an organ composition—may be made the foundation of beauty, for the harmony weaving about that one basic tone produces a consistent, insistent quality not felt in pure variety of chord sequences. In like manner the intoning voice in a ritual may—though it rarely does—possess a solemn beauty. But the public speaker should shun the monotone as he would a pestilence.
Continual Change of Pitch is Nature's Highest Method
In our search for the principles of efficiency we must continually go back to nature. Listen—really listen—to the birds sing. Which of these feathered tribes are most pleasing in their vocal efforts: those whose voices, though sweet, have little or no range, or those that, like the canary, the lark, and the nightingale, not only possess a considerable range but utter their notes in continual variety of combinations? Even a sweet-toned chirp, when reiterated without change, may grow maddening to the enforced listener.
The little child seldom speaks in a monotonous pitch. Observe the conversations of little folk that you hear on the street or in the home, and note the continual changes of pitch. The unconscious speech of most adults is likewise full of pleasing variations.
Imagine someone speaking the following, and consider if the effect would not be just about as indicated. Remember, we are not now discussing the inflection of single words, but the general pitch in which phrases are spoken.
(High pitch) "I'd like to leave for my vacation tomorrow,—(lower) still, I have so much to do. (Higher) Yet I suppose if I wait until I have time I'll never go."
Repeat this, first in the pitches indicated, and then all in the one pitch, as many speakers would. Observe the difference in naturalness of effect.
The following exercise should be spoken in a purely conversational tone, with numerous changes of pitch. Practise it until your delivery would cause a stranger in the next room to think you were discussing an actual incident with a friend, instead of delivering a memorized monologue. If you are in doubt about the effect you have secured, repeat it to a friend and ask him if it sounds like memorized words. If it does, it is wrong.
A SIMILAR CASE
Jack, I hear you've gone and done it.—Yes, I know; most fellows will; went and tried it once myself, sir, though you see I'm single still. And you met her—did you tell me—down at Newport, last July, and resolved to ask the question at a soirée? So did I.
I suppose you left the ball-room, with its music and its light; for they say love's flame is brightest in the darkness of the night. Well, you walked along together, overhead the starlit sky; and I'll bet—old man, confess it—you were frightened. So was I.
So you strolled along the terrace, saw the summer moonlight pour all its radiance on the waters, as they rippled on the shore, till at length you gathered courage, when you saw that none was nigh—did you draw her close and tell her that you loved her? So did I.
Well, I needn't ask you further, and I'm sure I wish you joy. Think I'll wander down and see you when you're married—eh, my boy? When the honeymoon is over and you're settled down, we'll try—What? the deuce you say! Rejected—you rejected? So was I.—Anonymous.
The necessity for changing pitch is so self-evident that it should be grasped and applied immediately. However, it requires patient drill to free yourself from monotony of pitch.
In natural conversation you think of an idea first, and then find words to express it. In memorized speeches you are liable to speak the words, and then think what they mean—and many speakers seem to trouble very little even about that. Is it any wonder that reversing the process should reverse the result? Get back to nature in your methods of expression.
Read the following selection in a nonchalant manner, never pausing to think what the words really mean. Try it again, carefully studying the thought you have assimilated. Believe the idea, desire to express it effectively, and imagine an audience before you. Look them earnestly in the face and repeat this truth. If you follow directions, you will note that you have made many changes of pitch after several readings.
It is not work that kills men; it is worry. Work is healthy; you can hardly put more upon a man than he can bear. Worry is rust upon the blade. It is not the revolution that destroys the machinery but the friction.—Henry Ward Beecher.
Change of Pitch Produces Emphasis
This is a highly important statement. Variety in pitch maintains the hearer's interest, but one of the surest ways to compel attention—to secure unusual emphasis—is to change the pitch of your voice suddenly and in a marked degree. A great contrast always arouses attention. White shows whiter against black; a cannon roars louder in the Sahara silence than in the Chicago hurly burly—these are simple illustrations of the power of contrast.
"What is Congress going to do next?

-----------------------------------
(High pitch)
|

|
I do not know."

-----------------------------------

(Low pitch)
By such sudden change of pitch during a sermon Dr. Newell Dwight Hillis recently achieved great emphasis and suggested the gravity of the question he had raised.
The foregoing order of pitch-change might be reversed with equally good effect, though with a slight change in seriousness—either method produces emphasis when used intelligently, that is, with a common-sense appreciation of the sort of emphasis to be attained.
In attempting these contrasts of pitch it is important to avoid unpleasant extremes. Most speakers pitch their voices too high. One of the secrets of Mr. Bryan's eloquence is his low, bell-like voice. Shakespeare said that a soft, gentle, low voice was "an excellent thing in woman;" it is no less so in man, for a voice need not be blatant to be powerful,—and must not be, to be pleasing.
In closing, let us emphasize anew the importance of using variety of pitch. You sing up and down the scale, first touching one note and then another above or below it. Do likewise in speaking.
Thought and individual taste must generally be your guide as to where to use a low, a moderate, or a high pitch.
QUESTIONS AND EXERCISES
1. Name two methods of destroying monotony and gaining force in speaking.
2. Why is a continual change of pitch necessary in speaking?
3. Notice your habitual tones in speaking. Are they too high to be pleasant?
4. Do we express the following thoughts and emotions in a low or a high pitch? Which may be expressed in either high or low pitch? Excitement. Victory. Defeat. Sorrow. Love. Earnestness. Fear.
5. How would you naturally vary the pitch in introducing an explanatory or parenthetical expression like the following:
He started—that is, he made preparations to start—on September third.
6. Speak the following lines with as marked variations in pitch as your interpretation of the sense may dictate. Try each line in two different ways. Which, in each instance, is the more effective—and why?
What have I to gain from you? Nothing.
To engage our nation in such a compact would be an infamy.
Note: In the foregoing sentence, experiment as to where the change in pitch would better be made.
Once the flowers distilled their fragrance here, but now see the devastations of war.
He had reckoned without one prime factor—his conscience.
7. Make a diagram of a conversation you have heard, showing where high and low pitches were used. Were these changes in pitch advisable? Why or why not?
8. Read the selections on pages 34, 35, 36, 37 and 38, paying careful attention to the changes in pitch. Reread, substituting low pitch for high, and vice versa.
Selections for Practise
Note: In the following selections, those passages that may best be delivered in a moderate pitch are printed in ordinary (roman) type. Those which may be rendered in a high pitch—do not make the mistake of raising the voice too high—are printed in italics. Those which might well be spoken in a low pitch are printed in CAPITALS.
These arrangements, however, are merely suggestive—we cannot make it strong enough that you must use your own judgment in interpreting a selection. Before doing so, however, it is well to practise these passages as they are marked.
Yes, all men labor. RUFUS CHOATE AND DANIEL WEBSTER labor, say the critics. But every man who reads of the labor question knows that it means the movement of the men that earn their living with their hands; THAT ARE EMPLOYED, AND PAID WAGES: are gathered under roofs of factories, sent out on farms, sent out on ships, gathered on the walls. In popular acceptation, the working class means the men that work with their hands, for wages, so many hours a day, employed by great capitalists; that work for everybody else. Why do we move for this class? "Why," asks a critic, "don't you move FOR ALL WORKINGMEN?" BECAUSE, WHILE DANIEL WEBSTER GETS FORTY THOUSAND DOLLARS FOR ARGUING THE MEXICAN CLAIMS, there is no need of anybody's moving for him. BECAUSE, WHILE RUFUS CHOATE GETS FIVE THOUSAND DOLLARS FOR MAKING ONE ARGUMENT TO A JURY, there is no need of moving for him, or for the men that work with their brains,—that do highly disciplined and skilled labor, invent, and write books. The reason why the Labor movement confines itself to a single class is because that class of work DOES NOT GET PAID, does not get protection. MENTAL LABOR is adequately paid, and MORE THAN ADEQUATELY protected. IT CAN SHIFT ITS CHANNELS; it can vary according to the supply and demand.
IF A MAN FAILS AS A MINISTER, why, he becomes a railway conductor. IF THAT DOESN'T SUIT HIM, he goes West, and becomes governor of a territory. AND IF HE FINDS HIMSELF INCAPABLE OF EITHER OF THESE POSITIONS, he comes home, and gets to be a city editor. He varies his occupation as he pleases, and doesn't need protection. BUT THE GREAT MASS, CHAINED TO A TRADE, DOOMED TO BE GROUND UP IN THE MILL OF SUPPLY AND DEMAND, THAT WORK SO MANY HOURS A DAY, AND MUST RUN IN THE GREAT RUTS OF BUSINESS,—they are the men whose inadequate protection, whose unfair share of the general product, claims a movement in their behalf.
—Wendell Phillips.
KNOWING THE PRICE WE MUST PAY, THE SACRIFICE WE MUST MAKE, THE BURDENS WE MUST CARRY, THE ASSAULTS WE MUST ENDURE—KNOWING FULL WELL THE COST—yet we enlist, and we enlist for the war. FOR WE KNOW THE JUSTICE OF OUR CAUSE, and we know, too, its certain triumph.
NOT RELUCTANTLY THEN, but eagerly, not with faint hearts BUT STRONG, do we now advance upon the enemies of the people. FOR THE CALL THAT COMES TO US is the call that came to our fathers. As they responded so shall we.
"HE HATH SOUNDED FORTH A TRUMPET that shall never call retreat. HE IS SIFTING OUT THE HEARTS OF MEN before His judgment seat. OH, BE SWIFT OUR SOULS TO ANSWER HIM, BE JUBILANT OUR FEET, Our God is marching on."
—Albert J. Beveridge.
Remember that two sentences, or two parts of the same sentence, which contain changes of thought, cannot possibly be given effectively in the same key. Let us repeat, every big change of thought requires a big change of pitch. What the beginning student will think are big changes of pitch will be monotonously alike. Learn to speak some thoughts in a very high tone—others in a very, very low tone. DEVELOP RANGE. It is almost impossible to use too much of it.

HAPPY AM I THAT THIS MISSION HAS BROUGHT MY FEET AT LAST TO PRESS NEW ENGLAND'S HISTORIC SOIL and my eyes to the knowledge of her beauty and her thrift. Here within touch of Plymouth Rock and Bunker Hill—WHERE WEBSTER THUNDERED and Longfellow sang, Emerson thought AND CHANNING PREACHED—HERE IN THE CRADLE OF AMERICAN LETTERS and almost of American liberty, I hasten to make the obeisance that every American owes New England when first he stands uncovered in her mighty presence. Strange apparition! This stern and unique figure—carved from the ocean and the wilderness—its majesty kindling and growing amid the storms of winter and of wars—until at last the gloom was broken, ITS BEAUTY DISCLOSED IN THE SUNSHINE, and the heroic workers rested at its base—while startled kings and emperors gazed and marveled that from the rude touch of this handful cast on a bleak and unknown shore should have come the embodied genius of human government AND THE PERFECTED MODEL OF HUMAN LIBERTY! God bless the memory of those immortal workers, and prosper the fortunes of their living sons—and perpetuate the inspiration of their handiwork....
Far to the South, Mr. President, separated from this section by a line—once defined in irrepressible difference, once traced in fratricidal blood, AND NOW, THANK GOD, BUT A VANISHING SHADOW—lies the fairest and richest domain of this earth. It is the home of a brave and hospitable people. THERE IS CENTERED ALL THAT CAN PLEASE OR PROSPER HUMANKIND. A PERFECT CLIMATE ABOVE a fertile soil yields to the husbandman every product of the temperate zone.
There, by night the cotton whitens beneath the stars, and by day THE WHEAT LOCKS THE SUNSHINE IN ITS BEARDED SHEAF. In the same field the clover steals the fragrance of the wind, and tobacco catches the quick aroma of the rains. THERE ARE MOUNTAINS STORED WITH EXHAUSTLESS TREASURES: forests—vast and primeval; and rivers that, tumbling or loitering, run wanton to the sea. Of the three essential items of all industries—cotton, iron and wood—that region has easy control. IN COTTON, a fixed monopoly—IN IRON, proven supremacy—IN TIMBER, the reserve supply of the Republic. From this assured and permanent advantage, against which artificial conditions cannot much longer prevail, has grown an amazing system of industries. Not maintained by human contrivance of tariff or capital, afar off from the fullest and cheapest source of supply, but resting in divine assurance, within touch of field and mine and forest—not set amid costly farms from which competition has driven the farmer in despair, but amid cheap and sunny lands, rich with agriculture, to which neither season nor soil has set a limit—this system of industries is mounting to a splendor that shall dazzle and illumine the world. THAT, SIR, is the picture and the promise of my home—A LAND BETTER AND FAIRER THAN I HAVE TOLD YOU, and yet but fit setting in its material excellence for the loyal and gentle quality of its citizenship.
This hour little needs the LOYALTY THAT IS LOYAL TO ONE SECTION and yet holds the other in enduring suspicion and estrangement. Give us the broad and perfect loyalty that loves and trusts GEORGIA alike with Massachusetts—that knows no SOUTH, no North, no EAST, no West, but endears with equal and patriotic love every foot of our soil, every State of our Union.
A MIGHTY DUTY, SIR, AND A MIGHTY INSPIRATION impels every one of us to-night to lose in patriotic consecration WHATEVER ESTRANGES, WHATEVER DIVIDES.
WE, SIR, are Americans—AND WE STAND FOR HUMAN LIBERTY! The uplifting force of the American idea is under every throne on earth. France, Brazil—THESE ARE OUR VICTORIES. To redeem the earth from kingcraft and oppression—THIS IS OUR MISSION! AND WE SHALL NOT FAIL. God has sown in our soil the seed of His millennial harvest, and He will not lay the sickle to the ripening crop until His full and perfect day has come. OUR HISTORY, SIR, has been a constant and expanding miracle, FROM PLYMOUTH ROCK AND JAMESTOWN, all the way—aye, even from the hour when from the voiceless and traceless ocean a new world rose to the sight of the inspired sailor. As we approach the fourth centennial of that stupendous day—when the old world will come to marvel and to learn amid our gathered treasures—let us resolve to crown the miracles of our past with the spectacle of a Republic, compact, united INDISSOLUBLE IN THE BONDS OF LOVE—loving from the Lakes to the Gulf—the wounds of war healed in every heart as on every hill, serene and resplendent AT THE SUMMIT OF HUMAN ACHIEVEMENT AND EARTHLY GLORY, blazing out the path and making clear the way up which all the nations of the earth, must come in God's appointed time!
—Henry W. Grady, The Race Problem.
... I WOULD CALL HIM NAPOLEON, but Napoleon made his way to empire over broken oaths and through a sea of blood. This man never broke his word. "No Retaliation" was his great motto and the rule of his life; AND THE LAST WORDS UTTERED TO HIS SON IN FRANCE WERE THESE: "My boy, you will one day go back to Santo Domingo; forget that France murdered your father." I WOULD CALL HIM CROMWELL, but Cromwell was only a soldier, and the state he founded went down with him into his grave. I WOULD CALL HIM WASHINGTON, but the great Virginian held slaves. THIS MAN RISKED HIS EMPIRE rather than permit the slave-trade in the humblest village of his dominions.
YOU THINK ME A FANATIC TO-NIGHT, for you read history, not with your eyes, BUT WITH YOUR PREJUDICES. But fifty years hence, when Truth gets a hearing, the Muse of History will put PHOCION for the Greek, and BRUTUS for the Roman, HAMPDEN for England, LAFAYETTE for France, choose WASHINGTON as the bright, consummate flower of our EARLIER civilization, AND JOHN BROWN the ripe fruit of our NOONDAY, then, dipping her pen in the sunlight, will write in the clear blue, above them all, the name of THE SOLDIER, THE STATESMAN, THE MARTYR, TOUSSAINT L'OUVERTURE.
—Wendell Phillips, Toussaint l'Ouverture.
Drill on the following selections for change of pitch: Beecher's "Abraham Lincoln," p. 76; Seward's "Irrepressible Conflict," p. 67; Everett's "History of Liberty," p. 78; Grady's "The Race Problem," p. 36; and Beveridge's "Pass Prosperity Around," p. 470.

CHAPTER V
EFFICIENCY THROUGH CHANGE OF PACE
Hear how he clears the points o' Faith
Wi' rattlin' an' thumpin'!
Now meekly calm, now wild in wrath,
He's stampin' an' he's jumpin'.

—Robert Burns, Holy Fair.
The Latins have bequeathed to us a word that has no precise equivalent in our tongue, therefore we have accepted it, body unchanged—it is the word tempo, and means rate of movement, as measured by the time consumed in executing that movement.
Thus far its use has been largely limited to the vocal and musical arts, but it would not be surprising to hear tempo applied to more concrete matters, for it perfectly illustrates the real meaning of the word to say that an ox-cart moves in slow tempo, an express train in a fast tempo. Our guns that fire six hundred times a minute, shoot at a fast tempo; the old muzzle loader that required three minutes to load, shot at a slow tempo. Every musician understands this principle: it requires longer to sing a half note than it does an eighth note.
Now tempo is a tremendously important element in good platform work, for when a speaker delivers a whole address at very nearly the same rate of speed he is depriving himself of one of his chief means of emphasis and power. The baseball pitcher, the bowler in cricket, the tennis server, all know the value of change of pace—change of tempo—in delivering their ball, and so must the public speaker observe its power.
Change of Tempo Lends Naturalness to the Delivery
Naturalness, or at least seeming naturalness, as was explained in the chapter on "Monotony," is greatly to be desired, and a continual change of tempo will go a long way towards establishing it. Mr. Howard Lindsay, Stage Manager for Miss Margaret Anglin, recently said to the present writer that change of pace was one of the most effective tools of the actor. While it must be admitted that the stilted mouthings of many actors indicate cloudy mirrors, still the public speaker would do well to study the actor's use of tempo.
There is, however, a more fundamental and effective source at which to study naturalness—a trait which, once lost, is shy of recapture: that source is the common conversation of any well-bred circle. This is the standard we strive to reach on both stage and platform—with certain differences, of course, which will appear as we go on. If speaker and actor were to reproduce with absolute fidelity every variation of utterance—every whisper, grunt, pause, silence, and explosion—of conversation as we find it typically in everyday life, much of the interest would leave the public utterance. Naturalness in public address is something more than faithful reproduction of nature—it is the reproduction of those typical parts of nature's work which are truly representative of the whole.

The realistic story-writer understands this in writing dialogue, and we must take it into account in seeking for naturalness through change of tempo.
Suppose you speak the first of the following sentences in a slow tempo, the second quickly, observing how natural is the effect. Then speak both with the same rapidity and note the difference.
I can't recall what I did with my knife. Oh, now I remember I gave it to Mary.
We see here that a change of tempo often occurs in the same sentence—for tempo applies not only to single words, groups of words, and groups of sentences, but to the major parts of a public speech as well.
QUESTIONS AND EXERCISES
1. In the following, speak the words "long, long while" very slowly; the rest of the sentence is spoken in moderately rapid tempo.
When you and I behind the Veil are past,
Oh but the long, long while the world shall last,
Which of our coming and departure heeds,
As the seven seas should heed a pebble cast.

Note: In the following selections the passages that should be given a fast tempo are in italics; those that should be given in a slow tempo are in small capitals. Practise these selections, and then try others, changing from fast to slow tempo on different parts, carefully noting the effect.
2. No MIRABEAU, NAPOLEON, BURNS, CROMWELL, NO man ADEQUATE to DO ANYTHING but is first of all in RIGHT EARNEST about it—what I call A SINCERE man. I should say SINCERITY, a GREAT, DEEP, GENUINE SINCERITY, is the first CHARACTERISTIC of a man in any way HEROIC. Not the sincerity that CALLS itself sincere. Ah no. That is a very poor matter indeed—A SHALLOW, BRAGGART, CONSCIOUS sincerity, oftenest SELF-CONCEIT mainly. The GREAT MAN'S SINCERITY is of a kind he CANNOT SPEAK OF. Is NOT CONSCIOUS of.—THOMAS CARLYLE.
3. TRUE WORTH is in BEING—NOT SEEMING—in doing each day that goes by SOME LITTLE GOOD, not in DREAMING of GREAT THINGS to do by and by. For whatever men say in their BLINDNESS, and in spite of the FOLLIES of YOUTH, there is nothing so KINGLY as KINDNESS, and nothing so ROYAL as TRUTH.—Anonymous.
4. To get a natural effect, where would you use slow and where fast tempo in the following?
FOOL'S GOLD
See him there, cold and gray,
Watch him as he tries to play;
No, he doesn't know the way—
He began to learn too late.
She's a grim old hag, is Fate,
For she let him have his pile,
Smiling to herself the while,
Knowing what the cost would be,
When he'd found the Golden Key.
Multimillionaire is he,
Many times more rich than we;
But at that I wouldn't trade
With the bargain that he made.
Came here many years ago,
Not a person did he know;
Had the money-hunger bad—
Mad for money, piggish mad;
Didn't let a joy divert him,
Didn't let a sorrow hurt him,
Let his friends and kin desert him,
While he planned and plugged and hurried

On his quest for gold and power.
Every single wakeful hour
With a money thought he'd dower;
All the while as he grew older,
And grew bolder, he grew colder.
And he thought that some day
He would take the time to play;
But, say—he was wrong.
Life's a song;
In the spring
Youth can sing and can fling;
But joys wing
When we're older,
Like birds when it's colder.
The roses were red as he went rushing by,
And glorious tapestries hung in the sky,
And the clover was waving
'Neath honey-bees' slaving;
A bird over there
Roundelayed a soft air;
But the man couldn't spare
Time for gathering flowers,
Or resting in bowers,
Or gazing at skies
That gladdened the eyes.
So he kept on and swept on
Through mean, sordid years.
Now he's up to his ears
In the choicest of stocks.
He owns endless blocks
Of houses and shops,
And the stream never stops
Pouring into his banks.
I suppose that he ranks
Pretty near to the top.
What I have wouldn't sop
His ambition one tittle;
And yet with my little
I don't care to trade

With the bargain he made.
Just watch him to-day—
See him trying to play.
He's come back for blue skies.
But they're in a new guise—
Winter's here, all is gray,
The birds are away,
The meadows are brown,
The leaves lie aground,
And the gay brook that wound
With a swirling and whirling
Of waters, is furling
Its bosom in ice.
And he hasn't the price,
With all of his gold,
To buy what he sold.
He knows now the cost
Of the spring-time he lost,
Of the flowers he tossed
From his way,
And, say,
He'd pay
Any price if the day
Could be made not so gray.
He can't play.

—Herbert Kaufman. Used by permission of Everybody's Magazine.
Change of Tempo Prevents Monotony
The canary in the cage before the window is adding to the beauty and charm of his singing by a continual change of tempo. If King Solomon had been an orator he undoubtedly would have gathered wisdom from the song of the wild birds as well as from the bees. Imagine a song written with but quarter notes. Imagine an auto with only one speed.

EXERCISES
1. Note the change of tempo indicated in the following, and how it gives a pleasing variety. Read it aloud. (Fast tempo is indicated by italics, slow by small capitals.)
And he thought that some day he would take the time to play; but, say—HE WAS WRONG. LIFE'S A SONG; in the SPRING YOUTH can SING and can FLING; BUT JOYS WING WHEN WE'RE OLDER, LIKE THE BIRDS when it's COLDER. The roses were red as he went rushing by, and glorious tapestries hung in the sky.
2. Turn to "Fools Gold," on Page 42, and deliver it in an unvaried tempo: note how monotonous is the result. This poem requires a great many changes of tempo, and is an excellent one for practise.
3. Use the changes of tempo indicated in the following, noting how they prevent monotony. Where no change of tempo is indicated, use a moderate speed. Too much of variety would really be a return to monotony.
THE MOB
"A MOB KILLS THE WRONG MAN" was flashed in a newspaper headline lately. The mob is an IRRESPONSIBLE, UNTHINKING MASS. It always destroys BUT NEVER CONSTRUCTS. It criticises BUT NEVER CREATES.
Utter a great truth AND THE MOB WILL HATE YOU. See how it condemned DANTE to EXILE. Encounter the dangers of the unknown world for its benefit, AND THE MOB WILL DECLARE YOU CRAZY. It ridiculed COLUMBUS, and for discovering a new world GAVE HIM PRISON AND CHAINS.
Write a poem to thrill human hearts with pleasure, AND THE MOB WILL ALLOW YOU TO GO HUNGRY: THE BLIND HOMER BEGGED BREAD THROUGH THE STREETS. Invent a machine to save labor AND THE MOB WILL DECLARE YOU ITS ENEMY. Less than a hundred years ago a furious rabble smashed Thimonier's invention, the sewing machine.
BUILD A STEAMSHIP TO CARRY MERCHANDISE AND ACCELERATE TRAVEL and the mob will call you a fool. A MOB LINED THE SHORES OF THE HUDSON RIVER TO LAUGH AT THE MAIDEN ATTEMPT OF "FULTON'S FOLLY," as they called his little steamboat.
Emerson says: "A mob is a society of bodies voluntarily bereaving themselves of reason and traversing its work. The mob is man voluntarily descended to the nature of the beast. Its fit hour of activity is NIGHT. ITS ACTIONS ARE INSANE, like its whole constitution. It persecutes a principle—IT WOULD WHIP A RIGHT. It would tar and feather justice by inflicting fire and outrage upon the house and persons of those who have these."
The mob spirit stalks abroad in our land today. Every week gives a fresh victim to its malignant cry for blood. There were 48 persons killed by mobs in the United States in 1913; 64 in 1912, and 71 in 1911. Among the 48 last year were a woman and a child. Two victims were proven innocent after their death.
IN 399 B.C. A DEMAGOG APPEALED TO THE POPULAR MOB TO HAVE SOCRATES PUT TO DEATH and he was sentenced to the hemlock cup. FOURTEEN HUNDRED YEARS AFTERWARD AN ENTHUSIAST APPEALED TO THE POPULAR MOB and all Europe plunged into the Holy Land to kill and mangle the heathen. In the seventeenth century a demagog appealed to the ignorance of men AND TWENTY PEOPLE WERE EXECUTED AT SALEM, MASS., WITHIN SIX MONTHS FOR WITCHCRAFT. Two thousand years ago the mob yelled, "RELEASE UNTO US BARABBAS"—AND BARABBAS WAS A MURDERER!
—From an Editorial by D.C. in "Leslie's Weekly," by permission.
Present-day business is as unlike OLD-TIME BUSINESS as the OLD-TIME OX-CART is unlike the present-day locomotive. INVENTION has made the whole world over again. The railroad, telegraph, telephone have bound the people of MODERN NATIONS into FAMILIES. To do the business of these closely knit millions in every modern country GREAT BUSINESS CONCERNS CAME INTO BEING. What we call big business is the CHILD OF THE ECONOMIC PROGRESS OF MANKIND. So warfare to destroy big business is FOOLISH BECAUSE IT CAN NOT SUCCEED and wicked BECAUSE IT OUGHT NOT TO SUCCEED. Warfare to destroy big business does not hurt big business, which always comes out on top, SO MUCH AS IT HURTS ALL OTHER BUSINESS WHICH, IN SUCH A WARFARE, NEVER COME OUT ON TOP.—A.J. Beveridge.

Change of Tempo Produces Emphasis
Any big change of tempo is emphatic and will catch the attention. You may scarcely be conscious that a passenger train is moving when it is flying over the rails at ninety miles an hour, but if it slows down very suddenly to a ten-mile gait your attention will be drawn to it very decidedly. You may forget that you are listening to music as you dine, but let the orchestra either increase or diminish its tempo in a very marked degree and your attention will be arrested at once.
This same principle will procure emphasis in a speech. If you have a point that you want to bring home to your audience forcefully, make a sudden and great change of tempo, and they will be powerless to keep from paying attention to that point. Recently the present writer saw a play in which these lines were spoken:
"I don't want you to forget what I said. I want you to remember it the longest day you—I don't care if you've got six guns." The part up to the dash was delivered in a very slow tempo, the remainder was named out at lightning speed, as the character who was spoken to drew a revolver. The effect was so emphatic that the lines are remembered six months afterwards, while most of the play has faded from memory. The student who has powers of observation will see this principle applied by all our best actors in their efforts to get emphasis where emphasis is due. But remember that the emotion in the matter must warrant the intensity in the manner, or the effect will be ridiculous. Too many public speakers are impressive over nothing.

Thought rather than rules must govern you while practising change of pace. It is often a matter of no consequence which part of a sentence is spoken slowly and which is given in fast tempo. The main thing to be desired is the change itself. For example, in the selection, "The Mob," on page 46, note the last paragraph. Reverse the instructions given, delivering everything that is marked for slow tempo, quickly; and everything that is marked for quick tempo, slowly. You will note that the force or meaning of the passage has not been destroyed.
However, many passages cannot be changed to a slow tempo without destroying their force. Instances: The Patrick Henry speech on page 110, and the following passage from Whittier's "Barefoot Boy."
O for boyhood's time of June, crowding years in one brief moon, when all things I heard or saw, me, their master, waited for. I was rich in flowers and trees, humming-birds and honey-bees; for my sport the squirrel played; plied the snouted mole his spade; for my taste the blackberry cone purpled over hedge and stone; laughed the brook for my delight through the day and through the night, whispering at the garden wall, talked with me from fall to fall; mine the sand-rimmed pickerel pond; mine the walnut slopes beyond; mine, an bending orchard trees, apples of Hesperides! Still, as my horizon grew, larger grew my riches, too; all the world I saw or knew seemed a complex Chinese toy, fashioned for a barefoot boy!—J.G. Whittier.
Be careful in regulating your tempo not to get your movement too fast. This is a common fault with amateur speakers. Mrs. Siddons rule was, "Take time." A hundred years ago there was used in medical circles a preparation known as "the shot gun remedy;" it was a mixture of about fifty different ingredients, and was given to the patient in the hope that at least one of them would prove efficacious! That seems a rather poor scheme for medical practice, but it is good to use "shot gun" tempo for most speeches, as it gives a variety. Tempo, like diet, is best when mixed.
QUESTIONS AND EXERCISES
1. Define tempo.
2. What words come from the same root?
3. What is meant by a change of tempo?
4. What effects are gained by it?
5. Name three methods of destroying monotony and gaining force in speaking.
6. Note the changes of tempo in a conversation or speech that you hear. Were they well made? Why? Illustrate.
7. Read selections on pages 34, 35, 36, 37, and 38, paying careful attention to change of tempo.
8. As a rule, excitement, joy, or intense anger take a fast tempo, while sorrow, and sentiments of great dignity or solemnity tend to a slow tempo. Try to deliver Lincoln's Gettysburg speech (page 50), in a fast tempo, or Patrick Henry's speech (page 110), in a slow tempo, and note how ridiculous the effect will be.
Practise the following selections, noting carefully where the tempo may be changed to advantage. Experiment, making numerous changes. Which one do you like best?

DEDICATION OF GETTYSBURG CEMETERY
Fourscore and seven years ago, our fathers brought forth upon this continent a new nation, conceived in liberty and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation—or any nation so conceived and so dedicated—can long endure.
We are met on a great battlefield of that war. We are met to dedicate a portion of it as the final resting-place of those who have given their lives that that nation might live. It is altogether fitting and proper that we should do this.
But, in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow, this ground. The brave men, living and dead, who struggled here, have consecrated it, far above our power to add or to detract. The world will very little note nor long remember what we say here; but it can never forget what they did here.
It is for us, the living, rather, to be dedicated here to the unfinished work they have thus far so nobly carried on. It is rather for us to be here dedicated to the great task remaining before us: that from these honored dead we take increased devotion to that cause for which they here gave the last full measure of devotion; that we here highly resolve that these dead shall not have died in vain; that the nation shall, under God, have a new birth of freedom, and that government of the people, by the people, for the people, shall not perish from the earth.
—Abraham Lincoln.
A PLEA FOR CUBA
[This deliberative oration was delivered by Senator Thurston in the United States Senate on March 24, 1898. It is recorded in full in the Congressional Record of that date. Mrs. Thurston died in Cuba. As a dying request she urged her husband, who was investigating affairs in the island, to do his utmost to induce the United States to intervene—hence this oration.]
Mr. President, I am here by command of silent lips to speak once and for all upon the Cuban situation. I shall endeavor to be honest, conservative, and just. I have no purpose to stir the public passion to any action not necessary and imperative to meet the duties and necessities of American responsibility, Christian humanity, and national honor. I would shirk this task if I could, but I dare not. I cannot satisfy my conscience except by speaking, and speaking now.
I went to Cuba firmly believing that the condition of affairs there had been greatly exaggerated by the press, and my own efforts were directed in the first instance to the attempted exposure of these supposed exaggerations. There has undoubtedly been much sensationalism in the journalism of the time, but as to the condition of affairs in Cuba, there has been no exaggeration, because exaggeration has been impossible.
Under the inhuman policy of Weyler not less than four hundred thousand self-supporting, simple, peaceable, defenseless country people were driven from their homes in the agricultural portions of the Spanish provinces to the cities, and imprisoned upon the barren waste outside the residence portions of these cities and within the lines of intrenchment established a little way beyond. Their humble homes were burned, their fields laid waste, their implements of husbandry destroyed, their live stock and food supplies for the most part confiscated. Most of the people were old men, women, and children. They were thus placed in hopeless imprisonment, without shelter or food. There was no work for them in the cities to which they were driven. They were left with nothing to depend upon except the scanty charity of the inhabitants of the cities and with slow starvation their inevitable fate....
The pictures in the American newspapers of the starving reconcentrados are true. They can all be duplicated by the thousands. I never before saw, and please God I may never again see, so deplorable a sight as the reconcentrados in the suburbs of Matanzas. I can never forget to my dying day the hopeless anguish in their despairing eyes. Huddled about their little bark huts, they raised no voice of appeal to us for alms as we went among them....
Men, women, and children stand silent, famishing with hunger. Their only appeal comes from their sad eyes, through which one looks as through an open window into their agonizing souls.
The government of Spain has not appropriated and will not appropriate one dollar to save these people. They are now being attended and nursed and administered to by the charity of the United States. Think of the spectacle! We are feeding these citizens of Spain; we are nursing their sick; we are saving such as can be saved, and yet there are those who still say it is right for us to send food, but we must keep hands off. I say that the time has come when muskets ought to go with the food.
We asked the governor if he knew of any relief for these people except through the charity of the United States. He did not. We asked him, "When do you think the time will come that these people can be placed in a position of self-support?" He replied to us, with deep feeling, "Only the good God or the great government of the United States will answer that question." I hope and believe that the good God by the great government of the United States will answer that question.
I shall refer to these horrible things no further. They are there. God pity me, I have seen them; they will remain in my mind forever—and this is almost the twentieth century. Christ died nineteen hundred years ago, and Spain is a Christian nation. She has set up more crosses in more lands, beneath more skies, and under them has butchered more people than all the other nations of the earth combined. Europe may tolerate her existence as long as the people of the Old World wish. God grant that before another Christmas morning the last vestige of Spanish tyranny and oppression will have vanished from the Western Hemisphere!...
The time for action has come. No greater reason for it can exist to-morrow than exists to-day. Every hour's delay only adds another chapter to the awful story of misery and death. Only one power can intervene—the United States of America. Ours is the one great nation in the world, the mother of American republics. She holds a position of trust and responsibility toward the peoples and affairs of the whole Western Hemisphere. It was her glorious example which inspired the patriots of Cuba to raise the flag of liberty in her eternal hills. We cannot refuse to accept this responsibility which the God of the universe has placed upon us as the one great power in the New World. We must act! What shall our action be?
Against the intervention of the United States in this holy cause there is but one voice of dissent; that voice is the voice of the money-changers. They fear war! Not because of any Christian or ennobling sentiment against war and in favor of peace, but because they fear that a declaration of war, or the intervention which might result in war, would have a depressing effect upon the stock market. Let them go. They do not represent American sentiment; they do not represent American patriotism. Let them take their chances as they can. Their weal or woe is of but little importance to the liberty-loving people of the United States. They will not do the fighting; their blood will not flow; they will keep on dealing in options on human life. Let the men whose loyalty is to the dollar stand aside while the men whose loyalty is to the flag come to the front.
Mr. President, there is only one action possible, if any is taken; that is, intervention for the independence of the island. But we cannot intervene and save Cuba without the exercise of force, and force means war; war means blood. The lowly Nazarene on the shores of Galilee preached the divine doctrine of love, "Peace on earth, good will toward men." Not peace on earth at the expense of liberty and humanity. Not good will toward men who despoil, enslave, degrade, and starve to death their fellow-men. I believe in the doctrine of Christ. I believe in the doctrine of peace; but, Mr. President, men must have liberty before there can come abiding peace.
Intervention means force. Force means war. War means blood. But it will be God's force. When has a battle for humanity and liberty ever been won except by force? What barricade of wrong, injustice, and oppression has ever been carried except by force?
Force compelled the signature of unwilling royalty to the great Magna Charta; force put life into the Declaration of Independence and made effective the Emancipation Proclamation; force beat with naked hands upon the iron gateway of the Bastile and made reprisal in one awful hour for centuries of kingly crime; force waved the flag of revolution over Bunker Hill and marked the snows of Valley Forge with blood-stained feet; force held the broken line of Shiloh, climbed the flame-swept hill at Chattanooga, and stormed the clouds on Lookout Heights; force marched with Sherman to the sea, rode with Sheridan in the valley of the Shenandoah, and gave Grant victory at Appomattox; force saved the Union, kept the stars in the flag, made "niggers" men. The time for God's force has come again. Let the impassioned lips of American patriots once more take up the song:—
"In the beauty of the lilies, Christ was born across the sea.
With a glory in His bosom that transfigures you and me;
As He died to make men holy, let us die to make men free.
While God is marching on."

Others may hesitate, others may procrastinate, others may plead for further diplomatic negotiation, which means delay; but for me, I am ready to act now, and for my action I am ready to answer to my conscience, my country, and my God.
—James Mellen Thurston.

CHAPTER VI
PAUSE AND POWER
The true business of the literary artist is to plait or weave his meaning, involving it around itself; so that each sentence, by successive phrases, shall first come into a kind of knot, and then, after a moment of suspended meaning, solve and clear itself.
—George Saintsbury, on English Prose
Style, in Miscellaneous Essays.
... pause ... has a distinctive value, expressed in silence; in other words, while the voice is waiting, the music of the movement is going on ... To manage it, with its delicacies and compensations, requires that same fineness of ear on which we must depend for all faultless prose rhythm. When there is no compensation, when the pause is inadvertent ... there is a sense of jolting and lack, as if some pin or fastening had fallen out.
—John Franklin Genung, The Working Principles of Rhetoric.
Pause, in public speech, is not mere silence—it is silence made designedly eloquent.
When a man says: "I-uh-it is with profound-ah-pleasure that-er-I have been permitted to speak to you tonight and-uh-uh-I should say-er"—that is not pausing; that is stumbling. It is conceivable that a speaker may be effective in spite of stumbling—but never because of it.
On the other hand, one of the most important means of developing power in public speaking is to pause either before or after, or both before and after, an important word or phrase. No one who would be a forceful speaker can afford to neglect this principle—one of the most significant that has ever been inferred from listening to great orators. Study this potential device until you have absorbed and assimilated it.
It would seem that this principle of rhetorical pause ought to be easily grasped and applied, but a long experience in training both college men and maturer speakers has demonstrated that the device is no more readily understood by the average man when it is first explained to him than if it were spoken in Hindoostani. Perhaps this is because we do not eagerly devour the fruit of experience when it is impressively set before us on the platter of authority; we like to pluck fruit for ourselves—it not only tastes better, but we never forget that tree! Fortunately, this is no difficult task, in this instance, for the trees stand thick all about us.
One man is pleading the cause of another:
"This man, my friends, has made this wonderful sacrifice—for you and me."
Did not the pause surprisingly enhance the power of this statement? See how he gathered up reserve force and impressiveness to deliver the words "for you and me." Repeat this passage without making a pause. Did it lose in effectiveness?
Naturally enough, during a premeditated pause of this kind the mind of the speaker is concentrated on the thought to which he is about to give expression. He will not dare to allow his thoughts to wander for an instant—he will rather supremely center his thought and his emotion upon the sacrifice whose service, sweetness and divinity he is enforcing by his appeal.
Concentration, then, is the big word here—no pause without it can perfectly hit the mark.
Efficient pausing accomplishes one or all of four results:
1. Pause Enables the Mind of the Speaker to Gather His Forces Before Delivering the Final Volley
It is often dangerous to rush into battle without pausing for preparation or waiting for recruits. Consider Custer's massacre as an instance.
You can light a match by holding it beneath a lens and concentrating the sun's rays. You would not expect the match to flame if you jerked the lens back and forth quickly. Pause, and the lens gathers the heat. Your thoughts will not set fire to the minds of your hearers unless you pause to gather the force that comes by a second or two of concentration. Maple trees and gas wells are rarely tapped continually; when a stronger flow is wanted, a pause is made, nature has time to gather her reserve forces, and when the tree or the well is reopened, a stronger flow is the result.
Use the same common sense with your mind. If you would make a thought particularly effective, pause just before its utterance, concentrate your mind-energies, and then give it expression with renewed vigor. Carlyle was right: "Speak not, I passionately entreat thee, till thy thought has silently matured itself. Out of silence comes thy strength. Speech is silvern, Silence is golden; Speech is human, Silence is divine."

Silence has been called the father of speech. It should be. Too many of our public speeches have no fathers. They ramble along without pause or break. Like Tennyson's brook, they run on forever. Listen to little children, the policeman on the corner, the family conversation around the table, and see how many pauses they naturally use, for they are unconscious of effects. When we get before an audience, we throw most of our natural methods of expression to the wind, and strive after artificial effects. Get back to the methods of nature—and pause.
2. Pause Prepares the Mind of the Auditor to Receive Your Message
Herbert Spencer said that all the universe is in motion. So it is—and all perfect motion is rhythm. Part of rhythm is rest. Rest follows activity all through nature. Instances: day and night; spring—summer—autumn—winter; a period of rest between breaths; an instant of complete rest between heart beats. Pause, and give the attention-powers of your audience a rest. What you say after such a silence will then have a great deal more effect.
When your country cousins come to town, the noise of a passing car will awaken them, though it seldom affects a seasoned city dweller. By the continual passing of cars his attention-power has become deadened. In one who visits the city but seldom, attention-value is insistent. To him the noise comes after a long pause; hence its power. To you, dweller in the city, there is no pause; hence the low attention-value. After riding on a train several hours you will become so accustomed to its roar that it will lose its attention-value, unless the train should stop for a while and start again. If you attempt to listen to a clock-tick that is so far away that you can barely hear it, you will find that at times you are unable to distinguish it, but in a few moments the sound becomes distinct again. Your mind will pause for rest whether you desire it to do so or not.
The attention of your audience will act in quite the same way. Recognize this law and prepare for it—by pausing. Let it be repeated: the thought that follows a pause is much more dynamic than if no pause had occurred. What is said to you of a night will not have the same effect on your mind as if it had been uttered in the morning when your attention had been lately refreshed by the pause of sleep. We are told on the first page of the Bible that even the Creative Energy of God rested on the "seventh day." You may be sure, then, that the frail finite mind of your audience will likewise demand rest. Observe nature, study her laws, and obey them in your speaking.
3. Pause Creates Effective Suspense
Suspense is responsible for a great share of our interest in life; it will be the same with your speech. A play or a novel is often robbed of much of its interest if you know the plot beforehand. We like to keep guessing as to the outcome. The ability to create suspense is part of woman's power to hold the other sex. The circus acrobat employs this principle when he fails purposely in several attempts to perform a feat, and then achieves it. Even the deliberate manner in which he arranges the preliminaries increases our expectation—we like to be kept waiting. In the last act of the play, "Polly of the Circus," there is a circus scene in which a little dog turns a backward somersault on the back of a running pony. One night when he hesitated and had to be coaxed and worked with a long time before he would perform his feat he got a great deal more applause than when he did his trick at once. We not only like to wait but we appreciate what we wait for. If fish bite too readily the sport soon ceases to be a sport.
It is this same principle of suspense that holds you in a Sherlock Holmes story—you wait to see how the mystery is solved, and if it is solved too soon you throw down the tale unfinished. Wilkie Collins' receipt for fiction writing well applies to public speech: "Make 'em laugh; make 'em weep; make 'em wait." Above all else make them wait; if they will not do that you may be sure they will neither laugh nor weep.
Thus pause is a valuable instrument in the hands of a trained speaker to arouse and maintain suspense. We once heard Mr. Bryan say in a speech: "It was my privilege to hear"—and he paused, while the audience wondered for a second whom it was his privilege to hear—"the great evangelist"—and he paused again; we knew a little more about the man he had heard, but still wondered to which evangelist he referred; and then he concluded: "Dwight L. Moody." Mr. Bryan paused slightly again and continued: "I came to regard him"—here he paused again and held the audience in a brief moment of suspense as to how he had regarded Mr. Moody, then continued—"as the greatest preacher of his day." Let the dashes illustrate pauses and we have the following:
"It was my privilege to hear—the great evangelist—Dwight L. Moody.—I came to regard him—as the greatest preacher of his day."
The unskilled speaker would have rattled this off with neither pause nor suspense, and the sentences would have fallen flat upon the audience. It is precisely the application of these small things that makes much of the difference between the successful and the unsuccessful speaker.
4. Pausing After An Important Idea Gives it Time to Penetrate
Any Missouri farmer will tell you that a rain that falls too fast will run off into the creeks and do the crops but little good. A story is told of a country deacon praying for rain in this manner: "Lord, don't send us any chunk floater. Just give us a good old drizzle-drazzle." A speech, like a rain, will not do anybody much good if it comes too fast to soak in. The farmer's wife follows this same principle in doing her washing when she puts the clothes in water—and pauses for several hours that the water may soak in. The physician puts cocaine on your turbinates—and pauses to let it take hold before he removes them. Why do we use this principle everywhere except in the communication of ideas? If you have given the audience a big idea, pause for a second or two and let them turn it over. See what effect it has. After the smoke clears away you may have to fire another 14-inch shell on the same subject before you demolish the citadel of error that you are trying to destroy. Take time. Don't let your speech resemble those tourists who try "to do" New York in a day. They spend fifteen minutes looking at the masterpieces in the Metropolitan Museum of Arts, ten minutes in the Museum of Natural History, take a peep into the Aquarium, hurry across the Brooklyn Bridge, rush up to the Zoo, and back by Grant's Tomb—and call that "Seeing New York." If you hasten by your important points without pausing, your audience will have just about as adequate an idea of what you have tried to convey.
Take time, you have just as much of it as our richest multimillionaire. Your audience will wait for you. It is a sign of smallness to hurry. The great redwood trees of California had burst through the soil five hundred years before Socrates drank his cup of hemlock poison, and are only in their prime today. Nature shames us with our petty haste. Silence is one of the most eloquent things in the world. Master it, and use it through pause.
In the following selections dashes have been inserted where pauses may be used effectively. Naturally, you may omit some of these and insert others without going wrong—one speaker would interpret a passage in one way, one in another; it is largely a matter of personal preference. A dozen great actors have played Hamlet well, and yet each has played the part differently. Which comes the nearest to perfection is a question of opinion. You will succeed best by daring to follow your own course—if you are individual enough to blaze an original trail.
A moment's halt—a momentary taste of being from the well amid the waste—and lo! the phantom caravan has reached—the nothing it set out from—Oh make haste!
The worldly hope men set their hearts upon—turns ashes—or it prospers;—and anon like snow upon the desert's dusty face—lighting a little hour or two—is gone.
The bird of time has but a little way to flutter,—and the bird is on the wing.
You will note that the punctuation marks have nothing to do with the pausing. You may run by a period very quickly and make a long pause where there is no kind of punctuation. Thought is greater than punctuation. It must guide you in your pauses.
A book of verses underneath the bough,—a jug of wine, a loaf of bread—and thou beside me singing in the wilderness—Oh—wilderness were paradise enow.
You must not confuse the pause for emphasis with the natural pauses that come through taking breath and phrasing. For example, note the pauses indicated in this selection from Byron:
But hush!—hark!—that deep sound breaks in once more,
And nearer!—clearer!—deadlier than before.
Arm, ARM!—it is—it is the cannon's opening roar!

It is not necessary to dwell at length upon these obvious distinctions. You will observe that in natural conversation our words are gathered into clusters or phrases, and we often pause to take breath between them. So in public speech, breathe naturally and do not talk until you must gasp for breath; nor until the audience is equally winded.
A serious word of caution must here be uttered: do not overwork the pause. To do so will make your speech heavy and stilted. And do not think that pause can transmute commonplace thoughts into great and dignified utterance. A grand manner combined with insignificant ideas is like harnessing a Hambletonian with an ass. You remember the farcical old school declamation, "A Midnight Murder," that proceeded in grandiose manner to a thrilling climax, and ended—"and relentlessly murdered—a mosquito!"
The pause, dramatically handled, always drew a laugh from the tolerant hearers. This is all very well in farce, but such anti-climax becomes painful when the speaker falls from the sublime to the ridiculous quite unintentionally. The pause, to be effective in some other manner than in that of the boomerang, must precede or follow a thought that is really worth while, or at least an idea whose bearing upon the rest of the speech is important.
William Pittenger relates in his volume, "Extempore Speech," an instance of the unconsciously farcical use of the pause by a really great American statesman and orator. "He had visited Niagara Falls and was to make an oration at Buffalo the same day, but, unfortunately, he sat too long over the wine after dinner. When he arose to speak, the oratorical instinct struggled with difficulties, as he declared, 'Gentlemen, I have been to look upon your mag—mag—magnificent cataract, one hundred—and forty—seven—feet high! Gentlemen, Greece and Rome in their palmiest days never had a cataract one hundred—and forty—seven—feet high!'"
QUESTIONS AND EXERCISES
1. Name four methods for destroying monotony and gaining power in speaking.
2. What are the four special effects of pause?
3. Note the pauses in a conversation, play, or speech. Were they the best that could have been used? Illustrate.
4. Read aloud selections on pages 50-54, paying special attention to pause.
5. Read the following without making any pauses. Reread correctly and note the difference:
Soon the night will pass; and when, of the Sentinel on the ramparts of Liberty the anxious ask: | "Watchman, what of the night?" his answer will be | "Lo, the morn appeareth."
Knowing the price we must pay, | the sacrifice | we must make, | the burdens | we must carry, | the assaults | we must endure, | knowing full well the cost, | yet we enlist, and we enlist | for the war. | For we know the justice of our cause, | and we know, too, its certain triumph. |
Not reluctantly, then, | but eagerly, | not with faint hearts, | but strong, do we now advance upon the enemies of the people. | For the call that comes to us is the call that came to our fathers. | As they responded, so shall we.
"He hath sounded forth a trumpet | that shall never call retreat,
He is sifting out the hearts of men | before His judgment seat.
Oh, be swift | our souls to answer Him, | be jubilant our feet,
Our God | is marching on."

—Albert J. Beveride, From his speech as temporary chairman of Progressive National Convention, Chicago, 1912.
6. Bring out the contrasting ideas in the following by using the pause:
Contrast now the circumstances of your life and mine, gently and with temper, Æschines; and then ask these people whose fortune they would each of them prefer. You taught reading, I went to school: you performed initiations, I received them: you danced in the chorus, I furnished it: you were assembly-clerk, I was a speaker: you acted third parts, I heard you: you broke down, and I hissed: you have worked as a statesman for the enemy, I for my country. I pass by the rest; but this very day I am on my probation for a crown, and am acknowledged to be innocent of all offence; while you are already judged to be a pettifogger, and the question is, whether you shall continue that trade, or at once be silenced by not getting a fifth part of the votes. A happy fortune, do you see, you have enjoyed, that you should denounce mine as miserable!
—Demosthenes.
7. After careful study and practice, mark the pauses in the following:
The past rises before me like a dream. Again we are in the great struggle for national life. We hear the sounds of preparation—the music of the boisterous drums, the silver voices of heroic bugles. We see thousands of assemblages, and hear the appeals of orators; we see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers. We lose sight of them no more. We are with them when they enlist in the great army of freedom. We see them part from those they love. Some are walking for the last time in quiet woody places with the maiden they adore. We hear the whisperings and the sweet vows of eternal love as they lingeringly part forever. Others are bending over cradles, kissing babies that are asleep. Some are receiving the blessings of old men. Some are parting from those who hold them and press them to their hearts again and again, and say nothing; and some are talking with wives, and endeavoring with brave words spoken in the old tones to drive from their hearts the awful fear. We see them part. We see the wife standing in the door, with the babe in her arms—standing in the sunlight sobbing; at the turn of the road a hand waves—she answers by holding high in her loving hands the child. He is gone—and forever.
—Robert J. Ingersoll, to the Soldiers of Indianapolis.
8. Where would you pause in the following selections? Try pausing in different places and note the effect it gives.
The moving finger writes; and having writ moves on: nor all your piety nor wit shall lure it back to cancel half a line, nor all your tears wash out a word of it.
The history of womankind is a story of abuse. For ages men beat, sold, and abused their wives and daughters like cattle. The Spartan mother that gave birth to one of her own sex disgraced herself; the girl babies were often deserted in the mountains to starve; China bound and deformed their feet; Turkey veiled their faces; America denied them equal educational advantages with men. Most of the world still refuses them the right to participate in the government and everywhere women bear the brunt of an unequal standard of morality.
But the women are on the march. They are walking upward to the sunlit plains where the thinking people rule. China has ceased binding their feet. In the shadow of the Harem Turkey has opened a school for girls. America has given the women equal educational advantages, and America, we believe, will enfranchise them.
We can do little to help and not much to hinder this great movement. The thinking people have put their O.K. upon it. It is moving forward to its goal just as surely as this old earth is swinging from the grip of winter toward the spring's blossoms and the summer's harvest.[1]
9. Read aloud the following address, paying careful attention to pause wherever the emphasis may thereby be heightened.
THE IRREPRESSIBLE CONFLICT
... At last, the Republican party has appeared. It avows, now, as the Republican party of 1800 did, in one word, its faith and its works, "Equal and exact justice to all men." Even when it first entered the field, only half organized, it struck a blow which only just failed to secure complete and triumphant victory. In this, its second campaign, it has already won advantages which render that triumph now both easy and certain. The secret of its assured success lies in that very characteristic which, in the mouth of scoffers, constitutes its great and lasting imbecility and reproach. It lies in the fact that it is a party of one idea; but that is a noble one—an idea that fills and expands all generous souls; the idea of equality of all men before human tribunals and human laws, as they all are equal before the Divine tribunal and Divine laws.
I know, and you know, that a revolution has begun. I know, and all the world knows, that revolutions never go backward. Twenty senators and a hundred representatives proclaim boldly in Congress to-day sentiments and opinions and principles of freedom which hardly so many men, even in this free State, dared to utter in their own homes twenty years ago. While the government of the United States, under the conduct of the Democratic party, has been all that time surrendering one plain and castle after another to slavery, the people of the United States have been no less steadily and perseveringly gathering together the forces with which to recover back again all the fields and all the castles which have been lost, and to confound and overthrow, by one decisive blow, the betrayers of the Constitution and freedom forever.—W.H. Seward.
FOOTNOTES:
[1] From an editorial by D.C. in Leslie's Weekly, June 4, 1914. Used by permission.

CHAPTER VII
EFFICIENCY THROUGH INFLECTION
How soft the music of those village bells,
Falling at intervals upon the ear
In cadence sweet; now dying all away,
Now pealing loud again, and louder still,
Clear and sonorous, as the gale comes on!
With easy force it opens all the cells
Where Memory slept.

—William Cowper, The Task.
Herbert Spencer remarked that "Cadence"—by which he meant the modulation of the tones of the voice in speaking—"is the running commentary of the emotions upon the propositions of the intellect." How true this is will appear when we reflect that the little upward and downward shadings of the voice tell more truly what we mean than our words. The expressiveness of language is literally multiplied by this subtle power to shade the vocal tones, and this voice-shading we call inflection.
The change of pitch within a word is even more important, because more delicate, than the change of pitch from phrase to phrase. Indeed, one cannot be practised without the other. The bare words are only so many bricks—inflection will make of them a pavement, a garage, or a cathedral. It is the power of inflection to change the meaning of words that gave birth to the old saying: "It is not so much what you say, as how you say it."
Mrs. Jameson, the Shakespearean commentator, has given us a penetrating example of the effect of inflection; "In her impersonation of the part of Lady Macbeth, Mrs. Siddons adopted successively three different intonations in giving the words 'We fail.' At first a quick contemptuous interrogation—'We fail?' Afterwards, with the note of admiration—'We fail,' an accent of indignant astonishment laying the principal emphasis on the word 'we'—'we fail.' Lastly, she fixed on what I am convinced is the true reading—We fail—with the simple period, modulating the voice to a deep, low, resolute tone which settles the issue at once as though she had said: 'If we fail, why then we fail, and all is over.'"
This most expressive element of our speech is the last to be mastered in attaining to naturalness in speaking a foreign language, and its correct use is the main element in a natural, flexible utterance of our native tongue. Without varied inflections speech becomes wooden and monotonous.
There are but two kinds of inflection, the rising and the falling, yet these two may be so shaded or so combined that they are capable of producing as many varieties of modulation as maybe illustrated by either one or two lines, straight or curved, thus:

Sharp rising

Long rising

Level

Long falling

Sharp falling

Sharp rising and falling

Sharp falling and rising

Hesitating

These may be varied indefinitely, and serve merely to illustrate what wide varieties of combination may be effected by these two simple inflections of the voice.
It is impossible to tabulate the various inflections which serve to express various shades of thought and feeling. A few suggestions are offered here, together with abundant exercises for practise, but the only real way to master inflection is to observe, experiment, and practise.
For example, take the common sentence, "Oh, he's all right." Note how a rising inflection may be made to express faint praise, or polite doubt, or uncertainty of opinion. Then note how the same words, spoken with a generally falling inflection may denote certainty, or good-natured approval, or enthusiastic praise, and so on.
In general, then, we find that a bending upward of the voice will suggest doubt and uncertainty, while a decided falling inflection will suggest that you are certain of your ground.
Students dislike to be told that their speeches are "not so bad," spoken with a rising inflection. To enunciate these words with a long falling inflection would indorse the speech rather heartily.
Say good-bye to an imaginary person whom you expect to see again tomorrow; then to a dear friend you never expect to meet again. Note the difference in inflection.
"I have had a delightful time," when spoken at the termination of a formal tea by a frivolous woman takes altogether different inflection than the same words spoken between lovers who have enjoyed themselves. Mimic the two characters in repeating this and observe the difference.

Note how light and short the inflections are in the following brief quotation from "Anthony the Absolute," by Samuel Mervin.
At Sea—March 28th.
This evening I told Sir Robert What's His Name he was a fool.
I was quite right in this. He is.
Every evening since the ship left Vancouver he has presided over the round table in the middle of the smoking-room. There he sips his coffee and liqueur, and holds forth on every subject known to the mind of man. Each subject is his subject. He is an elderly person, with a bad face and a drooping left eyelid.
They tell me that he is in the British Service—a judge somewhere down in Malaysia, where they drink more than is good for them.
Deliver the two following selections with great earnestness, and note how the inflections differ from the foregoing. Then reread these selections in a light, superficial manner, noting that the change of attitude is expressed through a change of inflection.
When I read a sublime fact in Plutarch, or an unselfish deed in a line of poetry, or thrill beneath some heroic legend, it is no longer fairyland—I have seen it matched.—Wendell Phillips.
Thought is deeper than all speech,
Feeling deeper than all thought;
Souls to souls can never teach
What unto themselves was taught.

—Cranch
It must be made perfectly clear that inflection deals mostly in subtle, delicate shading within single words, and is not by any means accomplished by a general rise or fall in the voice in speaking a sentence. Yet certain sentences may be effectively delivered with just such inflection. Try this sentence in several ways, making no modulation until you come to the last two syllables, as indicated,
And yet I told him dis-

--------------------------

(high)
|

|
tinctly.

-------------------------

(low)

tinctly.

-------------------------

|
(high)

And yet I told him dis-
|

-------------------------

(low)

Now try this sentence by inflecting the important words so as to bring out various shades of meaning. The first forms, illustrated above, show change of pitch within a single word; the forms you will work out for yourself should show a number of such inflections throughout the sentence.
One of the chief means of securing emphasis is to employ a long falling inflection on the emphatic words—that is, to let the voice fall to a lower pitch on an interior vowel sound in a word. Try it on the words "every," "eleemosynary," and "destroy."
Use long falling inflections on the italicized words in the following selection, noting their emphatic power. Are there any other words here that long falling inflections would help to make expressive?
ADDRESS IN THE DARTMOUTH COLLEGE CASE
This, sir, is my case. It is the case not merely of that humble institution; it is the case of every college in our land. It is more; it is the case of every eleemosynary institution throughout our country—of all those great charities founded by the piety of our ancestors to alleviate human misery and scatter blessings along the pathway of life. Sir, you may destroy this little institution—it is weak, it is in your hands