The ambitious student of speech culture, whether for use in conversation or in public, will do well to emulate the example of such great writers. One of the best ways to build a large vocabulary is to note useful and striking phrases in one's general reading. It is advisable to jot down such phrases in a note-book, and to read them aloud from time to time. Such phrases may be cla.s.sified according to their particular application,--to business, politics, music, education, literature, or the drama.

It is not recommended that such phrases should be consciously dragged into conversation, but the practice of carefully observing felicitous phrases, and of noting them in writing, cultivates the taste for better words and a sense of discrimination in their use. Many phrases noted and studied in this way will unconsciously find their way into one's expression.

The list of phrases which follows is offered as merely suggestive. In reading the phrases aloud it is well to think clearly what each one means, and to fit it into a sentence of one's own making. This simple exercise, practiced for a few weeks, will produce surprising results by way of increased facility and flexibility of English style.

It is obviously desirable I can well imagine Broadly speaking An admirable idea In a literal sense By sheer force of genius You can imagine his chagrin I hazard a guess It challenges belief He has an inscrutable face Very fertile in resource I am loath to believe It is essentially undignified Example is so contagious I am not in her confidence Taken in the aggregate It is a reproof to shallowness There is a misconception here I strongly suspect it so He was covered with confusion It was a just rebuke A pleasing instance of this It lends dignity to life She has a desultory liking for music It seems incredible A kind of detached ideal It blunts the finer sensibilities Beyond question or cavil A well-founded suspicion It has elicited great praise They are landmarks in memory Superhuman vigor and activity A venerable and interesting figure It is curious and interesting Gives the impression of aloofness Perfectly void of offence Regard with misgiving A stroke of professional luck An unscrupulous adventurer He spoke with extreme reticence Robust common sense Deficient in amiability Done with characteristic thoroughness A vein of philanthropic zeal Definite, tangible, and practical Too much effusive declamation A man of keen ambition It gives infinite zest Singular qualifications for public life They are bitterly hostile The despair of the official wire-puller Blind and unreasoning opponent Ign.o.ble strife for power Surrounded by a cohort of admiring friends In an imperative voice Marked by copiousness and vivacity Touched with sombre dignity A ridiculous misconception Habitual austerity of demeanor Ostentation and lavish expenditure A person of exquisite tact Intolerant of b.u.mptiousness The obvious danger of dallying This was grossly overstated A ma.s.s of calumny and exaggeration Inimical to religion Fraught with peril I venture to ask Attributed to mental decrepitude A strange phenomena It argues a blind faith Insatiable whirl of excitement A substratum of truth Under some conceivable circ.u.mstances Bubbling over with infectious joy Frigid dignity and arrogant reserve A profound contempt The fine art of hospitality Grim morsels of philosophy A tinge of sorrowness and jealousy Due to ignorance and barbarism Grave and monstrous scandal A splendid instance of self-devotion Amusingly exemplified in this case Recognized and powerful element A symbol of restraint An utterly fallacious idea In rapid and striking succession We learn from stern experience Pictures of an inspired imagination An astonishing outbreak Soothing words of sympathy A rather bold a.s.sertion The most enthusiastic adherents Mere tepid conviction Eminently qualified for the task Almost supernatural charm In glowing and exaggerated phrases Somewhat rich and austere An inexhaustible theme Grave and undeniable faults Perfectly chosen language All the characteristics of a mob Given to grandiloquent phrase Peculiar vein of sarcasm Froze like ice and cut like steel A generous tribute to an eminent rival Cold and stately composure Fiery and pa.s.sionate enthusiasm Extraordinary violence of nature A brilliant and delightful play Rare and striking combination Preeminently qualified for the part Moderate and cautious conservatism Daring perversions of justice Devoid of rhetorical device As a great thinker has observed Almost morbid sensitiveness Discreetly stifled yawn He was dumb with wonder Scarcely less familiar Delightfully characteristic It was a profound conviction Greatly conceived and expressed Blinded by its brightness I have cudgelled my memory Exposed to imminent peril Screening a breach of etiquette By a natural transition Splendid antic.i.p.ations of success A very laudable attempt Lapsed into complete oblivion With most distinguished success Like embarking on a sh.o.r.eless sea A really pretty imitation Unless I greatly err Undaunted by repeated failure Became a term of reproach An epoch-making achievement In the guise of verbal nonsense Received with cordial sympathy With the most obvious sincerity Held forth with fluency and zest Gracious solicitude Punctiliously civil and polite An air of sphinx-like mystery Consumed by zeal Awaited with lively interest Sledge-hammer blows against humbug This recalls a happy retort Preeminently a case in point Exquisite precision and finish Incomparably better informed A keen eye for incongruities Polite to the point of deference To the last degree improbable People with rampant prejudices A model of chivalrous propriety By way of digression A splendid acquisition Singularly attractive fashion A kind of unconscious conspiracy Amid engrossing demands

THE SPEAKING VOICE

There is a widespread need for a more thorough cultivation of the speaking voice. It is astonishing how few persons give specific attention to this important subject. On all sides we are subjected to voices that are disagreeable and strident. It is the exception to hear a voice that is musical and well-modulated.

Most people make too much physical effort in speaking. They tighten the muscles of the throat and mouth, instead of liberating these muscles and allowing the voice to flow naturally and harmoniously. The remedy for this common fault of vocal tension is to relax all the muscles used in speech. This is easily accomplished by means of a little daily practice.

The first thing to keep in mind is that we should speak through the throat and not from it. A musical quality of voice depends chiefly upon directing the tone towards the hard palate, or the bony arch above the upper teeth. From this part of the mouth the voice acquires much of its resonance.

An excellent exercise for throat relaxation is yawning. It is not necessary to wait until a real yawn presents itself, but frequent practice in imitating a yawn may be indulged in with good results.

Immediately after practicing the yawn, it is advisable to test the voice, either in speaking or in reading, to observe improvement in freedom of tone.

It is not desirable to use the voice where there is loud noise by way of opposition. Many a good voice has been ruined due to the habit of continuous talking on the street or elsewhere amid clatter and hubbub.

Under such circ.u.mstances it is better to rest the voice, since in any contest of the kind the voice will almost surely be vanquished.

What we need in our daily conversation is less emphasis, and more quietness and non-resistance. We need less eagerness and more vivacity and variety. We need a settled equanimity of mind that does not deprive us of our animation, but saves us from the petty irritations of everyday life. We need, in short, more poise and self-control in our way of speaking.

It is well to remember that few things we say are of such importance as to require emphasis. The thought should be its own recommendation. But if emphasis be necessary, let it be by the intellectual means of pausing or inflection, rather than with the shoulders or the clenched fist.

A very disagreeable and common fault is nasality, or "talking through the nose." Many persons are guilty of this who least suspect it. This habit is so easily and unconsciously acquired that everyone should be on strict guard against it. Almost equally disagreeable is the fault of throatiness, caused by holding the muscles of the throat instead of relaxing them.

The best tones of the speaking voice are the middle and low keys. These should be used exclusively in daily conversation. The use of high pitch is due to habit or temperament, but may be overcome through judicious practice. The objection to a high-keyed voice is not only that it is disagreeable to the listener, but puts the speaker "out of tune" with his audience.

A good speaking voice should possess the qualities of purity, resonance, flexibility, roundness, brilliancy, and adequate power. These qualities can be rapidly developed by daily reading aloud for ten minutes, giving special attention to one quality at a time. A few weeks, a.s.siduous practice will produce most gratifying results. The voice grows through use, and it grows precisely in the way it is habitually used.

Distinct articulation and correct p.r.o.nunciation are indications of cultivated speech. Pedantry should be avoided, but every aspirant to correct speech should be a student of the dictionary. A writer has given this good counsel:

"Resolve that you will never use an incorrect, an inelegant, or a vulgar phrase or word, in any society whatever. If you are gifted with wit, you will soon find that it is easy to give it far better point and force in pure English than through any other medium, and that brilliant thoughts make the deepest impressions when well worded. However great it may be, the labor is never lost which earns for you the reputation of one who habitually uses the language of a gentleman, or of a lady. It is difficult for those who have not frequent opportunities for conversation with well-educated people, to avoid using expressions which are not current in society, although they may be of common occurrence in books.

As they are often learned from novels, it will be well for the reader to remember that even in the best of such works dialogues are seldom sustained in a tone which would not appear affected in ordinary life.

This fault in conversation is the most difficult of all to amend, and it is unfortunately the one to which those who strive to express themselves correctly are peculiarly liable. Its effect is bad, for though it is not like slang, vulgar in itself, it betrays an effort to conceal vulgarity.

It may generally be remedied by avoiding any word or phrase which you may suspect yourself of using for the purpose of creating an effect.

Whenever you imagine that the employment of any mere word or sentence will convey the impression that you are well informed, subst.i.tute for it some simple expression. If you are not positively certain as to the p.r.o.nunciation of a word, never use it. If the temptation be great, resist it; for, rely upon it, if there be in your mind the slightest doubt on the subject, you will certainly make a mistake. Never use a foreign word when its meaning can be given in English, and remember that it is both rude and silly to say anything to any person who possibly may not understand it. But never attempt, under any circ.u.mstances whatever, to utter a foreign word, unless you have learned to p.r.o.nounce correctly the language to which it belongs."

There is need for the admonition to open the mouth well. Many people speak with half-closed teeth, the result being that the quality of voice and correctness of p.r.o.nunciation are greatly impaired. Consonants and vowels should be given proper significance. m.u.f.fled speech is almost as objectionable as stammering.

It enhances the pleasure and quality of conversation to speak in deliberate style. Rapidity of utterance often leads a speaker into such faults as indistinctness, monotony, and incorrect breathing. Deliberate speaking confers many advantages, not the least of which is increased pleasure to the listener.

Many voices are too thin in quality. They fail to carry conviction even when the thought is of superior character. The remedy here is to give special attention to the development of deep tones. One of the best exercises for this purpose is to practice for a few minutes daily upon the vowel sound "O," endeavoring to make it full, deep, and melodious.

For all-round vocal development this practice should be done with varied force and inflection, and on high as well as low keys of the voice.

The best remedy for a weak voice is to practice daily upon explosives, expelling the princ.i.p.al vowel sounds, on various keys, using the abdominal muscles throughout. Another good exercise is to read aloud while walking upstairs or uphill. As these exercises are somewhat extreme, the student is recommended to practice them prudently.

Correct breathing is fundamental to correct and agreeable speaking. The breathing apparatus should be brought under control by daily practice upon exercises prescribed in any standard book on elocution. Pure tone of voice depends upon the ability to convert into tone every particle of breath used. Aspirated voice, in which some of the breath is allowed to escape unvocalized, is injurious to the throat, and unpleasant to the listening ear.

The speaker, whether in conversation or in public, should try always to speak with an adequate supply of breath. Deliberate utterance will give the necessary opportunity to replenish the lungs, so that the speaker will not suffer from unnecessary fatigue. Needless to say, the habit should be formed of breathing through the nose when in repose.

There is a voice of unusual roundness and fulness known as the orotund, which is indispensable to the public speaker. It is simple, pure tone, rounded out into greater fulness. It is produced mainly by an increased resonance of the chest and mouth cavities, and a more vigorous action of the abdominal muscles. It has the character of fulness, but it is not necessarily a loud tone. It is in no sense artificial, but simply an enlargement of the natural conversational voice.

The use of the orotund voice varies according to the intensity of the thought and feeling being expressed. It is used in language of great dignity, power, grandeur, and sublimity. It is appropriate in certain forms of public prayer and Bible reading. It enables the public speaker to vary from his conversational style. It gives vastly increased scope and power, by enabling the speaker to bring into play all the resources of vocal force and intensity.

Where resonance of voice is lacking, it can be rapidly developed by means of humming the letter _m_, with lips closed, and endeavoring to make the face vibrate. The tone should be kept well forward throughout the exercise, pressing firmly against the lips and hard palate. Later the exercise may begin with the humming _m_, and be developed, while the lips are opened gradually, into the tone of _ah_, still aiming to maintain the original resonance.

The speaking voice is capable of most wonderful development. There is a duty devolving upon everyone to cultivate beauty of vocal utterance and diction. Crudities of speech so commonly in evidence are mainly due to carelessness and neglect. It is a hopeful sign, however, that greater attention is now being given to this important subject than heretofore.

Surely there is nothing more important than the development of the princ.i.p.al instrument by which men communicate with one another. As Story says:

"O, how our organ can speak with its many and wonderful voices!-- Play on the soft lute of love, blow the loud trumpet of war, Sing with the high sesquialter, or, drawing its full diapason, Shake all the air with the grand storm of its pedals and stops."

HOW TO TELL A STORY

Someone has wittily said that only those in their anecdotage should tell stories. De Quincey wanted all story-tellers to be submerged in a horse-pond, or treated in the same manner as mad dogs. But story-telling has its legitimate and appropriate use, and if certain rules are observed may give added charm to conversation and public speaking.

It requires a fine discrimination to know when to tell a story, and when not to tell one though it is urging itself to be expressed. Few men have the rare gift of choosing the right story for the particular occasion.

Many men have no difficulty in telling stories that are insufferably long, pointless, and uninteresting.

We have all been victims of a certain type of public speaker who begins by saying, "Now I don't want to bore you with a long story, but this is so good, etc.," or "An incident occurred at the American Consulate in Shanghai, which reminds me of an awfully good story, etc." When a speaker prefaces his remarks with some such sentences as these, we know we are in for an uncomfortable time.

As far as possible a story should be new, clever, short, simple, inoffensive, and appropriate. As such stories are scarce, it is advisable to set them down, when found, in a special note-book for convenient reference. It is said that Chauncey M. Depew, one of the most gifted of after-dinner speakers, was for many years in the habit of keeping a set of sc.r.a.p-books in which were preserved stories and other interesting data clipped from newspapers and magazines. These were so cla.s.sified that he could on short notice refresh his mind with ample material upon almost any general subject.

Anyone who essays to tell a story should have it clearly in mind. It is fatal for a speaker to hesitate midway in a story, apologize for not knowing it better, avow that it was much more humorous when told to him, and in other ways to announce his shortcomings. If he cannot tell a story fluently and interestingly, he should first practice it on his own family--provided they will tolerate it.

Some stories should be committed to memory, especially where the point of humor depends upon exact phraseology. In such case, it requires some training and experience to disguise the memorized effort. A story like the following, for obvious reasons, should be thoroughly memorized:

The longest sermon on record occupied three hours and a half. But the shortest sermon was that of a preacher who spoke for one minute on the text: "Man is born unto trouble as the sparks fly upward." He said:

"I shall divide my discourse into three heads: (1) Man's ingress into the world; (2) His progress through the world; (3) His egress out of the world.

"Firstly, His ingress into the world is naked and bare.

"Secondly, His progress through the world is trouble and care.

"Thirdly, His egress out of the world is n.o.body knows where.

"To conclude: