The Collected Works of Dale Carnegie. Dale Carnegie
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in some way. In that I learn of him." Illiterate Italians make gestures so wonderful and beautiful that Booth or Barrett might have sat at their feet and been instructed. Open your eyes. Emerson says again: "We are immersed in beauty, but our eyes have no clear vision." Toss this book to one side; go out and watch one child plead with another for a bite of apple; see a street brawl; observe life in action. Do you want to know how to express victory? Watch the victors' hands go high on election night. Do you want to plead a cause? Make a composite photograph of all the pleaders in daily life you constantly see. Beg, borrow, and steal the best you can get, BUT DON'T GIVE IT OUT AS THEFT. Assimilate it until it becomes a part of you—then let the expression come out.
QUESTIONS AND EXERCISES
1. From what source do you intend to study gesture?
2. What is the first requisite of good gestures? Why?
3. Why is it impossible to lay down steel-clad rules for gesturing?
4. Describe (a) a graceful gesture that you have observed; (b) a forceful one; (c) an extravagant one; (d) an inappropriate one.
5. What gestures do you use for emphasis? Why?
6. How can grace of movement be acquired?
7. When in doubt about a gesture what would you do?
8. What, according to your observations before a mirror, are your faults in gesturing?
9. How do you intend to correct them?
10. What are some of the gestures, if any, that you might use in delivering Thurston's speech, page 50; Grady's speech, page 36? Be specific.
11. Describe some particularly appropriate gesture that you have observed. Why was it appropriate?
12. Cite at least three movements in nature that might well be imitated in gesture.
13. What would you gather from the expressions: descriptive gesture, suggestive gesture, and typical gesture?
14. Select any elemental emotion, such as fear, and try, by picturing in your mind at least five different situations that might call forth this emotion, to express its several phases by gesture—including posture, movement, and facial expression.
15. Do the same thing for such other emotions as you may select.
16. Select three passages from any source, only being sure that they are suitable for public delivery, memorize each, and then devise gestures suitable for each. Say why.
17. Criticise the gestures in any speech you have heard recently.
18. Practise flexible movement of the hand. What exercises did you find useful?
19. Carefully observe some animal; then devise several typical gestures.
20. Write a brief dialogue between any two animals; read it aloud and invent expressive gestures.
21. Deliver, with appropriate gestures, the quotation that heads this chapter.
22. Read aloud the following incident, using dramatic gestures:
When Voltaire was preparing a young actress to appear in one of his tragedies, he tied her hands to her sides with pack thread in order to check her tendency toward exuberant gesticulation. Under this condition of compulsory immobility she commenced to rehearse, and for some time she bore herself calmly enough; but at last, completely carried away by her feelings, she burst her bonds and flung up her arms. Alarmed at her supposed neglect of his instructions, she began to apologize to the poet; he smilingly reassured her, however; the gesture was then admirable, because it was irrepressible.—Redway, The Actor's Art.
23. Render the following with suitable gestures:
One day, while preaching, Whitefield "suddenly assumed a nautical air and manner that were irresistible with him," and broke forth in these words: "Well, my boys, we have a clear sky, and are making fine headway over a smooth sea before a light breeze, and we shall soon lose sight of land. But what means this sudden lowering of the heavens, and that dark cloud arising from beneath the western horizon? Hark! Don't you hear distant thunder? Don't you see those flashes of lightning? There is a storm gathering! Every man to his duty! The air is dark!—the tempest rages!—our masts are gone!—the ship is on her beam ends! What next?" At this a number of sailors in the congregation, utterly swept away by the dramatic description, leaped to their feet and cried: "The longboat!—take to the longboat!"
—Nathan Sheppard, Before an Audience.
CHAPTER XVI
METHODS OF DELIVERY
The crown, the consummation, of the discourse is its delivery. Toward it all preparation looks, for it the audience waits, by it the speaker is judged.... All the forces of the orator's life converge in his oratory. The logical acuteness with which he marshals the facts around his theme, the rhetorical facility with which he orders his language, the control to which he has attained in the use of his body as a single organ of expression, whatever richness of acquisition and experience are his—these all are now incidents; the fact is the sending of his message home to his hearers.... The hour of delivery is the "supreme, inevitable hour" for the orator. It is this fact that makes lack of adequate preparation such an impertinence. And it is this that sends such thrills of indescribable joy through the orator's whole being when he has achieved a success—it is like the mother forgetting her pangs for the joy of bringing a son into the world.
—J.B.E., How to Attract and Hold an Audience.
There are four fundamental methods of delivering an address; all others are modifications of one or more of these: reading from manuscript, committing the written speech and speaking from memory, speaking from notes, and extemporaneous speech. It is impossible to say which form of delivery is best for all speakers in all circumstances—in deciding for yourself you should consider the occasion, the nature of the audience, the character of your subject, and your own limitations of time and ability. However, it is worth while warning you not to be lenient in self-exaction. Say to yourself courageously: What others can do, I can attempt. A bold spirit conquers where others flinch, and a trying task challenges pluck.
Reading from Manuscript
This method really deserves short shrift in a book on public speaking, for, delude yourself as you may, public reading is not public speaking. Yet there are so many who grasp this broken reed for support that we must here discuss the "read speech"—apologetic misnomer as it is.
Certainly there are occasions—among them, the opening of Congress, the presentation of a sore question before a deliberative body, or a historical commemoration—when it may seem not alone to the "orator" but to all those interested that the chief thing is to express certain thoughts in precise language—in language that must not be either misunderstood or misquoted. At such times oratory is unhappily elbowed to a back bench, the manuscript is solemnly withdrawn from the capacious inner pocket of the new frock coat, and everyone settles himself resignedly, with only a feeble flicker of hope that the so-called speech may not be as long as it is thick. The words may be golden, but the hearers' (?) eyes are prone to be leaden, and in about one instance out of a hundred does the perpetrator really deliver an impressive address. His excuse is his apology—he is not to be blamed, as a rule, for some one decreed that it would be dangerous to cut loose from manuscript moorings and take his audience with him on a really delightful sail.
One great trouble on such "great occasions" is that the essayist—for such he is—has