DALE CARNEGIE Premium Collection. Dale Carnegie
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treats of things. Exposition deals with the abstract, description with the concrete. Exposition is concerned with the internal, description with the external. Exposition is enumerative, description literary. Exposition is intellectual, description sensory. Exposition is impersonal, description personal.
If description is a visualizing process for the hearer, it is first of all such for the speaker—he cannot describe what he has never seen, either physically or in fancy. It is this personal quality—this question of the personal eye which sees the things later to be described—that makes description so interesting in public speech. Given a speaker of personality, and we are interested in his personal view—his view adds to the natural interest of the scene, and may even be the sole source of that interest to his auditors.
The seeing eye has been praised in an earlier chapter (on "Subject and Preparation") and the imagination will be treated in a subsequent one (on "Riding the Winged Horse"), but here we must consider the picturing mind: the mind that forms the double habit of seeing things clearly—for we see more with the mind than we do with the physical eye—and then of re-imaging these things for the purpose of getting them before the minds' eyes of the hearers. No habit is more useful than that of visualizing clearly the object, the scene, the situation, the action, the person, about to be described. Unless that primary process is carried out clearly, the picture will be blurred for the hearer-beholder.
In a work of this nature we are concerned with the rhetorical analysis of description, and with its methods, only so far as may be needed for the practical purposes of the speaker.[20] The following grouping, therefore, will not be regarded as complete, nor will it here be necessary to add more than a word of explanation:
Description for Public Speakers
| Objects | { Still | |
| Objects | { In motion | |
| Scenes | { Still | |
| Scenes | { Including action | |
| Situations | { Preceding change | |
| Situations | { During change | |
| Situations | { After change | |
| Actions | { Mental | |
| Actions | {Physical | |
| Persons | { Internal | |
| Persons | { External |
Some of the foregoing processes will overlap, in certain instances, and all are more likely to be found in combination than singly.
When description is intended solely to give accurate information—as to delineate the appearance, not the technical construction, of the latest Zeppelin airship—it is called "scientific description," and is akin to exposition. When it is intended to present a free picture for the purpose of making a vivid impression, it is called "artistic description." With both of these the public speaker has to deal, but more frequently with the latter form. Rhetoricians make still further distinctions.
Methods of Description
In public speaking, description should be mainly by suggestion, not only because suggestive description is so much more compact and time-saving but because it is so vivid. Suggestive expressions connote more than they literally say—they suggest ideas and pictures to the mind of the hearer which supplement the direct words of the speaker. When Dickens, in his "Christmas Carol," says: "In came Mrs. Fezziwig, one vast substantial smile," our minds complete the picture so deftly begun—a much more effective process than that of a minutely detailed description because it leaves a unified, vivid impression, and that is what we need. Here is a present-day bit of suggestion: "General Trinkle was a gnarly oak of a man—rough, solid, and safe; you always knew where to find him." Dickens presents Miss Peecher as: "A little pin-cushion, a little housewife, a little book, a little work-box, a little set of tables and weights and measures, and a little woman all in one." In his "Knickerbocker's" "History of New York," Irving portrays Wouter van Twiller as "a robustious beer-barrel, standing on skids."
Whatever forms of description you neglect, be sure to master the art of suggestion.
Description may be by simple hint. Lowell notes a happy instance of this sort of picturing by intimation when he says of Chaucer: "Sometimes he describes amply by the merest hint, as where the Friar, before setting himself down, drives away the cat. We know without need of more words that he has chosen the snuggest corner."
Description may depict a thing by its effects. "When the spectator's eye is dazzled, and he shades it," says Mozley in his "Essays," "we form the idea of a splendid object; when his face turns pale, of a horrible one; from his quick wonder and admiration we form the idea of great beauty; from his silent awe, of great majesty."
Brief description may be by epithet. "Blue-eyed," "white-armed," "laughter-loving," are now conventional compounds, but they were fresh enough when Homer first conjoined them. The centuries have not yet improved upon "Wheels round, brazen, eight-spoked," or "Shields smooth, beautiful, brazen, well-hammered." Observe the effective use of epithet in Will Levington Comfort's "The Fighting Death," when he speaks of soldiers in a Philippine skirmish as being "leeched against a rock."
Description uses figures of speech. Any advanced rhetoric will discuss their forms and give examples for guidance.[21] This matter is most important, be assured. A brilliant yet carefully restrained figurative style, a style marked by brief, pungent, witty, and humorous comparisons and characterizations, is a wonderful resource for all kinds of platform work.
Description may be direct. This statement is plain enough without exposition. Use your own judgment as to whether in picturing you had better proceed from a general view to the details, or first give the details and thus build up the general picture, but by all means BE BRIEF.
Note the vivid compactness of these delineations from Washington Irving's "Knickerbocker:"
He was a short, square, brawny old gentleman, with a double chin, a mastiff mouth, and a broad copper nose, which was supposed in those days to have acquired its fiery hue from the constant neighborhood of his tobacco pipe.
He was exactly five feet six inches in height, and six feet five inches in circumference. His head was a perfect sphere, and of such stupendous dimensions, that Dame Nature, with all her sex's ingenuity, would have been puzzled to construct a neck capable of supporting it; wherefore she wisely declined the attempt, and settled it firmly on the top of his backbone, just between the shoulders. His body was of an oblong form, particularly capacious at bottom; which was wisely ordered by Providence, seeing that he was a man of sedentary habits, and very averse to the idle labor of walking.
The foregoing is too long for the platform, but it is so good-humored, so full of delightful exaggeration, that it may well serve as a model of humorous character picturing, for here