your situation, told the necessary features of your story; you have convinced your audience that what you have been saying is valuable and true; you have come into perfect accord with your public. Now you may "scale the heights" in eulogy, or with a

direct appeal for action. When you feel confident that your address is having or is going to have a measurable influence upon the behavior of your hearers, you may safely, with a few well chosen words, "taper off" and sit down.

It is desirable to write into your outline the exact words of your conclusion, so that you may begin to memorize them even before you start to write out your manuscript.

Project. Pretend that yours is the sad duty of auctioning off your ancestral home. Construct a selling talk outlined somewhat according to the above model, write the manuscript, learn it, and deliver the talk to an imaginary group of 20 or 30 prospective buyers.

3. A Manuscript Needs Provisions, Visions, And Revisions.

We have emphasized as much as we dared the necessity of intelligent research, complete knowledge of the subject matter of the speech, and restrained prophetic outlook. We have emphasized, also, the need of diligent outlining before the manuscript is composed. Outlining will save time in composition, and recomposition. Every speech is important. Multiply the number of minutes which the delivery of your talk will require by the number of persons (including yourself) who will be in your audience; the result will be the number of minutes or hours of human attention which you have a chance to command. the occasion significant,

Make

Few first draft manuscripts are ready for use. Usually they need multiplied revision. It is wise to write each draft with an extra space between lines so that your revisions may be legible. Possibly you may get a new outlook upon the whole speech situation after you have written the first draft; so that, in all conscience, you should revise and rewrite your outline, then a new manuscript. Vachel Lindsay rewrote "The Congo" nineteen or twenty times. before he was ready to send it to the printer; it did not lose its singing quality in the process. Preachers who do not dump the contents of their "barrels" into the incinerator very frequently are partly responsible for the present disrepute of the profession. A New York preparatory school teacher said that he once heard Roosevelt give the same speech four times in one day in different parts of the City, and that Roosevelt each time at the same point of the speech broke down and wept. This should convince us that the address was, among other things, thoroughly and carefully prepared.

A manuscript should be legible. If you can decipher your own handwriting, that is only one test of its readability. Can your instructor read it? Can you read it with reckless abandon upon the platform? If not, buy a typewriter; it will be worth its weight in B's raised from C pluses.

Project. Start a speech on the merits of your favorite typewriter. Demonstrate with it on the platform. Your speech manuscript is in your own chicken spoor handwriting. You falter, stumble in your speech, peer at your manuscript, all but slink off the rostrum; then you sit before your typewriter, tap off two or three words onto an index card, tear up your manuscript, and complete your speech from your brief new notes with colors flying.

Chapter V

BODY-MIND-VOICE

A. SUPPRESSION, REPRESSION, EXPRESSION, IMPRESSION

1. Perhaps We Should Keep On Suppressing Suppressed Desires.

The vogue of the Austrian psychoanalytic emphasis struck this Country shortly before the World War began; and although we did not choose to declare war upon that Nation, a distinct prejudice developed against goods and ideas "Made In" Austria, an ally of Germany. Just as temperamental radicals tended to embrace embrace psychoanalysis, so did temperamental conservatives tend to try to suppress and repress the teachings of Freud and Jung. Whether a prospective public speaker be a convert or introvert or extrovert or whatever, he cannot afford to allow his atavistic tendencies to rule his speech performance. He must keep himself within bounds; he must learn to make the best of whatever quality of human nature he possesses. Just as he need not tell all he knows, for reasons of economy, so he need not always act just as he feels, for reasons of temperence. Every speech situation is different from all others; a speaker must be ethical, yet something of an opportunist.

Suppose you address frequently a particular audience which depresses and almost sickens you by its apathy. Should you "be yourself" if you can't help feeling like curling your lip, sneering, snorting, insulting, and bullying? Possibly you are unable to repress your tendencies entirely.

Perhaps you can find a way to divert or sublimate them, and get results beneficial for both your audience and yourself. The minister of a wealthy, fashionable, Brooklyn congregation confessed privately to a friend that his practice at eleven o'clock Sunday mornings was to ascend to a strategic position behind his carved oak pulpit, beam about upon the flinty faces before him, mutter inaudibly to himself as though to the congregation, "You think you know what I'm going to say before I say it, don't you? Well, you don't. You think I care what you think about me. Oh you down there, I don't give a hoot what you think about me; but you're going to pay attention while I tell you what I think about this text. The opening hymn is . . .'

Project. Read Susan Glaspell's play, "Suppressed Desires". Write a vivid synopsis of all except the last scene. Prepare a talk about the play, and conclude by giving a dramatic interpretive reading of the last scene. It will not be easy to enact the parts of all of the actors involved in the closing action; but you can do it if you lose your identity in those of the characters.

Read Eugene O'Neil's play, "Desire Under The Elms". Give a short talk, contrasting the purpose of this play with the purpose of "Suppressed Desires". You need spend little time explaining the plots. Your purpose is to bring out the high lights, to contrast, to intercept, and to explain what you mean.

2. Know When To Obey That Impulse.

Suppose that there is some bit of information or doctrine. or prejudice, or a message which you have been keeping to yourself for a long time. If you could put it into human activity it would mold the world a little closer to the heart's desire. You want very much to "tell the cockeyed world" all about it. There is nobody nearly so

well qualified to speak on just that subject as you are. The time is ripe. You are ready. You know the words, you have learned the music. You believe that it is possible to generate action out of the public. Obey that impulse.

Project. Make just such a talk to your club-mates. Take your choice of these or think up a better title: Who Is Going To Repair The Phonograph? We Need A New Cook, The Sophomores Are Neglecting the Freshmen, I Will Pay Five Dollars An Hour For A Good 'Cramming Session'

3. The Active Subject Requires An Object.

We have, possibly often enough, urged the prospective speaker to be objective. It is not sufficient for him to mount the platform along with a menagery of mannerisms and try to justify his conduct by avowing that he cannot be otherwise than just his honest-to-goodness, own, true self. A poet may write a masterpiece for his own eyes. alone; that is the privelege of one who serves art for art's sake. Sometimes a teacher feels like shouting at a selfengrossed limp and lifeless speaker, "Where have you been all this time? Have you forgotten US?" If the speaker must inflict an audience with "Just as I am . . he is incapable of influencing human conduct, for he is .. without one plea." The Lord help him. The audience won't.

It is more important for a speaker to free his whole being for unobstructed speech activity than it is for him to concentrate upon particular faults of himself or of others. Successful speech is one of the arts for life's sake.

Project. Discover in a library or second-hand bookstore or order from a wholesale book jobber, such as Baker and Taylor of New York, a copy of J. Edgar Park's "The Bad Results of Good Habits". Interpret and memorize the little essay, "The Grammar of Life". Deliver it as an