Your p.r.o.nunciation should be clear-cut and accurate. Avoid mouthing, lisping, hesitation, stammering, pedantry, omission of syllables, and suppression of final consonants.
Your delivery in public speaking should be simple, sincere, natural, varied, magnetic, earnest, forceful, attractive, energetic, animated, sympathetic, authoritative, dignified, direct, impressive, vivid, convincing, persuasive, zealous, enthusiastic, and inspiring. Avoid that which is timid, familiar, violent, cold, indifferent, unreal, artificial, dull, sing-song, hesitating, feeble, unconvincing, apathetic, monotonous, pompous, formal, arbitrary, flippant, ostentatious, drawling, or languid.
Your gesture should be graceful, appropriate, free, forceful, and natural. Avoid all gesture which is unmeaning, angular, abrupt, constrained, stilted, or amateurish.
Your facial expression should be varied, appropriate, pleasing, and impa.s.sioned. Avoid the unpleasant, immobile, and unvaried.
Let your standing position be manly, erect, easy, forceful, and impressive. Avoid that which is weak, shifting, stiff, inactive, and ungainly.
THE DRAMATIC ELEMENT IN SPEAKING
There is a well-defined prejudice against the importation of anything "theatrical" into the pulpit. The art of the actor is fundamentally different from the work of the preacher. At best the actor but represents, imitates, pretends, acts. The actor seems; the preacher is.
It is to be feared, however, that this prejudice has narrowed many preachers down to a pulpit style almost devoid of warmth and action. In their endeavor to avoid the dramatic and sensational, they have refined and subdued many of their most natural and effective means of expression. The function of preaching is not only to impart, but to persuade; and persuasion demands something more than an easy conversational style, an intellectual statement of facts, or the reading of a written message. The speaker must show in face, in eye, in arm, in the whole animated man, that he, himself, is moved, before he can hope successfully to persuade and inspire others.
The modified movements of ordinary conversation do not fulfil all the requirements of the preacher. These are necessary and adequate for the groundwork of the sermon, but for the supreme heights of pa.s.sionate appeal, when the soul of the preacher would, as it were, leap from its body in the endeavor to reach men, there must be intensified life and action--dramatic action.
It is difficult to conceive of a greater tribute to a public advocate than that paid to Wendell Phillips by George William Curtis:
"The divine energy of his conviction utterly possest him, and his
"Pure and eloquent blood Spoke in his cheek, and so distinctly wrought, That one might almost say his body thought.""
Poise is power, and reserve and repression are parts of the dignified office of the preacher, but carried too far may degenerate into weak and unproductive effort. Perfection of English style, rhetorical floridness, and profundity of thought will never wholly make up for lack of appropriate action in the work of persuading men.
The power of action alone is vividly ill.u.s.trated in the touch of the finger to the lips to invoke silence, or the pointing to the door to command one to leave the room. The preacher might often find it profitable to stand before a mirror and deliver his sermon exclusively in pantomime to test its power and efficacy.
The body must be disciplined and cultivated as a.s.siduously as the other instruments of the speaker. There is eloquence of att.i.tude and action no less than eloquence of voice and feeling. A preacher drawing himself up to his full height, with a significant gesture of the head, or with flashing eye pointing the finger of warning at his hearers, may rouse them from indifference when all other means fail.
Sixty years ago the Reverend William Russell emphasized the importance of visible expression. He said of the preacher:
"His outward manner, in att.i.tude and action, will be as various as his voice: he will evince the inspiration of appropriate feeling in the very posture of his frame; in uttering the language of adoration, the slow-moving, uplifted hand will bespeak the awe and solemnity which pervade his soul; in addressing his fellow men in the spirit of an amba.s.sador of Christ, the gentle yet earnest spirit of persuasive action will be evinced in the pleading hand and aspect; he will know, also, how to pa.s.s to the stern and authoritative mien of the reproved of sin; he will, on due occasions, indicate, in his kindling look, the rousing gesture, the mood of him who is empowered and commanded to summon forth all the energies of the human soul; his subdued and chastened address will carry the sympathy of his spirit into the bosom of the mourner; his moistening eye and his gentle action will manifest his tenderness for the suffering: his whole soul will, in a word, become legible in his features, in his att.i.tude, in the expressive eloquence of his hand; his whole style will be felt to be that of heart communing with heart."
Dramatic action gives picturesqueness to the spoken word. It makes things vivid to slow imaginations, and by contrast invests the speaker"s message with new meaning and vitality. It discloses, too, the speaker"s sympathy and identification with his subject. His thought and feeling, communicating themselves to voice and face, to hand and arm, to posture and walk, satisfy and impress the hearer by a sense of adequacy and completeness.
Henry Ward Beecher, a conspicuous example of the dramatic style in preaching, was drilled for three years, while at college, in voice-culture, gesture, and action. His daily practise in the woods, during which he exploded all the vowels from the bottom to the top of his voice, gave him not only a wonderfully responsive and flexible instrument, but a freedom of bodily movement that made him one of the most vigorous and virile of American preachers. He was in the highest sense a persuasive pulpit orator.
A sensible preacher will avoid the grotesque and the extremes of mere animal vivacity. Incessant gesture and action, undue emphasizing with hand and head, and all suggestion of self-sufficiency in att.i.tude or manner should be guarded against. All the various instruments of expression should be made ready and responsive for immediate use, but are to be employed with that taste and tact that characterize the well-balanced man. Too much action and long-continued emotional effort lose force, and unless the law of action and reaction is applied to the preaching of the sermon the attention of the congregation may snap and the desired effect be utterly destroyed.
The face as the mirror of the emotions is an important part of expression. The lips will betray determination, grief, sympathy, affection, or other feeling on the part of the speaker. The eyes, the most direct medium of psychic power, will flash in indignation, glisten in joy, or grow dim in sorrow. The brow will be elevated in surprise, or lowered in determination and perplexity.
The effectiveness of the whisper in preaching should not be overlooked.
If discreetly used it may serve to impress the hearer with the profundity and seriousness of the preacher"s message, or to arrest and bring back to the point of contact the wandering minds of a congregation.
To acquire emotional power and dramatic action the preacher should study the great dramatists. He should read them aloud with appropriate voice and movement. He should study children, and men, and nature. He should, perhaps, see the best actors, not to copy them, but in order that they may stimulate his taste and imagination.
CONVERSATION AND PUBLIC SPEAKING
The ideal style of public speaking is, with very little modification, the ideal of good conversation. The practical age in which we live demands a colloquial rather than an oratorical style of public speaking.
A man who has something to say in conversation usually has little difficulty in saying it. If he presents the facts he will speak convincingly; if he is deeply in earnest he will speak persuasively; and if he be an educated man his speech will have the unmistakable marks of culture and refinement.
In the conversation of well-bred children we find the most interesting and helpful ill.u.s.trations of unaffected speech. The exquisite modulation of the voice, the unstudied correctness of emphasis, and the sincerity and depth of feeling might well serve as a model for older speakers.
This study of conversation, both our own and that of others, offers daily opportunity for improvement in accuracy and fluency of speech, of fitting words to the mouth as well as to the thought, and of forming habits that will unconsciously disclose themselves in the larger work of public speaking. Care in conversation will guard the public speaker from inflated and unnatural tones, and restrain him from transgressing the laws of nature even in those parts of his speech demanding lofty and intensified treatment.
Some easily remembered suggestions regarding conversation are these:
1. p.r.o.nounce your words distinctly and accurately, like "newly made coins" from the mint, but without pedantry.
2. Upon no occasion allow yourself to indulge in careless or incorrect speech.
3. Open the mouth well in conversation. Much indistinct speech is due to speaking through half-closed teeth.
4. Closely observe your conversation and that of others, to detect faults and to improve your speaking-style.
5. Vary your voice to suit the variety of your thought. A well-modulated voice demands appropriate changes of pitch, force, perspective, and feeling.
6. Avoid loud talking.
7. Take care of the consonants and the vowels will take care of themselves.
8. Cultivate the music of the conversational tones.
9. Favor the low pitches of your voice.
10. Remember that the purpose of conscious practise and observation in the matter of conversation is to lead ultimately to unconscious performance.
The value of correct conversation as a means to effective public speaking is realized by few men. Beecher said: "How much squandering there is of the voice!" meaning that this golden opportunity for improvement was generally disregarded. It is not too much to say, however, that if the sweet and gentle expression of the mother, the strong and affectionate tones of the father, and the spontaneous musical notes of the children, as heard in daily conversation, could be united in the voice of the minister and brought to the preaching of his sermon, there would be little doubt of its magical and enduring effect upon the hearts of men. The wooing tone of the lover is what the preacher needs in his pulpit style rather than the voice of declamation and denunciation.
The study of conversation serves to guide the public speaker not only in the free and natural use of his voice, enunciation, and expression, but also in his use of language. He will here learn to choose the simple word instead of the complex, the short sentence instead of the involved, the concrete ill.u.s.tration instead of the abstract. He will acquire ease, spontaneity, simplicity, and directness, and when he rises to speak to men he will employ tones and words best known and understood by them.
A preacher may spend too much time in study and solitude. If he does he will soon realize a distinct loss through lack of social intercourse with his fellow men. The faculties most needed in pulpit preaching are those very powers that are so largely exercised in ordinary conversation. The ability to think quickly, to marshal facts and arguments, to introduce a vivid story or ill.u.s.tration, to parry and thrust as is sometimes needed to hold one"s own ground, and the general mental activity aroused in conversation, all tend to produce an interesting, vivacious, and forceful style in public speaking.
We should not underestimate the value of meditation and silence to the public speaker. These are necessary for original and profound thinking, for the cultivation of the imagination, and for the acc.u.mulation of thought. But conversation offers an immediate outlet for this stored-up knowledge, testing it as a finished product in expression, and projecting it into life and reality by all the resources of voice and feeling. This exercise is as necessary to the mind as physical exercise is to the body. Indeed, a full mind demands this relief in expression, lest the strain become too great.
The daily newspaper and the magazines should not be allowed to usurp the place of conversation. If the art of talking is rapidly dying out, as some a.s.sert, we should do our share to revive it. We may not again have the wit and repartee, the brilliant intellectual combats of those other days, but we can at least each have a cultivated speaking-voice, an interesting manner of expressing our ideas in conversation, and a refined p.r.o.nunciation of our mother tongue.